Two ongoing motifs are remarks about the exceptionally low heart rate of Pitt’s character and agency-required monologue psychological evaluations. Roy McBride’s remarks are used as a cue to the audience into his mental state. After all, there is little dialog to allow his character to be built up more naturally. No other character is important enough for that.
Central to the story is a classified “Lima” project. Despite the secrecy surrounding it, many people that McBride meets have more information for him. The project was led by Roy McBride’s missing father, the hero H. Clifford McBride, played by Tommy Lee Jones. This connection provides an evolving emotional impetus for the story.
Ad Astra has a dystopian projection of how terrestrial nations deal with the resources of space. On the moon, each nation has staked out a claim that leaves a dangerous no-mans-land between their territories. Space travel has become a commercial venture, but SpaceCom seems to consider it secondary to their secret intrigues.
Since it’s a Hollywood movie, I didn’t expect the science to be very hard or precise, so I was willing to suspend disbelief for a lot. Yet, one horribly weak plot point struck me. Landing on the near side of the moon and driving to a base on the far side is hard to defend. However, the situation gave some action to a story that is heavy on cerebral pursuits. (See the psychological evaluations.)
The story is straightforward to describe. It’s hard to say much about the story without dropping spoilers. With a few nodes of action with slower stretches between them, the story would need expansion to make a novel.
I’m glad I saw the film on IMAX so that I could feast my eyes on the beautiful set development. I really appreciated the sonic environment that the movie possesses as well.