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Ad Astra is also the kind of anomaly in 2019 cinema that people keep asking for: it’s a film for adults. Yes, the science-fiction genre allows for Gray to work in some action sequences that run counter to Roy’s brooding, moody interior. (There’s no detail you need aside from knowing that Roy has to, at various points in the film, face off against Moon pirates and bloodthirsty monkeys, and it all somehow makes perfect sense.) But Ad Astra is the kind of mid-budget (it apparently only cost in the neighborhood of $80 million, which is incredible to consider with the effects and practical work being so believable) film that audiences want in between whatever gargantuan blockbusters clutter the multiplexes. That it’s being released by Disney — through 20th Century Fox, which greenlit the film before they were bought up — is almost as shocking as the film itself is.
Ad Astra pays off on the expansive promise of James Gray’s The Lost City of Z. It’s an intelligent, thrilling epic of the soul that offers one of the great lead performances of the year, from an actor who’s managed to be underrated even as he’s never lost his star power. From its tense, dizzying opening sequence to its profound and emotionally taxing finale, Ad Astra is an absorbing character study masquerading as a sci-fi adventure. It’s one of the best films of 2019.
/Film Rating: 9 out of 10
Reality: One of the biggest misconceptions in astronomy is that people think the Hubble Space Telescope actually goes to the places it photographs. It doesn’t—it just orbits the Earth, only about 1,200 miles up, and images things that are extremely far away. We put it in space to get it above the Earth’s atmosphere. I can see how this misconception arises, since we do send probes to the planets in the solar system. But traveling through the solar system doesn’t get you any closer to the vast majority of the things Hubble is photographing, considering the light-year distances involved. That would be like crossing the room to get closer to the Moon.