I.S.S., 2024.
Directed by Gabriela Cowperthwaite.
Starring Ariana DeBose, Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, and Masha Mashkova.
SYNOPSIS:
Tensions flare in the near future aboard the International Space Station as a conflict breaks out on Earth. Reeling, the US and Russian astronauts receive orders from the ground: take control of the station by any means necessary.
There isn’t anything necessarily groundbreaking or shocking about the simple, central message to director Gabriela Cowperthwaite’s I.S.S., which is that even the most stable, peaceful bonds can instantly become fractured by the insertion of politics and serving one’s nation. The opening text spells it out, stating that the International Space Station symbolizes a partnership between the United States of America and Russia and how they can work together to make technological advances in medicine, subsequently making the world a better place.
From there, the film introduces Ariana DeBose’s Dr. Kira Foster, fresh off the Soyuz and onto the eponymous International Space Station for the first time. She gets herself acquainted with the living conditions and fellow crewmembers aboard, learning about the day-to-day functions and what can be done to relax. Kira then sets up her experimental mice in preparation for biological research.
Not to take away any credit from Ariana DeBose, who is giving a solid performance despite not having much depth to work with, but once disaster strikes on Earth and the respective governments of each country give orders to take over the space station for leverage in whatever war could be on the horizon, it is also revealed that American Gordon Barrett (Chris Messina) and Russian Weronika Vetrov (Masha Mashkova) are secretly romantically entangled.
That plot development becomes an enticing one that the filmmakers quickly fumble the ball on. To clarify, only one person on each side knows what must be done, meaning that a great deal is hidden from the rest of this small, compelling ensemble. Somehow, a secret relationship is shoved to the side for more familiar tension beats.
There also comes a point where it looks like the film has found another potentially smart direction to go, with Kira and Weronika refusing to fall for the games their countries want them to play and reaching a reasonable level of trust for one another. That dynamic is also short-lived as, for whatever reason, I.S.S. would rather hit the more predictable, obvious, and clichéd story notes.
None of this has helped by a threadbare script from Nick Shafir (supposedly, it was also on the blacklist, which is shorthand for saying scripts thought to be strong but tricky for a filmmaker actually to make) that doesn’t characterize anyone beyond the most basic motivations such as getting home to loved ones or national loyalty. That’s also a shame since there are some tensely crafted fight sequences as the situation spirals out of control, but without much reason to feel the weight of anyone’s demise.
What can be said is that I.S.S. is visually pleasing, especially considering the budget likely wasn’t very high. Whenever the story takes the characters into outer space, the film often looks stunning, even if little of the imagery feels fresh anymore. Even the production design of the space station itself feels lived-in, with surprisingly much to do. This doesn’t speak highly of the rest of the film, but watching these characters mingle with one another, discuss what makes the arrangement work (such as no discussion of politics), and how they keep themselves occupied while getting research done is far more engaging than what follows. It’s all pressure-cooking without any substance or depth.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
