It was her saying it and having compassion that was like, ‘Oh, this is real.’” “It landed finally in my body hearing her say it. She finally found texts between her ex and the woman with whom he was having an affair that proved it, but still, she didn’t believe it was real until she looped in the other woman and had a conversation with her. More recently, she explained to Dax Shepard on his Armchair Quarterback podcast that her ex was “pathological” and had made her feel “crazy” for thinking that he was cheating on her when in fact he was cheating on her. “So, when that person is telling you that you have a distorted sense of reality and that you are impossible and that all the stuff that you think is going on is not going on, your life gets really confusing really quickly,” she said, detailing the “emotional abuse and psychological abuse” she suffered during the relationship. A few months ago, in an interview with People, she mentioned that she had been gaslit by a toxic, cheating ex-boyfriend and that filming Alice Darling had been “retraumatizing” for her. Because while the production design of the ship, sleekly explored with a number of impressively extended shots, might impress, the exterior action is not quite as stellar, and although Stowaway does end on a theoretically brave note, it’s also a regrettably abrupt one.The film is about how Anna Kendrick’s character deals with a psychologically abusive boyfriend, and ahead of its release, Kendrick has spent a lot of time promoting the film by drawing parallels between her character and her relationship with a real-life ex-boyfriend. Trying to sustain this tension for almost two hours proves an impossible task, and while there are still seat-edge moments from the big set piece that closes the film out, it’s just a bit too conventional in how it plays out and draws an immediate and ultimately damning comparison to Gravity. The focus on the job at hand works until it doesn’t as with just the slightest of characterisation, we’re invested in the problem rather than those solving it and the grip of the first two acts loosens as the finale beckons. There’s rarely a moment for levity, despite us being told that Kendrick is playing “in-flight entertainment”, and a refreshingly small amount of backstory gap-filling monologues. The other crew members are solid, particularly Anderson who has arguably the hardest role to play, forced in an effectively dour moment to consider a drastic sacrifice.
ANNA KENDRICK NETFLIX LOVE LIFE SERIES
For a star so recognisable, she’s always excelled the most at portraying the grind of the everyday, of unglamorous hard work and often unrewarded emotional labour and she’s so good in this particular iteration of that type that one wants even more of her, as if her character might spin off into a TV series filled with similarly knotty situations for her to think a way out of.
It’s a setting that works well for Collette especially, easily emerging as the film’s MVP, allowed for once to use her Australian accent, persuasively beleaguered as the commander wrestling with her conscience and the ramifications of what might happen. This concerted effort to ground what’s taking place up in the sky makes it all that much more involving, a feeling that nothing is being sacrificed for the sake of storytelling, no patronising over-explanation, just the realities of an agonising scenario, unfolding at a steady pace. Can Kim’s biologist find a way to make his algae produce enough oxygen? Can Collette’s commander work with on-the-ground support to find the science to save them? Can Kendrick’s medical researcher convince them that a death-defying mission might be worth the risk? It’s all laid out, at least to a layman such as I, in what feels like convincingly terse terms, perhaps with a great deal of gratitude owed to the YouTuber and astrophysicist Scott Manley who advised on the script, helping Penna and co-writer Ryan Morrison nail the specifics. Despite some sly strings early on in Hauschka’s moody score suggesting otherwise, Penna chooses not to take us into Hitchcockian psychological thriller territory and instead keeps us firmly in the realm of so-called “hard sci-fi”, as the crew is forced to confront the logistics of a devastating dilemma with time not on their side.
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