Movie reviews: Ariana DeBose brings gravitas and likability to 'I.S.S.,' a space story that is very much earthbound

'Wicked': 4 out of 5 stars Film critic Richard Crouse shares his take on newly-released movies including 'Wicked', 'Gladiator II' and more.

I.S.S.: 3 ½ STARS

In “I.S.S. (International Space Station),” a new sci-fi/horror drama starring Oscar-winner Ariana DeBose and Chris Messina, and now playing in theatres, the conflict that drives the outer space story is very much earthbound.

In the spirit of international co-operation, astronauts and cosmonauts aboard the International Space Station hail from the United States and Russia. The Americans, team leader Gordon Barrett (Chris Messina), biologist Dr. Kira Foster (Ariana DeBose) and Christian Campbell (John Gallagher Jr.), work alongside Russians Alexey Pulov (Pilou Asbæk), Weronika Vetrov (Masha Mashkova), and Nicholai Pulov (Costa Ronin).

“We don’t talk politics. Here we are one.”

Despite having virtually no privacy in the cramped quarters, tensions are kept to a minimum, although Pulov ominously hints at the trouble to come when he notes that it won’t end well for the laboratory mice Foster brought on-board and keeps in a small paddock.

For now, however, all is well. They play chess, do sing-alongs and drink booze in zero gravity.

“You forget everything that happens down there,” Pulov says, “when you can see the beauty from up here.”

The peaceful ship’s tranquil atmosphere is shattered when a sudden burst of flame appears on Earth. Foster first thinks it is a natural phenomenon, like a volcanic eruption, but when a cluster of explosions occurs in rapid succession, it’s clear something devastating is happening below.

Stepping outside the ship to repair a broken antenna, Barrett witnesses a terrible sight. War has broken out between the U.S. and Russia, and the Earth is on fire.

NASA has instructed the Americans to “take the I.S.S. by any means necessary.” Trouble is, both countries see the I.S.S. as an asset, and both want control. “We have to assume the Russians have the same order,” says Campbell.

What began as an exercise in co-operation soon becomes a matter of survival as they lose communication with Earth and must overcome their mistrust of one another to keep the I.S.S. from falling out of orbit.

A study of human nature rather than a sci-fi epic, “I.S.S.” is a fairly simple yet effective story of loyalty, sabotage and treachery. The I.S.S. setting is compelling, providing horror elements like claustrophobia and isolation, but this is essentially a locked room drama that is more about human nature than it is about zero gravity. The monster here isn’t from outer space, it’s the mistrust and paranoia that forms in the face of adversity.

Set to an anxiety-inducing soundtrack by Anne Nikitin, the movie doesn’t rewrite the isolation horror playbook, but delivers tension with interesting characters and their ever-shifting, murky allegiances.

DeBose leads the small cast, acting as the story’s focus and moral core. All the other characters interact with her and it is, more often than not, up to her to guide the audience through the plot’s many machinations. She brings gravitas and likability to her first big screen dramatic role, after winning an Oscar for her work in the musical “West Side Story.”

The rest of the cast add capable support, particularly Asbaek, whose character is torn between duty and the humanity of the situation.

“I.S.S.” is a barebones effort with decent special effects and some good zero gravity visuals, but don’t expect the lavish treatment of a film like “Gravity.” Director Gabriela Cowperthwaite does a lot with a little, effects wise, but is more concerned with the life-and-death, us-vs-them conundrum at the story’s heart as paranoia and suspicion give way to sabotage and betrayal.

ORIGIN: 3 ½ STARS

Ambitious, audacious and just a little messy, “Origin,” the new film from director Ava DuVernay now playing in theatres, is a study of the caste system told through the lens of a writer played by Aunjanue Ellis-Taylor. Part biography, part intellectual journey, it mixes the emotional with the academic.

Ellis-Taylor is bestselling author Isabel Wilkerson, who in real life is the first woman of African-American heritage to win the Pulitzer Prize in journalism. Happily married to Brett (Jon Bernthal), she is considering taking some time off writing and lecturing to look after her aging and ailing mother.

But tragedy and her restless intellectual curiosity push her into exploring how the unspoken caste system has shaped America, and how people are still classified to this day by a pecking order of human structures. To that end she travels the world and history, making stops in the American South, Berlin, and India to study which groups of people have power, and which do not.

Based on Wilkerson's life and the writing of the book “Caste: The Origins of Our Discontents,” “Origin” is narrative film that feels stuck between two worlds. The blend of Wilkerson’s biography, mixed with dramatic re-creations of the historical events that feed into her research is a mix of personal and the political, but it seems as if the film is trying to decide if it is a narrative or a documentary.

Still, the choppy presentation is chock full of thought-provoking ideas. DuVernay, who also wrote the script, crafts a unique movie about connectivity, one that isn’t afraid to swing for the fences. As the film skips through world history and Wilkerson’s life, a portrait of systemic subjugation eventually comes into focus, against a backdrop of personal loss. The film’s two prongs don’t feel like a natural fit, but Ellis-Taylor’s rock-solid performance anchors the film, providing a bridge between the emotional and intellectual.

“Origin” is an interesting movie, one that bristles with the spirit of discovery, but sometimes gets allows lucidity to get lost in its execution.

MEMORY: 3 ½ STARS

“Memory,” a poignant new drama now playing in select theatres and starring Jessica Chastain and Peter Sarsgaard, is a difficult, delicate story about how the past impacts the present.

Chastain is Sylvia, a self-reliant social worker and overprotective single mother to Anna (Brooke Timber). Sober for a dozen years and counting, she wears her emotions on her sleeve, and when she isn’t working, she’s often at AA meetings, sometimes with Anna in tow.

The story kicks in when Sylvia reluctantly attends a high school reunion with sister Olivia (Merritt Wever). Sitting alone, she’s alarmed when a bearded stranger stares blankly at her, before sitting at her table. Unnerved, she bolts, with the man in pursuit. He follows her home to her rough Brooklyn neighborhood, parking himself outside while she hurriedly goes inside and bolts the door.

The next morning it’s revealed he is a middle-aged man with early onset dementia named Saul (Sarsgaard) who lives in a fancy townhouse with brother Isaac (Josh Charles) and niece Sara (Elsie Fisher). When Sylvia takes on the job of Saul’s caregiver, a relationship blossoms, as she confronts memories of her young life, while Saul strains to remember the day-to-day.

“Memory” is a simply rendered, quiet movie with powerhouse performances from Chastain and Sarsgaard. Director Michel Franco is a fly-on-the-wall, keeping the camera at arm’s length, with no fancy cinematography to distract from the performances. Ditto the soundtrack. Or, should I say lack thereof. Franco doesn’t manipulate emotion with music, save for repeated spins of Saul’s favorite song, Procol Harum’s “A Whiter Shade of Pale.”

The no-frills approach is in service to the characters and the story. With no distractions, the narrative, which details sexual abuse and trauma, unfolds in an unexpectedly warm way. That is thanks to Chastain, who plays Sylvia with emotional bluntness and Sarsgaard, who won the Volpi Cup for Best Actor at the Venice Film Festival, who brings vulnerability to Saul, but never forgets his strength of character.

They share remarkable chemistry, and even when “Memory” drifts into implausibility, the story of two outsiders who find redemption in one another packs an emotional wallop.