Writer-director Robert Eggers, who previously wowed us with The Lighthouse, returns in style with a brutal, bloody Viking epic, based on Amleth, the figure in Scandinavian legend that inspired Shakespeare’s Hamlet. It’s the first of his films to see a wide, mainstream release and large-scale ad campaign to match, and it’s perhaps for that reason that it is in some sense less demanding that its audience put the work in to understand and interpret it – although there remains plenty of room for that, and it’s in a different league to the blockbusters with which it’s competing. It’s a film to put down what you’re doing right now and see at the cinema – it’s vicious, atmospheric, and beautifully shot, and you won’t regret seeing it where it’s meant to be seen.
Ad Astra sees a withdrawn, isolated Brad Pitt take to the stars as Roy McBride, an astronaut in search of his father, and with him writer-director James Gray shows us stunning imagery and brings us brilliantly into McBride’s suppressed mental state. José is head over heels in love with the film’s epic feel, its exploration of universal human problems, the way in which it imagines a human race that, in spreading to and taming other planets and moons, brings its pre-existing problems with it, and the way in which Gray expresses McBride’s inner turmoil through action. Mike is less keen, particularly arguing for the weakness of the film’s first act, and asking questions of the film’s gender theming, but finds much to love too.
Ad Astra is a vast, careful, $100m art movie, the likes of which only Christopher Nolan normally gets to make. It’s very much worth your time. See it on the largest screen you can.
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