The Obsessive Viewer

Premise: Tensions flare in the near future aboard the International Space Station as a conflict breaks out on Earth. Reeling, the US and Russian astronauts receive orders from the ground: take control of the station by any means necessary.

• Director: Gabriela Cowperthwaite
• Writer: Nick Shafir
• Cast: Ariana DeBose, Chris Messina, John Gallagher Jr, Masha Mashkova, Costa Ronin, and Pilou Asbæk

Aboard the International Space Station, three American astronauts share politically neutral ground with three Russian cosmonauts. When the group witnesses nuclear devastation unfold on the planet below, confusion leads to tension and deceit as both parties are given orders to take control of the station by any means necessary. Thus begins Gabriela Cowperthwaite’s I.S.S., an enjoyable and tense space thriller that makes strong use of its isolated setting to aid performances from its cast built around deceit and mistrust.

Isolated space thrillers are a sci-fi niche that’s been growing in popularity, it seems. And while I.S.S. doesn’t have the scope of Alfonso Cuarón’s Gravity or the extraterrestrial angle of 2017’s Life, it does have a strong emphasis on the trust issues between the American and Russian characters that arise once the plot really kicks into gear. Though the film is slightly lackluster in things like character development or follow through on some established backstories, it does emphasize the tension among the characters in a way that keeps the movie moving along at a fast pace.

We’re introduced to the International Space Station through the arrival of Dr. Kira Foster (Ariana DeBose) and Christian Campbell (John Gallagher Jr.). This is Kira’s first time on the station while Christian is a more seasoned presence, giving her guidance as they dock with the station. Once they’re on board, there’s some camaraderie established, touring of the station, and some slight backstory and characterization unveiled. It’s all very quick and breezy to accommodate the brief 95 minute runtime but with a cast of only a half dozen characters, there’s not much need to delve too extensively into the characters.

This is a double-edged sword, however.

The script is quick to establish things like Christian’s two kids on Earth, Gordon (Chris Messina) and Nika’s (Masha Mashkova) possible attraction to one another, and other slight character traits early on. But there’s little follow through on those traits outside of their use in the plot. While those examples do specifically tie into the plot, there are other character traits and connections that aren’t explored well enough because they frankly don’t seem to matter as much. When Kira’s backstory is revealed in a scene with Gordon, she discloses some pretty intimate details of her past that don’t play as big a role in her arc as they should. Given that the film is built around a sudden game of espionage among those on board, Kira’s past could have played a bigger role in how she views the crumbling trust between everyone on board. Unfortunately the movie doesn’t seem quite that interested in exploring that aspect of the character in relation to the growing tensions on the station.

I.S.S. does a fine enough job with the bigger sense of mistrust that lingers in the recycled air after the crew loses communication with ground control. The repeated views of Earth showing a horrifying red hue across large swaths of land along with the constant radio silence from ground control give the film a certain haunted quality. However, the film would have benefited from putting more emphasis on the mental anguish that comes from witnessing multiple nuclear bombs detonating on the planet from the helpless vantage point of low Earth orbit. It’s brought up briefly when Gordon tells Kira to make sure no one looks out of the windows while he’s on an EVA mission to repair an antenna with the scorched Earth visible behind him. But if the film had given all the characters similar moments of reflection, it would have made the extreme actions taken later in the movie carry more emotional weight.

There are also certain developments late in I.S.S. that threaten to unravel the film in the moment. For instance, a thread involving some of the research the Russians have on board and how it will be a valuable commodity on Earth is introduced too suddenly and not given the proper attention needed to establish how important it really is. Instead, it’s introduced as theoretically being something to aid a post nuclear war planet, but it’s slightly comical (unintentionally so) how the logistics of getting the research to a newly and visibly irradiated planet are mostly glossed over.

Likewise, it’s revealed early the station has a short amount of time before it enters the atmosphere and spells certain death for all on board. This is pretty much a “blink and you’ll miss it” plot development and treated as such through the movie. While it’s a major situation they find themselves in, there’s very little attention given to how they can solve this issue. Instead, the espionage and growing distrust takes center stage. Of course, the espionage and mistrust should be the movie’s focal point as it is basically the whole plot. The issue is that this time table for certain death is established and then (like the aforementioned Russian research) given no time to breathe or given much emphasis.

The convictions of the characters and their reactions to numerous betrayals and threats do make up slightly for a lack of follow through on some of the film’s plot points (and backstories). I.S.S. is a space thriller above all else and it carries that distinction well. The film’s pacing plays into its favor as characters react to certain revelations and actions by other characters with a survival instinct that could bear their own disastrous consequences. The ratcheting up of tension as characters spiral into reactionary actions is what will keep audiences invested and entertained in what I.S.S. has to offer.

While it isn’t groundbreaking for the genre or even necessarily a unique spin on the isolated space thriller niche, I.S.S. is an enjoyable and tense sci-fi offering. The way the film handles the tension that mounts among the characters and maintains its brisk pace is commendable and what will ultimately keep audiences entertained.

I.S.S. opens in theaters January 19th

About the Writer: Matt Hurt is the creator of ObsessiveViewer.com. He also created, hosts, and produces The Obsessive Viewer, Anthology, and Tower Junkies podcasts. He is a member of the Indiana Film Journalists Association.