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A legyek urát már az űrben írják – Voyagers

• Írta Nagy Judit Áfonya
• 2021.05.17.
• Olvasási idő: kb 7 perc

Egy többgenerációsra tervezett űrhajó első nemzedékében problémák adódnak, miután meghal a fedélzeten tartózkodó egyetlen felnőtt. Ezzel meg is születik a Legyek ura az űrben, aminek pont annyi köze van az űrutazáshoz, mint egy aliennek a húsvéti tojáshoz. Voyagers kritika.

Visszatérő, filmeseket és írókat, valamint tudományos kutatókat és szabadgondolkodókat egyaránt foglalkoztató probléma szolgáltatja a hátteret a Voyagers című űrdrámához : ha rá is lelnénk egy második Földre, miképp juthatnánk el oda, hogy birtokba vegyük? Erre láttunk már számos megoldást, ráadásul a telepeshajók útja gyakran nem is   a történet fő cselekményszála kell, hogy legyen ( Alien: Covenant ), de amikor mégis, minimum szerelmi drámába van csomagolva (Jennifer Lawrence-féle Utazók ). Most készült egy túlélős-akciós verzió is Neil Burger ( Divergent, Limitless ) rendezésében, aminek van ugyan pár jó pillanata, de egészében nézve mégis egészen gyatra lett. A történet dióhéjban annyi, hogy a klímaváltozás visszafordíthatatlan a közeljövő Földjén, de szerencsére máris találtunk egy új bolygót, amire átköltözhetünk a megunt régi helyett, csak hát valahogy oda kellene jutni. Ezen a ponton minden logikát félretéve fel sem merül a mélyaltatásban apránként áttalicskázott emberiség víziója, inkább többgenerációs űrhajókban gondolkodnak a világ vezető koponyái, de hogy kellően alátámaszthassák a film valódi cselekményének létjogosultságát (amire később még rátérek), egyszerűen laborkörülmények között, tudósoktól vett mintákból legyártják hozzá a megfelelő legénységet is, akiket aztán az űrhajó másolatában nevelnek fel.

A Voyagers meg sem próbál magyarázatot adni arra, hogy miért éri meg dollármilliókat beleölni egy igen méretes csillaghajó megépítésébe, ha ezt akár a klímaváltozás megfékezésére (netán visszafordítására) is lehetne költeni. Helyette már készen kapjuk a díszletet, csak bele kell még helyezni a szereplőket is a start előtt. Egészen érthetetlen, hogyan is merülhetett fel annak a gondolata, hogy egy rakás kiskamaszt eredetileg kísérő nélkül lőjenek fel a bolygó körül keringő monstrumba, és útnak indítsák őket 86 évnyi útra. A gyerekek nevelőjét, Richardot kiválóan alakító Colin Farrellnek külön kérvényeznie kell az egyirányú útra szóló jegyét, hiszen valakinek muszáj lesz védelmeznie majd ezeket a srácokat a kezdeti időkben, így végül a fedélzeten harminc kamaszra jut egy ötvenes férfi. Be is indul a csillagközi osztálykirándulás, hogy később végre áttérhessünk a valódi cselekményszálra, de ebben nem lesz köszönet.

A Föld vezető tudósai, akik éveket öltek bele a projektbe ahelyett, hogy tömeges megoldásokon gondolkodtak volna, tényleg komolyan azt hitték, hogy ezek a mesterségesen létrehozott, ingerszegény környezetben nevelt, egyébként teljesen életképtelen gyerekek fogják megmenteni az emberi fajt a kipusztulástól?

Ez az alapkoncepció akkora bődületes ostobaság, hogy remekül példázza, mennyire nem születnek jelenünkben eredeti ötletek, jól felépített filmek, és csak elvétve látni kis költségvetésű, jól átgondolt produkciókat, többnyire azokat sem moziban. A Voyagers nem áll be ebbe a sorba, nyíltan ostoba és idegesítő.

A harminc főre egy felnőtt férfi eleve érthetetlen felállás, és a szereplő kiiktatásával mutatkozik csak meg, hogy mennyire buta vállalkozás is egy csapat burokban nevelt droidra bízni az emberiség jövőjét. Bár van arra kísérlet, hogy a hormonok tombolását kiküszöböljék, nem kell bonyolult valószínűségi számításokat végezni hozzá, hogy egyértelmű legyen, ez az összeszedett gondolkodáshoz, a jól működő szervezettséghez és legénységi csapatmunkához édeskevés. Ahogy a nagykönyvben meg van írva, a kontroll feloldásával el is szabadulnak az indulatok, ezért az ügyefogyott sztorin felülemelkedve érdemes megvizsgálni azt is, miként valósul meg a lényegi mondanivaló.

