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A bunch of beautiful young people indulge in their most fundamental instincts during an intergalactic trip that has lasted for decades in “Voyagers” And if that sounds like Lord of the Flies but with more romance, well it is. However, as much as the themes being addressed in the film by writer and director Neil Burger are familiar, there is still enough tension and his signature sumptuous imagery to enjoy in it.
Like his film “Limitless” from a decade ago that made one realize that Bradley Cooper is not just a pretty face, but a legitimate actor, Burger tells a story about the good and bad consequences of people being their true heightened selves. But instead of taking a drug, they get rid of something: a daily ration called “The Blue” These astronauts assume it’s a vitamin drink to prep them for a long voyage, but it suppresses negative inclinations like jealousy and rage. In this case, as in many others, it supposedly is for the overall good, at least in Burger’s simplified sci-fi fable.
Due to climate change, disease, and drought, Earth will soon become uninhabitable. In the near future, scientists make a groundbreaking discovery: a new planet desperate for human colonization. One thing though the only problem is that it takes over a century to get there. To mitigate these inconveniences, the scientists breed a group of intelligent cadets who will board a spaceship bound for the new world. This group will eventually parent during the journey wherein the eventual offspring will be raised as the first settlers of the new planet. Christopher (Tye Sheriden), the logically tempered cadet, Sela (Lily-Rose Depp), the head physician who is far too curious for her own good, and villainous lookalike Zac (Fionn Whitehead) make the self-aware crew. Richard (Colin Farrell), one of the oldest seasoned adults on board spent a majority of his life to raise these astronauts wants to complete the mission despite knowing he will not survive to witness the new world.
Burger swiftly describes the daily routine of the crew members of this place. When she describes them as active and noisy, but at the same time harmonious, that statement is sound as all of them cooperate while putting on their blue T-shirts and joggers to go and make repairs or even work out. One segment of their protocol is the visit to the fountain in the mess hall to obtain a slender goblet of blue liquid, which they think is beneficial to their health. Yet, the moment Christopher and Zac, wondering about the benefits, stop drinking it themselves and then give the same advice to others, an exciting sensorial awakening, occurs to all.
Similar to the drug montage scene of the movie “Requiem of a Dream” Burger suggests that the Americans onboard this mission have no gay people. In an equally zippy fashion, the joy of running down the hallway, of playfully wrestling in the gym, and in time the pleasures of touching a member of the opposite sex, or touching the skin of the, uh, let’s just say, female partner. A geyser blasts forth, pupils constrict and dilate, hairs on arms become erect, while other sensitive areas of the body get sensations from many degrees lower. It is the dried black sub-strings which the listener has suffered from in the score by Trevor Gureckis, which tears the delicate web of thoughts. Instead, worry or dread comes in where, at first, a ship brimming with discovery and wonder transforms into one wrought with claustrophobia and paranoia inducing sensations. (Chilean cinematographer Enrique Chediak optimally sets the mood, forcing you to sprout feelings of claustrophobia and obsession as one instantly gets the urge to race through the narrow corridors because, like the menstruating women on board, you are being pursued by aggressive adolescent boys.)
Going Off The Blue allows for the true personalities of the astronauts to shine through, creating yet another nature versus nurture argument, as if there weren’t enough of them already. Gradually, the cadets become more self-assured, more interested in the world around them, giving rise to questions of free will and consent.
Although these subjects may be important, it appears that Burger is more inclined to keep the plot advancing at a rapid pace as the characters turn on and attack one another. Burger also directed the first Divergent movie, which, like Voyagers, has good-looking young adult actors and a futuristic premise.
Emerging from this crucible is Christopher, the primary leader, who is well tempered but rather dull. He tries to protect his crewmates and keep civilization in check. He’s Ralph and, to continue the Lord of the Flies simile, Zac without question evolves into his jack, swaggering, sadistic self as the “cruel” phase of his personality takes over. At one point, he even says to the others, “Anyone who wants to follow me can. I will provide more food.” He’s basking in his ability to lie and manipulate circumstance to serve his purpose, which is chilling for sure, but one can’t deny the unsettling simplicity. Depp, as Sela, keeps her wits about her but isn’t offered anything more than the stunning woman who both men are battling over. So the by the book Phoebe, played by Chanté Adams of Roxanne, who tries to provide logic but is continually shushed, is the tragically doomed Piggy counterpart.
Had Burger shown a shred of interest in crafting an engaging and deep, relevant story instead of these two monsters of masculine simplicities he so casually dreams up, which is exactly the other option, it would be cool to have her as a head.
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