Spaceman can seem intimidating to Joe Schmore scrolling through Netflix new releases: the cool intergalactic setting seems limiting, Adam Sandler is flexing his most sombre acting chops yet, and is that a giant spider he’s talking to?  But when you boil the movie down to its basic fundamentals, Spaceman is not as challenging as one may think.  This drama, which is pretty good to boot, is easy to follow and empathize with.  This is, however, a double-edged sword.

Sandler’s Jakub Prochazka is a reserved astronaut on a solo exploration of a mysterious, purple haze named Chopra.  He’s halfway through his mission, and does his best to keep his mind at ease.  Jakub puts on an encouraging front when speaking to people back on Earth, but feels like an ignored pawn when fixing faulty camera equipment takes more precedence over the spacecraft’s plumbing.  Jakub vents to technician Peter (Kunal Nayyar of The Storied Life of A.J. Fikry), but Peter’s thankless responses are transparent, showing more allegiance to their superior Commissioner Tuma (Keyhole’s Isabella Rossellini).  Also back on Earth is Peter’s wife Lenka (Promising Young Woman’s Carey Mulligan), an expectant mother who feels displaced by Jakub’s work, exposing that there’s more distance in their relationship than Jakub’s aware of.

Spaceman does a great job of contextualizing the disconnection between characters, and identifying several layers of disorientation (including the interior geography of Jakub’s spaceship).  Sandler’s portrayal of a broken man is, perhaps, is his most challenging departure.  Having shown growth in his Netflix output, it’s clear he’s confident enough at this stage in his career to show this type of introspective acting.  This pays off for Sandler, creating a memorable role out of otherwise problematic material. 

With his first feature-length screenplay, playwright Colby Day desperately wants to allude to ambiguity.  At the same time, he likes telling the audience what to think.  For example, Jakub’s past should invite skepticism that he could change, but its conclusion – while sweet – doesn’t allow those ideas to breathe.  The script also begs for the audience to give Jakub a “free pass” since Day provides enough proof that Jakub’s faults stem from selfish, unhealthy prioritizing.  An answer may be given, but movie goers should be given a choice whether it’s worthy enough for forgiveness.

The inclusion of the spider could’ve also benefited from more vague suggestions.  The spider, voiced by The Batman’s Paul Dano and given the name “Hanuš” by Jakub, is revealed too soon and its knowledge, which lends as an aid for our lead astronaut, is delivered in such a protracted and phoney fashion.  Hanuš has an interesting design that should’ve stayed hidden to allow Sandler to play up his character’s paranoia and loneliness.  The arachnid has articulate opinions, but the creature’s convoluted monologuing sounds like the screenwriter is giving the movie more importance than it really needs;  the viewer is inclined to call out Colby Day’s bluff.  Day’s script adapts Jaroslav Kalfar book “Spaceman of Bohemia”.  I’m not sure if Kalfar meant for Hanuš’ presence to be more psychological than tangible but, again, Spaceman doesn’t have much nuance to it.  After a while, the movie makes it very clear what Hamuš “is”. 

The simplicity of Spaceman gives the movie a level of accessibility that some viewers will still appreciate, and allows the mesmerizing galactic visuals to really stand out.  However, the constant flirtations with profound brainteasers may give at-home audiences mixed signals.

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Addison Wylie: @AddisonWylie