Az első nagy problémakört a kiaknázatlan lehetőségek képviselik. Tomboló hormonok, felszabaduló érzelmek, ösztönös igazságérzet, hataloméhség, klikkesedés, zsarnokság és gyilkosság. Minden van itt, mint a búcsúban, de mindenből csak egy kicsi, csak amolyan ízelítőféle, ezért a kéretlen taperolás, a koholt vádak alapján meglincselt fiú, a csordaszellem kialakulásának folyamata egyáltalán nem jól kidolgozott folyamat eredménye, és még csak nem is váratlan. Az ébredező szexualitás nyomokban mutatkozik meg, holott kezdetben nagy hangsúlyt kap ennek hiánya. A történet mégis eltér ettől és a „szabad szerelemből” már csak vágóképekre, mellékszereplők és statiszták tomporaira futja. Agressziókezelés nem létezik, bár agresszió is alig, néhány másodpercnyi ordítás és szaladgálás hivatott bemutatni a kialakulófélben lévő káoszt.

Érzelemmentes, faarcú színészek próbálják meg átadni a düh, a vágyakozás, a szexuális energiák megtapasztalásának eufóriáját, csak kár, hogy nem látunk semmit ebből. Különösen kifejezéstelen faarcot vág minden egyes jelenetében Lily-Rose Depp, akitől pedig többet várnánk a vezetésre termett, okos főorvos szerepében annál, hogy ő a szép. A józan gondolkodás és a realitásérzék hangoztatása még nem egyenlő a jégkirálynői tartással, pláne ha a fő téma épp az érzelmek felszabadulása és megélése. Egyedül a negatív karaktert játszó Fionn Whitehead képes érzéseket közvetíteni és kiváltani a nézőből, akinek legszívesebben megszorongatnánk a gigáját. Mindenki más csak beugrott egy mellékszerepre és két mondatra, mert épp nem volt más munkája, és ez különösen igaz a Trónok harcából ismerős Isaac Hempstead-Wright-ra, akinek annyi a feladata, hogy ráhozza a frászt a képzelt idegennek képével a többiekre, de karaktere annyira jellegtelen, hogy még a nevét sem lehet megjegyezni.

Teljesen világos, hogy ez a film cseppet sem szól arról, miféle problémák adódhatnak egy többgenerációs űrhajó fedélzetén, hogy miként válik a Földet már nem ismerőknek semlegessé az otthon fogalma, vagy akár a parancsnoki lánc. Az alkotók valójában arról akartak beszélni, mi történik, ha néhány érzelmileg labilis kamasz felnőtt kontroll nélkül marad, és egymásnak esik. Csakhogy egy sima tévés reality is jobban képes reprezentálni a klikkesedés folyamatát, a hatalomvágy és pozíciószerzés módját, mint ez a majd’ kétórányi nyünnyögés. Sorozatként jobban megállta volna a helyét, mélyebben lehetett volna ábrázolni az egymás öldöklésééig elvezető lélektani folyamatokat, így viszont alig-alig mutatkozik meg némi karakterfejlődés.  A káoszban eltelt idő sem érzékelhető megfelelőképp, inkább olyan, minta egyik napról a másikra történne meg a két táborra oszlás. Nem érzékelhetőek mindennapi túlélésért folyó problémák, úgy mint éhezés, szomjazás, vagy a hajó irányításáért feltételezhető harc. Egyszerűen nem látunk valóban éhes, szomjas, beteg szereplőt, legfeljebb szóbeli utalás történik rá, az is csak feltételes módban, hogy a kisebbségi klikk tagjai bizonyára éhesek, márpedig egy űrhajón mindez nemigen hagyható figyelmen kívül.

Felejthető alkotás lett a Voyagers , sok kihagyott ziccerrel. Nem büntetően rossz, egyáltalán nem jó, csak amolyan sterilre varázsolt fajta, mint a legtöbb szereplő arckifejezése. Drámára és figyelmet fenntartó thrillerre éhezőknek nyugalmát nem feltétlenül fogja túlzottan megzavarni.

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Watch Voyagers with a subscription on Netflix, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

It has a game cast and a premise ripe with potential, but Voyagers drifts in familiar orbit rather than fully exploring its intriguing themes.

It has a decent cast and some interesting twists on its Lord of the Flies -inspired story, but Voyagers is slow to get going and sputters out in the end.

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Neil Burger

Tye Sheridan

Christopher

Lily-Rose Depp

Fionn Whitehead

Colin Farrell

Chanté Adams

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‘voyagers’: film review.

