Ad Astra

Resolute calm enabling worn compact endurance, as split-second horizons galactically persevere.

Haunting commissions convivially prorated invoke distraught conjecture, amidst flossed commanding tremens, a firm shake, hardboiled rations.

Isolated escorts contract both fact and prayer to brave conflicted laments in disputed lunar wastes.

Provoked inherent danger characteristically anointing fury, as reckless impacting recourse gravitationally upends.

Heralds of the absurd embrace age old discretion to definitively proceed and spite incumbent salience.

Prerogative alternatives attuned to crisp latitude, wherewithal in bold defiance, the need-to-know forlorn, askew.

Comma weightlessness, resounding brace, emphatic nebulous accompaniments, maddeningly strained.

A destination charted, strictly relative, the loyal man pursues, a rewarding rash reunion, punchy portents, presence, portals.

Preservation.

In search of awestruck epic, Ad Astra evokes the severe, a textbook sequent caustic quest, a minimalistic slight solemnity.

The action disrupts the logic.

The thought disturbs the action.

It can't decide if it's cerebral psycho-sci-fi or reticent adventure, and the mix is disconcerting if not resignedly underscored.

Take the scenes where they drive across the moon's surface to reach a distant launchpad. There's plenty of opportunity to develop character through dialogue as they cross the inhospitable terrain, while intercutting shots of the heavens to add interstellar savour, but instead they're hounded by bandits shortly after they depart, of course barely making it after sustaining heavy casualties.

Before this scene the film seems serious, like it wouldn't rely on something so obvious, like it's more concerned with brains than brawn, like it has true epic potential.

It's very similar to Apocalypse Now, inasmuch as they both concern young capable determined officers given assignments which demand stealth and sacrifice, which demand they navigate extreme hardships to confront heroes who have lost their minds in remote locations.

There isn't much dialogue in Apocalypse Now either, but it's also an innovative groundbreaking visceral risk-fuelled narrative shot on site in the Philippines, where the actors had to dig deep just to deal with production demands.

Several of its scenes stick with you afterwards due to their enigmatic depth and Captain Willard's odd relationship with his crew. Ruth Negga's scenes (Helen Lantos) stand out in Ad Astra, but without a consistent supporting cast, or much dialogue to work with, and a tiresome psychological test Roy McBride (Brad Pitt) has to take regularly, Ad Astra doesn't measure up, and leaves you wishing it had drawn parallels more precisely.

Apocalypse Now's rich with the spirit of independence that's difficult to create in a studio.

Ad Astra's alright, it's entertaining, I was disappointed but wasn't bored, but from the way it begins and its cast and its premise I thought it would be so much more.

Perhaps a good companion film for Apocalypse Now on a double-bill though.

Make sure to show it first.

Save Brando till the bitter end.