“Stowaway” is yet another outer space film, but this one plants a moral conundrum smack dab in the middle of it. Three scientists—a medical doctor (Anna Kendrick), a botanist (Daniel Kim), and a captain (Toni Collette)—launch toward Mars to continue the research done before them. The two-year mission has a rocky start, but Captain Barnett has been to this rodeo before. She’s calm, cool, and collected amidst the chaos until it seems to be smooth sailing. The crew has dinner, engages in a bit of banter, and play college rival jokes on one another. Of course, given the title of the film, you know that shoe is going to drop, but in this case, it’s a human in the form of Michael Adams (Shamier Anderson) who drops quite literally from the ceiling, right on top of Barnett. This stowaway is who unintentionally creates the moral conundrum which effects each of the scientists differently.
As in any and every space film, you know there will be disasters to avert as the tension increases throughout the film. “Stowaway” is no different. With mechanical issues and solar flare storms, the film takes us through the stereotypical issues with cinematic expertise. Compounding the predictable problems, “Stowaway” delves deeply into the psychological ramifications of dealing with this stowaway after realizing (way too far into the story) that there’s only enough oxygen for three people. (Did they think about water, food, or supplies in general for four versus three people?) We get the idea that perhaps Hyerion, the company responsible for the launch and research, cuts a few corners here and there, making it feel more of a Motel 6 than the Ritz Carlton of space crafts, especially as a hatch with no hinges just flies off when pulled.
We quickly learn that Michael isn’t an obvious threat, just an oxygen sucking one who will deplete their resources and then suffocate himself as well as one or all of the crew. The three team members, lead by their captain, must decide how to proceed if they cannot create oxygen or capture canisters (placed oh so inconveniently on the other side and outside of their ship) to provide the life-giving gas. Obviously, somebody’s got to go and it certainly isn’t going to be one of the three who were assigned to be there. Now, who’s going to break the news to the sacrificial lamb aka Michael and who can live with themselves after the deed is done?
This is the conundrum and it’s a heavy one especially as Zoe gets to know the sweet and dedicated young mechanical engineer, Michael. As the hours tick by, the lengths to which they go to save themselves and this young man intensify. This tension and the incredibly precarious situation in which they find themselves is harrowingly entertaining. However, there are just so many details glossed over, basic reactions that are inconsistent with the characters, and loopholes in the premise that make you want to start talking to the screen. For example, they just found this intruder who is unknown to them, injured, and stitched up who is left unattended in a room far from where the others are gathered in silence, eating their rations. Why would you leave someone unattended? Yes, this sets up another scene of surprise, but these scientists are supposed to be the brightest of the bright yet common sense just doesn’t prevail in numerous situations. We witness food wastage and a captain making decisions before all the variable are known, among other situations which creates frustration on the part of the viewer.
The ensemble cast gives us an array of personalities, but writers Ryan Morrison and Joe Penna, don’t stay consistent with their attributes, particularly Captain Barnett’s. The initially strong, intelligent leader, becomes nothing more than a background character with no backbone or opinion. And Kim’s performance flounders, unsure of which direction he is to go. Is he strong? Is he smart? Yes, and then no. I’m no rocket scientist, but the basic decision making process is tossed to the wayside. However, Kendrick brings a more realistic element to her character who becomes the focal point of the film, but it is Anderson’s performance that hits home as he wrestles with the consequences of his predicament. He’s subtle and finds emotion with his body language as we read his eyes, finding the pain and the hope within. The writers take time in giving him a background story to which we are drawn. He becomes much more of a complete person making it even harder for the crew to ask him to take his own life. Unfortunately, we never do learn how Michael came to be stuck in a space suit in a small enclosed area just prior to takeoff. And that’s an answer we need in order to buy into the entire film.
“Stowaway” has a confounding moral dilemma that tasks its main characters to find it within themselves to survive or sacrifice. Unfortunately, the writers take you out of this harrowing situation with sloppy research and execution creating an exercise in frustration.
2 Stars