Tye Sheridan, Lily-Rose Depp and Fionn Whitehead play young space travelers whose expedition to colonize a distant planet spins into chaos in Neil Burger's sci-fi thriller, also starring Colin Farrell.

By David Rooney

David Rooney

Chief Film Critic

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Writer-director Neil Burger’s visually alluring but dramatically underpowered sci-fi thriller about an interplanetary mission blitzed by a hormonal explosion, Voyagers , is basically Lord of the Flies in space. Or Passengers without hypersleep pods. Either way, it’s not terribly original. A solid cast and stylish design work in a spacecraft whose endless corridors become sprint lanes for cinematographer Enrique Chediak’s invigorating camerawork make the Lionsgate release an easy watch and a big improvement over the studio’s recent sci-fi snooze, Chaos Walking . But the conflicts feel just a tad too routine and the characters too thinly drawn to get the blood flowing.

Which is ironic given that the driving plot point is a bunch of young people liberated from a drug that dulls their senses, suddenly uncorking all their messy rage, lust, jealousy, fear and euphoria in a hermetic environment that puts human nature under an unforgiving microscope.

Release date: Apr 09, 2021

As Earth’s temperatures have risen, causing drought and disease, scientists have sought a new planet that can sustain human life and ensure the survival of the species. They find one with abundant water and oxygen in 2063. Richard (Colin Farrell) is responsible for training the children who will be First Generation passengers on a scouting mission during which they will reproduce on the ship, with their grandchildren ultimately becoming the first colonists at the end of an 86-year voyage.

The children were conceived in test tubes and raised in isolation, so from the start, their blank-slate lab-rat anonymity doesn’t augur much attachment to them as characters.

Richard insists on revising the plan and traveling with them, allowing for earlier departure and improved odds of long-term mission success. He serves as caring father figure, teacher and counselor to the kiddie crew, supplementing their virtual classroom. But when the action skips forward ten years into the voyage, they remain largely interchangeable, a multicultural youth delegation outfitted in chic utilitarian navy separates, like a CW reimagining of Solaris .

Of course, their lack of individuality is part of the point, given that they line up each day for a dose of “The Blue,” a supposed vitamin supplement that actually serves to keep them docile, controlling their impulses and suppressing their capacity to feel pleasure, pain or desire.

When smart, questioning Christopher ( Tye Sheridan ) discovers the drug hidden in The Blue, he feels betrayed and manipulated by the mission, while the quiet, intense chief medical officer Sela (Lily-Rose Depp) observes bleakly that the lives of the First Generation are unimportant, and only the Third Generation will matter.

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That burgeoning existential crisis takes hold when Christopher and his spiky buddy Zac ( Fionn Whitehead ) stop taking The Blue and for the first time experience the surge of testosterone in their bodies. As they charge down the ship’s corridors or wrestle in the gym, their still-narcotized fellow crew look on in consternation. When episodes of violence or uninvited sexual advances start occurring, Richard reminds them of the rules. But the thrill of breaking those rules has already taken root.

The big shift happens relatively early in the movie when Richard and Christopher suit up and go outside to repair an external transmitter and an incident takes the most responsible adult on board out of the equation. At the same time, strange noises spark talk of an alien, which merely dangles the promise of a more exciting sci-fi movie than this one.

When it becomes necessary to choose a new chief officer, the election of Christopher doesn’t sit well with increasingly aggressive Zac, who was always just one or two sedative doses away from becoming a bullying douche. He convinces other crew members to stop taking The Blue and start ignoring their designated responsibilities. He gathers followers in a splinter group and spreads paranoia about the alien threat while undermining Christopher’s attempts to instill order and hitting on Sela with noxious entitlement.

By that point, mutiny and a vicious power standoff are inevitable. The insurgency acquires deadly force when they bust into a pod loaded with weaponry, another secret withheld from them by mission control.

The movie makes no claims to be a cerebral space-exploration survival drama along the lines of, say, Interstellar . But Burger ( Limitless , Divergent ) seems less interested in building tension through physical clashes and sudden bursts of bloodshed than in contemplating the essential struggles of human nature when all controls are removed and self-interest takes the place of mutual care or dedication to a greater cause. Which would be fine if the characters weren’t such basic outlines.

Aside from Sheridan, Depp and Whitehead, all of whom do what they can within the script’s limitations, only Quintessa Swindell as the meek do-gooder and Archie Madekwe as Zac’s blind-sheep deputy get to imprint any personality on their roles. And Farrell is given even less scope.

