There is a reason why the love scenes between the two leads, Chris Pratt (Jim Preston) and Jennifer Lawrence (Aurora Lane), of the sci-fi romance drama Passengers were drummed up so much in the film’s publicity leading up to the release date. Everywhere you looked on social media there was either an article or an interview of the actors talking about their steamy physical scenes. And the reason is that the producers of Passengers knew they had a dud on their hands, and that sex was probably the only way to earn a profit from this sinking ship.

Passengers could have been a good, or perhaps even an excellent drama. Originally, the script featured a more earnest story about isolation in space. But then Hollywood happened. Perhaps the suits didn’t have enough confidence in filming Castaway in space, or perhaps the script by Jon Spaihts was just not good enough to make for an absorbing character study (which is likely, considering Spaihts’ track record), or perhaps the rumors are true that Morten Tyldum simply wanted to direct a big action sci-fi film. I can safely say that it is in all likelihood a combination of all three factors, and it leaves you feeling that Passengers is three separate films patched together.

Focusing on romance was probably the only way to earn a profit from this sinking ship

The most intriguing phase is the first act. Granted, I am a sucker for a good isolation drama, but the premise had me at hello. We learn that mankind has sent a spaceship called Avalon to colonise a planet called Homestead II. On board are 5,000 colonists, including mechanical engineer Jim Preston, set to travel in induced sleep for the journey which will take 120 years. If the narrative hadn’t sunk its claws in my brain already, it did when Preston suddenly woke up because of a technical malfunction. Here, after struggling to re-enter hibernation, Preston realises he is destined to die after living a life of isolation well before the ship reaches its destination. The only being keeping him company is an android named Arthur (Michael Sheen).

What follows is a compelling drama powered by a fine performance by Pratt when Preston hits the depths of despair. This is when a twist is thrown our way and Preston is joined by another passenger, a witty writer named Aurora Lane. Without giving too much away, there is a moral dilemma behind this twist, which if it had been explored skilfully, would have taken Passengers to award-winning glory. Unfortunately, this twist is mishandled and revealed too early.

To make matters worse, Passengers starts to sink when Tyldum decides it is time to switch to the action/disaster genre. Here, yet another passenger Chief Deck Officer Gus (Laurence Fishburne), wakes up for a cameo role.

The performances by the leads are good and they have fine chemistry, but unfortunately, the script, the direction, and the pacing lets Passengers down. I personally would have liked to have seen more of the first act, and think that just like Tom Hanks did with Castaway, Chris Pratt could have carried Passengers much longer on his own. To make matters worse, Passengers ends with an infuriatingly Hollywood ending where a character who commits a grave evil is rewarded for the sake of a feel-good ending. Had there been a psychiatrist on board, one of the characters could have been analysed for Stockholm syndrome in space.

MPAA Rating: PG-13 for sexuality, nudity, and action/peril.

Published in Dawn, Sunday Magazine January 29th, 2017