![]() Ad Astra focuses instead on his son, Roy McBride (Pitt), who has followed in his father’s footsteps by becoming an astronaut and a major in the space division of the US military. In Ad Astra, he’s an astronaut in the near future as the film’s title cards explain, man’s ruthless consumption of Earth’s resources has forced him to look elsewhere for the species’ future. In The Lost City of Z, the adventurer is Victorian and the film’s protagonist. He craves the experience of transcendence: to move beyond his world and see it as a bigger place, without the strictures placed on him by the culture and religion he was raised in.” The way I described that explorer in my review works, almost verbatim, as a description of Ad Astra’s Cliff McBride (Tommy Lee Jones): He “feels earthbound by his ancestors but longs for something greater, some experience that defies definition, to discover something beyond what his own civilization has managed to produce. Ad Astra is about a man looking for his father, and a lot moreĭirector James Gray’s last film, the 2017 epic The Lost City of Z, was also about an explorer and his son. Nor is it untrodden territory for prestige cinema in just the last few years, both Martin Scorsese’s Silence and Paul Schrader’s First Reformed have told stories about a God who goes silent.īut Ad Astra may be unique in its metaphorical approach, in how it answers the questions it raises, and in what it’s doing with those answers. ![]() That’s not an unusual subject for science fiction to tackle even when it isn’t specifically about an entity called God, sci-fi often deals with the idea of transcendence, of feeling dwarfed by a world that extends far beyond our naked eyes. Vox-mark vox-mark vox-mark vox-mark vox-mark
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