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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 Sheridan), 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 the majority of his life raising these astronauts and 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.
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 and 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 circumstances to serve his purpose, which is chilling for sure, but one can’t deny the unsettling simplicity.
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