APOLLO 11: Audacious, Triumphant And Necessary

Early in Apollo 11 there is this impossibly clear, incredibly close-up shot of the Saturn booster rocket taking off, lifting the Apollo 11 mission towards space. In this shot you can see the enormous nozzles which funnel the thunderous fire created in the main cylinder of the rocket, and the clarity of this shot lets you see every rivet, every overlapping plate, every spot where human hands had to touch and manipulate this metal to create the miracle you’re seeing before you.

It’s an overpowering moment, especially in IMAX. The screen is so huge that you almost get a sense of the scale of the thing (almost – it’s clear that these rockets are so big and the thrust so immense that even the IMAX screen shrinks them down), and the sound is so intense that the deep bass rumble almost disrupts your atoms. But it isn’t just the physical scale of it all that is overpowering; what makes Apollo 11 a brilliant film is how it captures both the material achievement of the mission and the spiritual achievement. In moments like that we are not only in awe of the size and fury of the rocket, we are overwhelmed with the knowledge that humans came together to do this thing, and to do it well.

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FIRST MAN: Neil Armstrong Is Trapped In A Glass Case Of Emotion

This contains spoilers for First Man (by which I mean bigger spoilers than “They get to the Moon”).

Ryan Gosling has given many performances that are the equivalent of a glass of water that had some fruit briefly dunked in it – he is so stoic and blank that he just gives you the hint of an idea of the concept of an emotion. Often, as in Drive, these performances have left me cold. But in First Man Gosling – playing one of America’s most iconically emotionally distant men – finds another place to go within that stoicism. As Neil Armstrong Gosling lets us get beyond that stoic exterior and gives us the fragile, live wire trauma that is hiding just beneath the surface.

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