“I.S.S.” proves high-concept space thrillers can be just as gripping when the tension is grounded in humanity and real-life politics that leave audiences wondering what if this conflict could happen.
Director Gabriela Cowperthwaite, who uses a script penned by Nick Shafir, brings us one of those high-concept space thrillers that are smaller in scope but have huge sakes considering how real it feels considering the current political climate. In the film, Dr. Kira Foster (Ariana DeBose) and scientist Christian Campbell (John Gallagher) board the titular I.S.S. Once their ship has docked, they are welcomed by three Russian scientists, Weronika Vetrov (Masha Mashkova), Alexy Pulov (Pilou Asbæk) and Nicholai Pulov (Costa Ronin), plus another American scientist Gordon Barrett (Chris Messina). Everyone aboard has designated assignments, with Kira studying how zero gravity affects regenerative medicine. Everyone seems to be getting along as one of the conditions of the I.S.S. is to leave politics behind on Earth. They must get acquainted quickly since the living and working quarters are tight, and they have a job. So, we see how the crew members build a camaraderie through the drinks and alcohol they smuggle.
However, the fun and games are short-lived when Kira sees the American skies light on fire. At first, she believes it’s a volcano, but soon, those fiery lights spread across America, which leaves everyone aboard concerned and splitting to their quarters. With everyone separated, they receive orders to take the I.S.S. by any means necessary. Of course, none of them would ever reveal those orders to the other, which puts them in quite a predicament. No one can trust the other. Any friendships forged initially have since deteriorated, with some wanting to follow because it’s their patriotic duty. In contrast, others have more personal reasons to take command of the ship.
“I.S.S.” hits the ground running once the characters and dynamics are established quickly. The film lets us see who these characters are and what they left behind through short conversations and interactions. Kira reveals the heartbreak she experienced and why she is on this mission. Christian is the every family man who loves his daughter. Then there’s Gordon and Weronika, who developed a relationship beforehand. Everything starts off friendly and welcoming, as noted by the half-played chessboard, the toasts working together, and warm hugs. But when the images of war are sparked, Shafir’s script tears all of that down and takes the planetary conflict to space.
Shafir’s script excellently uses confusion as the driving force for the tension. No one is sure what is happening on Earth, and with the parties involved not speaking to each other, it is hard to develop a sense of who we can and cannot trust. Kira is essentially our guide through this story as she is in the middle of this chess match between two nations set in a space station orbiting Earth. Are the malfunctions happening board technical, or is it sabotage? Do specific Russian files exist? Is what one is asking the other for genuine, or is it to gain leverage? Of course, all these questions will be answered in the film.
To increase that sense of anxiety, the film confines itself to the I.S.S., only going out into space’s darkness when necessary. Audiences can feel trapped since the cast’s movements are limited, and the area in the space station is limited. It creates a sensation of dread that is amplified, considering you are watching a film that has limited lighting in a dark theater.
While “I.S.S.’s” tension is enough to put audiences on the edge of their seat, the film does lack originality as it relies too heavily on cinematic cliques and dated tropes about the U.S. and Russian conflicts. Additionally, the film was in such a rush to develop these characters and throw in an extra relationship to raise the emotional stakes; we aren’t nearly as invested in their arcs as we should be. So, despite some of the thin characterization, the cast does their best with the script and provides a good enough performance to keep us fully engaged.
“I.S.S.” may not be wholly original, but that isn’t so much of a detriment to its entertainment. Part of its fun comes from where this sci-fi thriller that is grounded in humanity takes place and is set against a political conflict backdrop that reflects the current time. So, it doesn’t need to have these astronomical blockbuster budgets to look great. Instead, it uses the timelessness of war and fear to elevate tensions and keep us on edge.
7/10
“I.S.S.” opens in theaters on January 19, 2024.