This is a polished-looking film, thanks to Chediak’s agile camera and Scott Chambliss’ austere production design, with its cool, blue-lit sterility. And Trevor Gureckis’ juddering synth score feeds the mood of claustrophobic dread. But it’s a problem that the scenes of anesthetized compliance in the cafeteria, classroom, gym or sleeping quarters are more arresting than the escalating friction, including a brutal fight for survival in an airlock. Despite its descent into nihilistic disorder, Voyagers ultimately doesn’t travel far from familiar conflicts.

Production companies: Thunder Road Films, Nota Bene Films Distribution: Lionsgate Cast: Tye Sheridan, Lily-Rose Depp, Fionn Whitehead, Colin Farrell, Chanté Adams, Viveik Kalra, Archie Madekwe, Quintessa Swindell, Isaac Hempstead Wright, Madison Hu, Archie Renaux, Wern Lee, Veronica Falcón, Laura Dreyfuss, April Grace Director-screenwriter: Neil Burger Producers: Basil Iwanyk, Brendon Boyea, Neil Burger Executive producers: Stuart Ford, Greg Shapiro, Miguel Palos, Jr., Jonathan Fuhrman, Andrea Scarso, Jamie Jessop, Greg Clark, Victoria Hall, G. Mac Brown Director of photography: Enrique Chediak Production designer: Scott Chambliss Costume designer: Bojana Nikitović Music: Trevor Gureckis Editor: Naomi Geraghty Visual effects supervisor: Viktor Mueller Casting: Mary Vernieu, Michelle Wade Byrd

Rated PG-13, 108 minutes

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The Ending Of Voyagers Explained

Voyagers , the latest science fiction film starring Tye Sheridan and Lily-Rose Depp is, in a way, a sort of Lord of the Flies set on a starship far from the reaches of Earth and human civilization. While the children in Lord of the Flies wind up trapped on an island by accident, the young people onboard this starship (which is more of an ark) are there by design. In both cases, the adolescent ensemble has to reckon with the chaos of a world without adult rules.

On its face, Voyagers has a familiar sci-fi premise: The Earth's time is running out. Richard ( Colin Farrell ), a scientist with a plan, takes a crew of young people who have never interacted with the rest of the world into space, where they will live and eventually breed the next generation of humans. The hope is that their children will eventually arrive on a new world for humanity to populate. So, a pretty standard execution of the generation ship trope.

The stars of Voyagers will never see that new world. They are the intermediary generation between the humans of Earth and their children, who will hopefully be the ones to kickstart human civilization all over again someplace new. The end of Voyagers and its meaning are tied to the chaos of what happens aboard that lonely vessel in the blackness of space. Here's the ending of  Voyagers explained.  Major spoilers ahead.

Voyagers ending isn't about the future, it's about right now

Richard's big plan once everyone's on the ship is to trick the kids into self-medicating with something called "The Blue," which is essentially a cocktail of anti-androgens and other meds designed to keep everybody sexless and docile. But the kids find out about the drug, and they stop taking it. Without The Blue, the kids become volatile, which results in Richard's death, leaving the kids to fend for themselves.

These kids may not have experienced much of Earth, but they're still human, so they do exactly what humans do — they vie for power through violence and manipulation. They even create a pretend evil alien designed to explain away Richard's death. More crewmembers die and, for a while there, it seems like the entire mission will end with no survivors.

The movie actually ends with a détente, however. Two male leaders, Christopher (Tye Sheridan) and Zac (Fionn Whitehead), who have been struggling for control of the mission, accept the compromise that Sela (Lily-Rose Depp) the medic will take charge. Christopher and Zac step down and cease hostilities, but they agree that everyone will stop taking The Blue.

The movie ends showing that these people do age, and do indeed procreate. Their progeny do make it to a new world. The resolution is a major contrast with the rest of the chaotic and violent third act. It begs a metaphorical reading of the movie's plot: Earth is our vessel, and like the crew of the fictional starship, we are often manipulated by one another into doing self-harm. We have these periods of volatility, during which we wonder if the human species will make it to see another day, but even when our interests seem diametrically opposed, it's the process of reconciliation that guarantees our future.

Voyagers looks to this future, but it reminds us of our past, too. It reminds us that there has always been chaos caused by humanity, which carries the risk of extinction. We've survived wars, we've endured genocides, and we've navigated the creation of planet-destroying weapons. All of these wounds are self-inflicted, and yet we are still here. What Voyagers is daring us to believe with its ending is that we will not only keep surviving, but that we'll thrive for so long that we'll reach out into the farthest parts of the galaxy to inhabit new worlds. It's an optimistic movie in the end.

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Voyagers Ending, Explained: What Happens to Sela and Christopher?

