It’s rare to find a movie that is not a direct adaptation of another work, as just about everything released to theaters seems to be adapted from a book, TV show, comic or another film. This is hardly a new phenomenon as Hollywood has used other mediums as source material pretty much since the dawn of the film industry. I’m not exactly complaining here, but it is still refreshing to see a truly original idea on the big screen. Unfortunately, the end result of a fresh concept isn’t refreshing when it turns out to be average at best. This is disappointing to say as the premise of Passengers is rife with the potential to be something truly extraordinary.
Set in the far future, Passengers is the story of Jim Preston (Chris Pratt) and Aurora Lane (Jennifer Lawrence), who embark on a 120-year trip to colonize a new planet, naturally to be spent in suspended animation. However, something goes wrong and the pair awaken nearly 90 years early. Unable to go back to sleep, and aware they will die long before reaching their destination, the two form a strong bond, one which is tested when catastrophe strikes their ship.
A great premise, obviously, and a unique one as well, but an idea is only half the battle; it’s the execution that matters in the end. The first element of execution is tone, and this movie flip-flops on tone quite a bit. A good portion of the film is Pratt and Lawrence on the ship together, trying to find meaning in an utterly hopeless situation. They have each other and the ship is equipped with every luxury they could ever want, but they are nonetheless trapped inside a gilded cage. Though this is an extremely tragic scenario, the film seems determined to gloss over it. There is room for comedy here, but it should carry an air of the dreadful circumstances to it. That’s not what occurs. Instead, the film delivers light-hearted montages set to pop songs and improvisation on the part of both Lawrence and Pratt; elements that don’t match the previously set tone.
The other big problem with the execution rests in the script. The central conflict between Pratt and Lawrence is established well, but the third act crumbles to pieces. The climax of the movie is set-up beforehand, but it’s made abundantly clear to the audience far too soon as the characters spend the whole movie playing catch-up. As for the ending, it’s pretty trite, including an out-of-left-field reveal that quickly renders itself colossally pointless. A happy ending does not fit this story, and what the narrative concludes with is nowhere near as bittersweet as it needed to be.
Even with all those complaints, I wouldn’t say I didn’t enjoy the movie on some level. The visuals are a gorgeous sight to look at, the chemistry between the Pratt and Lawrence is strong, and there are some tense action scenes (even if the one at the end stretches suspension of disbelief beyond all logical reason). If viewers were hoping for a nicely shot and well-acted sci-fi flick, they won’t be too disappointed. However, if they’re expecting an intelligent and dramatic film similar to the likes of 2001: A Space Odyssey, Close Encounters of the Third Kind or Arrival, they’re sadly not going to get it.
Review by: Zak Kizer
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