Just a few weeks ago, “Stockholm Bloodbath” was released for home cinema*, in which the Swedish filmmaker Mikael Håfström presents a dark episode from the history of Scandinavia as a historical battle record. And even if the very long medieval spectacle has its weaknesses, at least the equipment is definitely not one of them. Instead, the backdrops created by Nora Takacs Ekberg with all sorts of tapestries, large candles and heavy wooden furniture in the castle interiors ensured a harmonious journey through time. At “Slingshot” The production design also plays a key role, as the science fiction thriller largely takes place inside a spaceship.
Once again, Mikael Håfström didn't want to make a mess, he wanted to make a big impact – and hired production designer Barry Chusid (“Rampage – Big Meets Bigger”) for the space cruiser backdrop that was put together in the Hungarian Korda studios. But what he delivered is both a blessing and a curse. On the one hand, the ship's white and gray interior, which is always brightly lit, appears ultra-modern and tidy. On the other hand, compared to the rather dimly lit genre competitors, something like individual charm is missing, which is why the scenery often seems strangely lifeless. This mood apparently also transferred to the top-class ensemble, because Oscar winner Casey Affleck (“Manchester By The Sea”) and “John Wick 4” star Laurence Fishburne only acted on a low note this time.
Clearly his character is stuck in a depressing situation. But Casey Affleck's performance could have been a little more rousing.
Due to the consequences of climate change, the world is on the verge of collapse. The Odyssey 1 mission, which is intended to explore Saturn's Earth-like moon Titan and collect energy sources there for transport back to Earth, is considered humanity's great hope. The crew consists of the pilot John (Casey Affleck), the always rational Captain Franks (Laurence Fishburne) and the engineer Nash (Tomer Capone). Shortly before a planned slingshot maneuver to use Jupiter's gravity to give the ship additional momentum, the spacecraft is hit by something on the outer wall. Although the instruments on board confirm no damage, Nash, terrified of death, insists on flying home. Captain Franks, however, insists on continuing the mission. John gets caught between the fronts of the conflict that is escalating in a very small space…
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In order to bridge the long flight time, the astronauts are put into deep sleep for 30 days at intervals. A medication procedure whose side effects may include nausea, dizziness, disorientation and confusion. Also because the dialogues repeatedly revolve around John's subjective perception, laden with meaning, it becomes apparent early on that “Slingshot” could veer away from a straightforward space drama towards a psychological thriller. The resulting twist in the last quarter, which resolves the increasingly mysterious events quite plausibly (and is absolutely logical in itself), is also a central problem of the film.
Because even if the author duo R. Scott Adams and Nathan Parker, who wrote the script for the sci-fi masterpiece “Moon”, repeatedly flirt with references to genre classics, there are never any real space vibes. The circular spaceship and the name of the mission allude to “2001: A Space Odyssey” (1968), while a woman wandering around immediately brings to mind “Solaris” (1972). But the cosmos remains largely invisible behind shadowy simulations on touch displays and all sorts of leisurely everyday routines between waking up, having breakfast and doing sports (either indoor cycling or jogging).
Laurence Fishburne, as the authoritarian Captain Franks, accepts the possible catastrophe with surprising calm.
“Slingshot” sometimes seems like a reduced, chamber play-like independent drama – with rather few show values, but with an A-list cast, which, however, does not come across as quite as motivated as hoped: Casey Affleck increasingly sets this off with his perception and the mission The struggling astronauts appear drowsy and sleepy as appropriate for the medication cocktails. But there is actually no reason why John lacks any emotion in the numerous flashbacks in a very formulaic romance with Zoe (Emily Beecham), which repeatedly slow down the actual plot.
Opposite him, a mostly strangely uninvolved Laurence Fishburne reels off his role as an authoritarian captain in a formulaic manner. The “Matrix” star is grateful when he can give his generally flat part some profile – for example when he brings home-made wine to the people with a smug joke. Tomer Capone, known from the Amazon Prime series “The Boys”, also remains too one-dimensional as an increasingly crazy engineer. “Slingshot” therefore seems strangely anemic – even a smartly designed backdrop can't change that when the trio of characters stomp around in it so listlessly.
Conclusion: The chamber play-like sci-fi thriller drama “Slingshot” is heading straight for a twist in the final act that will certainly not come as a complete surprise to all viewers. Apart from the nicely designed spaceship, the visual values expected from a space film are missing – and the well-known trio of actors also disappoints with rather tired (and tiring) performances.