Directed by:
Sebastián CorderoScreenplay:
Philip GelattCinematography:
Enrique ChediakComposer:
Bear McCrearyCast:
Michael Nyqvist, Sharlto Copley, Embeth Davidtz, Christian Camargo, Daniel Wu Yin-cho, Anamaria Marinca, Karolina Wydra, Isiah Whitlock Jr., Dan FoglerVOD (4)
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A spaceship's crew travels to the far reaches of the solar system in search of life. Developed with NASA, this awe-inspiring thriller offers the most scientifically accurate representation of space travel. (official distributor synopsis)
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Reviews (8)
A solid genre film that uses the B-movie found footage space horror schtick, but in addition to clichés, it also uses more serious themes and a more ambitious narrative structure. The film does it relatively cleverly and skillfully, although it cannot disguise the cheap props and scenery. The sentinel really didn't have to be there. Given that the creators have combined several of my big phobias, I rate this film quite positively. Catchy.
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Awesome thoroughbred sci-fi movie, the second this year that made me feel I was watching the adaptation of some classic novel (the first one was Oblivion). In addition to the very attractive premise and the good performances, it is very smartly put together with a mature use of the found-footage format – the interviews with characters and the jumps between different timelines generate false impressions, expectations and surprises. And none of the characters is an idiot, which also counts. For the fans of proper sci-fi who don’t need shiny visuals, space battles, explosions and loads of expensive effects, this is a must.
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This needed more. Either in terms of the budget and visuals, or a more inventive script and better character work, because after approximately 15 minutes, I came to the conclusion that I was watching a 2-star film, and until the final minutes, I didn't have to change anything about that realization. The film should either be a spectacle or have the ability to evoke strong emotions, none of which happened. Sebastián Cordero showed that sci-fi doesn't necessarily have to be made with huge investments, but that's about it. Overall impression: 40%.
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This film has a few simple trump cards that give it a significant edge over its modern genre competition. Firstly, the cast, composed of either lesser known but good actors, or characterful Nordic stalwarts (Michael Nyqvist), who, given the ambitions of the project, could not have been better. Then there’s the excellent soundtrack, which even an A-list sci-fi blockbuster by Christopher Nolan would love to have, and finally the story itself, not its intellectual sphere, which despite the great themes of fantastic scientific discoveries has little to offer and leads to a somewhat B-movie conclusion, but rather the overall composition, the imaginative time shifts that don't feel at all distracting, and the very well handled semi-documentary style that makes even the final explanation of everything feel very naturalistic and satisfying. A little sci-fi flick a huge heart, Kubrick wouldn't be offended as a viewer :) 75%
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There are dozens or perhaps even hundreds of second-rate horror movies and formalistic exhibitions in the mould of End of Watch that have stripped the found-footage concept (or, generally speaking, the illusion of an immediate recording of events) of any believability. The camera, seemingly in the immediate presence of events, has been degraded to merely a means of superficial ornamentation and spectacular presentation of attractions. In this context, Europa Report is an unexpected revelation. Its makers abandoned the limiting and dramatically retarded concept of a single camera continuously following the action and instead present viewers with footage from dozens of cameras monitoring a space expedition heading to one of Jupiter’s moons. The narrative is conceived as a report composed of footage from cameras aboard the ship and on spacesuits, promotional videos prior to lift-off and commentary assessing the depicted events after the fact. An essential aspect is that the reportage concept makes it possible to not present the events chronologically, but to instead piece them together dramaturgically for dramatic effect. The narrative works brilliantly with viewer expectations and ingeniously doles out and conceals information. Thanks to all of this, the illusion of camera footage in Europa Report returns to its original role as a narrative device rather than as a formalistic means of expression (as in Gareth Evans’ similarly conceived segment from V/H/S/2). Though it looks like the more expensive Apollo 18 in the first teaser, Europa Report ultimately proves to be a brilliant sci-fi movie from the ranks of humanistic stories about the fragility and smallness of man transported from his home planet into the captivating and dangerous endlessness of space.
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