Ariana DeBose Stars in Solid Space Thriller ‘I.S.S.’

Ariana DeBose Stars in Solid Space Thriller ‘I.S.S.’

By Alex McPherson
A lean, claustrophobic thrill ride, director Gabriela Cowperthwaite’s “I.S.S.” can’t quite make the most of its premise, but satisfies as an enjoyably paranoid B-movie.

Cowperthwaite’s film unfolds aboard the International Space Station in the near future: a bastion of human cooperation and scientific advancement, at least until now. Scientist Kira (Ariana DeBose) — a newcomer to space travel, whose perspective viewers largely see the film through — and Christian (John Gallagher Jr.), who tells everyone, repeatedly, that he has two daughters back home, journey via the Soyuz spacecraft to the I.S.S. They are welcomed by their charismatic commander Gordon (Chris Messina), as well as Russian cosmonauts Weronika (Masha Mashkova), Alexey (Pilou Asbaek), and leader Nicholai (Costa Ronin).

Everything seems to be going well enough, despite the Station’s cramped workspaces, lack of privacy, and the group’s language barriers. Politics are off limits, a romance is obviously aflame between Gordon and Weronika, and the guarded, straight-laced Kira is able to go about her work (the effects of low-gravity regenerative medicine on mice) sans dealing with personal drama on Earth. Politics, as Kira soon learns during a tense exchange about the song “Wind of Change,” is taboo.

That is, until it’s unavoidable. While looking out the window, Kira notices large flashes of light on Earth’s surface. She initially thinks they’re erupting volcanoes — they are actually nuclear bombs dropped in a war between America and Russia. Before long, Gordon and Nicholai receive orders from their respective countries to take the I.S.S. by any means necessary. The I.S.S. will also burn up upon re-entry to Earth’s atmosphere if nobody in mission control assists.

Kira and company are certainly in a predicament. Chaos ensues as nationalism, selfishness, impulsiveness, and shifting allegiances reign supreme. Who will survive? Can these scientists avoid mutually assured destruction?

Cowperthwaite (perhaps best known for the documentary “Blackfish”) presents a cruel, occasionally clunky look at how easily peace can be shattered when the unprecedented occurs. With a capable cast and immersive cinematography, “I.S.S.” is a cynically entertaining descent into chaos. Simplistic characters and formulaic plot beats hold it back, though, rendering the film more a lightweight piece of popcorn entertainment than a disquieting thriller. 

“I.S.S.” is most effective in its first half, as Kira and viewers quickly get acquainted with the space station and its inhabitants, observing the confined corridors and amiable-yet-cautious interactions. Everyone is aware of cultural tensions and doing their best to push them to the side. Geoffrey Wallace’s production design feels authentic and lived-in, and stellar visual effects  believably simulate low-gravity, presenting stunning views of space and, later, the smoldering Earth below. 

This is a smart location to set a thriller, plus a plausible near-future scenario, and cinematographer Nick Remy Matthews makes the most of it. The camera drifts through hallways, untethered like the scientists to their prior bonds and routines. Nowhere is safe on the I.S.S.. Cowperthwaite keeps viewers on their toes as eavesdroppers lurk behind corners and conversations are suddenly interrupted. 

When the bombs drop and the orders come in, for example, Cowperthwaite effectively captures the awkwardness and simmering suspense within the group; Anne Nikitin’s jittery, ominous, slightly overused score cranks the dial even further. These quieter though no less impactful sequences — including a pulse-pounding outdoor repair — are gripping, largely thanks to Cowperthwaite’s direction and solid performances that elevate Nick Shafir’s screenplay.

DeBose gets a chance to show her range as the reserved, guileless Kira — a character wounded by a tragic and disappointing past throwing her all into her work. She’s more passive compared to the other crewmates, unsure who to believe and what to do once the situation spirals out of control. DeBose lends nuance to the role — letting the cracks shine through Kira’s façade early on that reflect her damaged past. Her performance is particularly effective in the first half, before Cowperthwaite reverts to narrative extremes that take precedence over character depth.

Messina lends charm and charisma to Gordon — the astronaut doing his best to keep everything under control — and Mashkova lends warmth, authority, and heartache as Weronika. Asbaek reveals hidden layers to the gruff Alexey, while Gallagher Jr. and Ronin are given less to work with and veer into cartoonish territory; paranoid, prideful characters who might or might not go off the deep end.

Indeed, notwithstanding a couple exceptions, the film doesn’t devote much time to developing these characters beyond who they are in their worst, most desperate moments. This could be due to the 95-minute runtime, but in its lack of cultural specificity (Cowperthwaite avoids delving too much into politics herself) and willingness to buck tradition, they’re reduced more to feelings than three-dimensional beings. They illuminate various elements of the human experience without giving us time or reason to get fully invested. As a result, they only rarely transcend archetypes.

Combined with some late-movie plot twists that take proceedings to preposterous levels, it’s difficult to become all that involved in the film’s drama. Nationalism and survival can certainly push people to act rashly, but “I.S.S.” ultimately feels too schematic for its own good. Some late-movie scuffles shift from harrowing to goofy, as Nikitin’s score blares and every actor tries to look as shocked as possible. 

Still, so long as viewers don’t think too much about the carnage on display, “I.S.S.” remains engaging. As typical January movie fare goes, it soars high above the competition.

