Jack Plotnick | 95 mins | streaming (HD) | 2.40:1 | USA / English | 15 / R
Liv Tyler is the new first officer on a space station commanded by Patrick Wilson in this retro-future-styled film, which is both a spoof of/riff on ’70s genre movies, and a character drama about people’s relationships. No, really.
The most obvious aspect, especially as it’s played up in the joke-focused trailer, is the former. The film’s visual aesthetic is a loving recreation of classic SF, from the set design to the gorgeous model-like CGI exteriors. I don’t think anything in particular was being referenced — at least, not obviously so — but it’s all reminiscent of the likes of the original Battlestar Galactica, Buck Rogers, Space: 1999, and so on. It’s been created with such care that it borders on the beautiful.
The film itself is not really a genre spoof, though. It’s not taking the mick out of the storylines or acting style or what-have-you of productions of that era, but has adopted the era — the character types, their social interrelations, the familiar design style — to do its own thing. Which isn’t to say it doesn’t find humour in that adopted era: one of the most memorable moments involves a videophone (though, of course, that’s now riffing on something many of us are familiar with from the likes of Skype), and there are some genuinely laugh-out-loud-hilarious bits from the awesome Dr Bot, the station’s robot psychiatrist, perfectly voiced by Michael Stoyanov (also one of the screenwriters). For me, Dr Bot pretty much justified the film’s existence.
It’s not just a silliness-based comedy, though. It’s masquerading as that, with the aesthetic choices and the joke-focused trailer, but I think what it really wants to be is a character drama about people not connecting, almost in the vein of something like Magnolia. While the characters’ relations play out through the prism of ’70s values, and are occasionally used to feed into the humour, that’s simply what makes it, a) a period movie (just a period movie set in the future), and b) a comedy-drama (as opposed to a drama). I think this is the real reason for its lowly regard on sites like IMDb: those expecting Anchorman in Space are going to be disappointed; but you can’t blame anyone for such expectations when that’s more-or-less how it’s trailed.
Critics are kinder: 67% on Rotten Tomatoes sounds low, but it’s not all that bad (it’s enough to be “certified fresh”, certainly); and I tend to agree with Matt Zoller Seitz when he says that “the movie is ten times lovelier than it needed to be… The art direction, costumes, effects, lighting and camerawork are committed to beauty for beauty’s sake, to the point where you might respond to Space Station 76 not as a sendup of its sources but as a lucid cinematic dream about them.” Seitz concludes, almost poetically, that he has “no idea who the audience for this film is, beyond the people who made it, and that’s what makes it special.”
Mashing up two such disparate styles of moviemaking means Space Station 76 won’t — indeed, doesn’t — work for a lot of people. Anyone after out-and-out comedy will only find a smattering of such scenes; anyone after a thoughtful comedy-drama with emphasis on the drama will not be looking here in the first place, and even if they did, may despair at some of the more (shall we say) juvenile comedic beats. Regular readers will know I have a fondness for awkward mash-ups, though, so I rather loved it. The characters and their relations are well enough drawn to make it passably engrossing, even if not a stand-out contribution to any such genre, while the comedy pays off handsomely at times.
If you feel you can get on board with such a style mishmash, then I’d say Space Station 76 is cautiously recommended.
Space Station 76 is available on Netflix UK from today.