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Review of the Ad Astra Circle, the movie "Brad Pitt in Space."



  Brad Pitt looks over his shoulder at a green-lit room.

Brad Pitt in Ad Astra .

François Duhamel / 20th Century Fox

The first reviews of Ad Astra's movie, which stars Brad Pitt with The Lost City of Z directed by James Gray, are in, following his debut at the Venice Film Festival. Critics were mostly enthusiastic – if not unreservedly – about the futuristic space drama, in which Pete's character must travel to the far side of the solar system to find his missing father (Tommy Lee Jones), praising in particular her visuals and action sequences .

Below we have rounded up what else the critics say about the movie.

Space Costumes by James Gray.

Owen Gleiberman, grade:

But embarking on his first blockbuster sci-fi project, he tackles the enormous logistical challenges of delivering an epic space adventure with a secure hand and a sense of detail, pace and control that are essentially achieved if not quite Kubrickian, Gray proves immensely that he has the chops to make a movie like this. He also has a peculiar vision – one that is expressed almost inadvertently in the metaphor of this space antenna.

David Ehrlich, IndieWire:

The filmmaker has long been drawn to his classic eloquence, but his image has never been so muscular or sophisticated. By explicitly opposing the same coldness that made Immigrant and the Lost City of Z feel so closed – to paraphrase, that it eliminates as a problem to be solved – Gray succeeds he twisted stubbornly. a literal direction toward something pure.

David Jenkins, Little White Lies:

Isn't it a wonderful feeling when a director whose work in the past was usually apathetic creates something that is dangerously close to a masterpiece?

Brad Pitt is talented and beautiful …

Stephanie Zakaharek, Time:

… he makes the special mark of Roy's self-torture easy to believe: this is not the weight of the world that he has placed on his shoulders, it is the weight of space and must be heavier. Pete seems to be getting more tired and more beautiful with every role.

Phil De Semlyen, TimeOut:

Pete does a great job of smuggling in a sense of boyish injury under this space of coolness. The marks left by his father's absence are brighter than he realizes, and the final third of the film is even more moving for him.

David Jenkins, Little White Lies:

The man is currently in a serious upheaval, shifting the soft charm of his rock stand here Once upon a time in Hollywood to mask wells of intense sadness, just waiting to burst. The question of whether Pitt will face Pitt at the Oscars in 2020 is not foolish at all.

Sherry Linden, Hollywood Reporter:

However, of all the eloquent renderings of the film, operator Hoyt Van Hoytema does not illuminate anything with greater care than Brad Pitt's eyes. Regardless of the jugravital fist fights, these baby blues are where the action is. They are the film's most influential special effect.

… or maybe just beautiful?

Kevin Maher, The Times:

The 55-year-old's heartbeat is as empty as it once was in Ad Astra – this is perhaps his least effective performance since playing Louis with the reluctant blood sucker in with the vampire .

Blink and you will miss Liv Tyler.

Nicholas Barber, BBC:

Meanwhile, Liv Tyler pops into a tiny cliché, like the angelic wife Roy ignored. The setup may be in the near future, but roles like this are out of date.

Sherry Linden, Hollywood Reporter:

In the minimally conceived role of Roy's estranged wife, too symbolically christened Eve, Liv Tyler has little chance of making an impression, but still manages to do so, in part, because Gray has the ability to convey a well with unfolded transcripts of expressionist expressions reverse photos. However, much of this story borders on cliché.

Candice Frederick, Wrap:

… a character so marginalized that it often boils down to a blurry screen should bear the brunt of his passion.

Comparisons with other cosmic films – favorable and unfavorable – abound.

David Ehrlich, IndieWire:

Even with a linear story that never slows down, a pursuit sequence that feels like Fury Road on the moon, and intense galaxy vision, making room for any number of unexpected surprises (beware nails inside the seemingly abandoned spaceship), Ad Astra is still one of the most romantic, withdrawn and curiously optimistic space odyssey on this side of Solaris . He is also one of the best.

Sherry Linden, Hollywood Reporter:

Maybe because the genre tropes of Ad Astra however striking, are also familiar – a distracting moment from Gravity here, the inevitable nods to 2001: A Space Odyssey there – this episodic saga felt overwhelmed by them, as opposed to full occupation of the terrain.

Richard Lawson, Vanity Fair:

On the one hand, Gray's film is a beautifully sad addition to Nolan's epic Interstellar both films localizing the acute existential pain at the heart of every thought of the great beyond. But on the other hand, this similarity weakens the influence of Ad Astra [19459109]. And not only Interstellar : Ad Astra will be known to anyone who saw Gravity and last year First Man too. There is a lot of beauty to be admired in Gray's carefully crafted film, but her thematic argument feels like a retry.

Nicholas Barber, BBC:

Ad Astra is almost as intelligent as Arrivals and First Person but shares too many of their images to look completely original. And as they focus on parenting and loss issues, a trajectory that is starting to get annoying. No one is allowed to travel to the final frontier without choking on their relatives on the road?

It can be said that the film addresses some … paternal issues.

Xan Brooks, the guardian:

excellent space opera with serious problems with dad

Stephanie Zakaharek, Time:

fights unsolved problems with dad

Owen Gleberman, Diversity:

The table of the film should be: "In space, no one can hear you cry about your problems with your absent father."

Stefano Piri, Esquire Italia:

porta le daddy publishes nello spazio


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