“I.S.S.” is a 2024 science fiction-thriller directed by Gabriela Cowperthwaite and stars Ariana DeBose, Chris Messina, John Gallagher Jr., Masha Mashkova, Costa Ronin and Pilou Asbaek. It runs 1 hour, 35 minutes and is rated R for some language and violence. It opens in theatres Jan. 19. Alex’s Grade: B

‘Air’ Soars As an American Game-Changing Story with Slam-Dunk Cast

‘Air’ Soars As an American Game-Changing Story with Slam-Dunk Cast

By Lynn Venhaus

Let’s hear it for the risk-takers. A fascinating underdog story about a game-changing move in corporate America that revolutionized celebrity endorsements is personality-driven, thanks to an all-star cast and savvy script in “Air.”

How Nike was victorious in courting then-NBA rookie Michael Jordan for a shoe campaign in 1984 is told through the eyes of Nike staffers, especially marketing executive Sonny Vaccaro (Matt Damon), advertising manager Rob Strasser (Jason Bateman), shoe designer Peter Moore (Matt Maher), and co-founder and chairman Phil Knight (Ben Affleck).

Tightly constructed, Alex Convery’s first-time screenplay highlights the key elements — a growing niche footwear market; the arrival of the greatest player of all-time, Michael Jordan, on the professional basketball scene; a protective mother’s fierce negotiations; and a think-outside-the-box company located near Portland, Ore. This inspired-by-true-story is an energetic, entertaining film with a lasting impression — and not only for sports fans.

In his first directorial effort since 2016’s lackluster “Live by Night,” Ben Affleck is back to triple-threat greatness, shepherding this crowd-pleaser with smart moves and a keen sense of time and place. After all, his storytelling is on fine display in “Argo,” “The Town,” and “Gone Baby Gone,” too.

Ben Affleck as Nike co-founder and chairman Phil Knight

With considerable skill, he steeps what’s essentially a story of contract maneuvers and phone calls into a culture-defining era, from Knight zipping his purple Porsche with his personalized license plates into the Beaverton headquarters after a run, to Vaccaro buying his Wheaties in a Mary Lou Retton-Olympics box and a Sports Illustrated at the mini-mart.

The year is 1984, and the movie is drenched with a kicky ‘80s soundtrack of MTV classics that sets the mood, and quick news-and-photo montages encapsulates the Reagan years.

At the time, third-best Nike was known for its running shoes, and the upstart company viewed themselves as renegades, while entrenched Adidas and Converse were known for their basketball lines.

In 1984, Jordan left North Carolina after his junior year and was third in the NBA draft, going to the Chicago Bulls. His ability to leap and slam-dunk gave him the nickname “Air Jordan,” which Nike capitalized on as an innovator — and a lasting global brand. It’s a remarkable American ingenuity story.

As Sonny Vaccaro, Matt Damon is forceful and earnest about having a hunch about Jordan and following it through with bold aggressive moves. Sonny develops a special relationship with MJ’s Mom, Deloris Jordan (Viola Davis), that is instrumental in sealing the deal. Damon’s character is as appealing as he was in “Ford v Ferrari,” that likeable real-life guy committed to his convictions and smart enough to carry his plan through

In a small but pivotal role, Davis is masterful as the mom whose belief in her son changed celebrity endorsements and deals for athlete’s families.

Before making the film, Affleck said Michael Jordan had one request – that Davis play his mother. His father, James, is genially played by Davis’ real-life husband, Julius Tennon. Affleck focuses on the close relationship Michael had with his parents, and Davis and Tennon depict it beautifully.

Affleck also decided to have an actor play Michael only as a physical presence, preferring to use archival footage, and that works – creating more of a mythology around this larger-than-life mortal. Damian Young is credited but has no dialogue.

Relationships are key to this story’s success, and the long legendary friendship of Damon and Affleck elevates the story as well. Oscar winners for screenplay in “Good Will Hunting,” this is their 20th collaboration, and their first pairing since the underrated “The Last Duel” in 2021 is as dynamic as ever. Word is that they both contributed rewrites to Convery’s original screenplay, and they have an unmistakable rhythm/shorthand with each other.

With its folksy charm and crackling dialogue, “Air” delivers a well-acted and written story that appeals beyond the sports market. It’s a dream team of natural actors defining these colleagues so that we can celebrate their considerable achievements.

Matt Maher, Matt Damon, Jason Bateman

Chris Tucker is well-suited to play Howard White, one of the inspiring former college players on Nike’s roster who helped Air Jordan take flight. He developed relationships with young athletes, including Jordan. Marlon Wayans is seen briefly as Olympics basketball coach George Reveling, who coached Jordan the summer of 1984, and that powerful scene is an important foundation piece. Jordan did not want them left out of his story.

Chris Messina plays Jordan’s bulldog agent David Falk with fiery abrasive bluster.

Matt Maher, who works frequently with Ben and Casey Affleck, deftly portrays the genius shoe designer Peter Moore, who also designed the icon symbol of Jordan taking flight.

It’s a collaborative effort, indicative of a workplace drama-comedy, and gives the real-life people their due for their efforts. Even though we know what happened — but not the particulars per se — we still are enthralled by all the developments. The results-wrap-up is truly remarkable, how such a deal had tremendous ripple effects and outcomes.

It’s early yet, but “Air” is likely sturdy enough to be among the last movies standing at year’s end and will make my short list for Top Ten. Yes, it’s that meaningful, fun and enjoyable.

“Air” is a 2023 sports biopic drama directed by Ben Affleck that stars Affleck, Matt Damon, Jason Bateman, Chris Tucker, Chris Messina, Viola Davis, Julius Tennon, and Marlon Wayans. It is Rated R for language and run time is 1 hour, 52 minutes. Movie opened in theaters on April 5. Lynn’s Grade: A.