Slingshot (2024)

Sci-fi releases that attempt to do something more than the minimum of what’s typically expected of them are to be admired for their ambition and creativity. That’s especially true when they seek to fuse their subjects and storylines with material drawn from other genres. However, to achieve success at that, the filmmakers behind these projects need to be very precise and diligent in coming up with a mix that works, and, sadly, that’s where this offering fails – not by much, mind you, but just enough to characterize it as a well-intentioned near miss. The film follows the diverse, often-surreal experiences of an astronaut (Casey Affleck) on a daring, cutting-edge mission to the Saturnian moon Titan, one that’s to be reached via a gravitational slingshot effect around Jupiter that will propel the craft to its destination at an accelerated speed. That consideration aside, though, the journey is nevertheless a lengthy one, requiring the protagonist and his crew mates (Laurence Fishburne, Tomer Capone) to be placed in drug-induced hibernation for vast stretches of the trip, a tricky proposition given the potential side effects of these powerful substances. This blend of story elements thus sets up the characters for an odyssey (ironically, the name of their ship) fraught with strange dreams, hallucinations and other unexpected developments, particularly when the spacecraft is mysteriously damaged, placing completion of the mission in jeopardy and affecting the psychological stability of the crew. Matters become further complicated when our hero begins having visions of his romantic interest (and one of the ship’s designers) (Emily Beecham) aboard the craft. So what is exactly going on here? That’s what director Mikael Hafstrom seeks to explain, though it’s far from an easy task. While the picture has its moments of intelligence and even poetic insights, it nevertheless struggles with a narrative and screenplay that become a little too convoluted for their own good. The writing, unfortunately, isn’t completely capable of fulfilling its intent, often taking the long way around to connect the dots and involving material that could have used some cleaning up to attain its goal (such as (ironically enough) using some “slingshot” shortcuts to move the story along instead of getting bogged down in plodding, elaborate attempts at explanation). Some will also note the many thematic similarities between this offering and “Spaceman,” released earlier this year (though, admittedly, there are enough distinct tonal differences and plot devices to adequately distinguish the two films and keep them from being labeled copycats). And then rhere’s the production’s tendency to push the limits of appropriate on-screen violence, verging on becoming a little too gratuitous though never actually crossing the line of acceptability (despite coming precariously close on occasion). Regrettably, these shortcomings detract somewhat from some of the picture’s genuinely fine attributes, such as some gorgeous special effects, a simple but smart production design, solid performances and a catchy soundtrack. It’s truly a shame that those elements noted above don’t match the level of these qualities; had “Slingshot” done so, this would have been a stellar release in the same vein as offerings like “Solaris” (2002) and “2001: A Space Odyssey” (1968) instead of becoming a largely forgettable sci-fi also-ran, a destiny with which it’s ultimately likely to be saddled.