. 29 years ago, an expedition codenamed “Project Lima” set off for Neptune, led by eminent researcher Clifford McBride (Tommy Lee Jones), an astronaut legend, the second after Neil Armstrong. Soon the signal broke, McBride was posthumously ranked as cosmic saints. Almost three decades later, mysterious flashes spoiling the electronics of spaceships begin to disperse throughout the universe, and Major Roy McBride (Brad Pitt) is recruited from Earth to fly to Mars and send a message to his father, who, apparently, is alive.
It would seem that there is no story more understandable in the world: an odyssey of heroic cheekbones in outer space, designed to make sure that a person needs a person, and all civilizational games of people in infinity will rest against senseless and traumatic pioneering, decorated with a psychological scar in the form of a painful relationship with a parent — the same, if not worse, pioneer hero. In the filmography of James Gray, who has shot his whole life about how a pretty, but meaningless little man with the imprint of the second generation of migrants chooses between heritage and freedom, this plot canvas completely seems to be worked out to a brilliant stamp.
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