Neil Burger’s hefty portfolio of features might include the likes of a few you’ve seen or perhaps heard of. However, each feature is as memorable as it gets. From 2002’s ‘Interview With The Assassin’, to his ever popular ‘ Divergent ’, Burger has paved the way for like-minded filmmakers to explore nuances that drift away from the typical.

One such sci-fi feature is 2021’s Voyagers ,’ a film that tells the tale of Earth’s inevitable demise and the journey of a future generation to a planet that will serve as its successor. The journey is stricken with mishaps and challenges as the crew navigates not only the vastness of space but also the complexity of human nature. What happens when they have to experience all that in the close quarters of the ship? SPOILERS AHEAD

Voyagers Plot Synopsis

The Earth is ravaged by heat and drought. Humanity’s only hope is to find Earth’s successor, a planet that could be colonized by the future generations of the planet. Scientists find this planet in the year 2063. The journey to the planet will take 86 years, and hence, only the first crew’s grandchildren will be able to set foot on the planet. Richard Alling, played by Colin Farrell, is the lead scientist on the mission. The crew is trained in isolation to survive the confines of the ship.

The crew is bred through IVF and, at a young age, are launched within a ship to their destined planet. After a decade of being onboard crew members, Christopher and Zac discover that “the blue” they’ve been consuming is actually a drug that suppresses their pleasure response and sex drive, keeping them docile and manageable.

Both Christopher and Zac stop taking the chemical. The duo begins feeling a resurgence of adolescent hormones. Their pleasure response has also seemingly been reactivated. Soon, others also stop consuming the blue chemical. Raging hormones aboard the confines of the ship spell a recipe for disaster as the young men and women give into their most primal urges. The film explores many themes, such as adolescence, hierarchy, a lust for power, and the importance of human communication.

Voyagers Ending: Does the Alien Really Exist?

While the existence of the alien could have been an intriguing turn of events in the film, the alien does not exist. Here’s what we know about the alien. Over the course of time, the crewmates begin to hear strange noises on the ship. Nothing peculiar comes up when they check the surveillance systems onboard. Upon asking Richard about these noises and what they could be, he explains that it’s just the ship contracting due to negative temperatures. The crewmates, particularly Zac and Christopher, already know that they’re being drugged by consuming the Blue. Hence, they do not trust Richard’s explanation even in the slightest.

Curious to know what’s really happening, they begin hypothesizing possibilities. After hearing the noises again, Christopher and Zac go to the main surveillance room. Edward is stationed there and is also curious to know where these noises are coming from. While Christopher believes there’s a logical reason for it, Zac thinks there might be an external force at hand. Edward additionally hypothesizes that if the planet they’re going to has life, then there is a possibility of it existing out in space where the ship is.

This essentially plants a seed in Zac’s mind. He begins to believe that it could very well be alien life that’s making sounds somewhere within the ship. As the movie progresses, a malfunction in the communication systems outside the ship prompts Richard, accompanied by Christopher, to conduct a check-up. During the checkup, a bizarre energy is seen attacking Richard, which results in his death. At this time, the surveillance systems picked up something strange before corrupting its files. The only person to witness these events is Edward. He describes it as an entity or force that consumed Richard until he was unresponsive.

While others might have taken this information with a grain of salt, Zac had no trouble accepting it. As the story progresses, Christopher is elected as Chief Officer and is tasked with overseeing all the operations on the ship. This doesn’t sit well with Zac, as he believes he is a better fit. After convincing others to stop taking the Blue liquid, Zac forms his own group, rebelling against Christopher.

Zac has now fully embraced the idea that the alien exists and that it killed Richard. Christopher and Sela, on the other hand, do not believe in it. They set out in search of any missing surveillance footage of the incident, believed to be lost. Christopher, Sela, and others stumble upon footage of Kai in a control room operating an external instrument that he was assigned. With him is Zac, enraged by Richard’s decision to opt for Christopher instead of him.

Kai suggests to “Give him a little zap for his trouble…” indicating that the external equipment they’re handling could be manipulated to cause injuries. Within the footage, the same noises can be heard, but Zac dismisses it, saying it’s just noises from the ship. With this, Sela, Christopher, and others realize that Zac has been faking it all along. He sold this idea to the rest of the crew, claiming he could protect them from this alien.

As the footage plays out, Zac is seen manipulating the electricity surge to the external equipment, gradually increasing it. He does this until the surge is at its maximum, electrocuting Richard. The Surge also damages many other systems aboard the ship. Christopher, Sela, and the others now have firm proof that Zac was the one who killed Richard and doesn’t believe in the alien. They back the footage up in a memory drive and hide it so no one tampers with it.

They use the opportunity to play the footage on a display in the dining room, where everyone meets for meals. Christopher plays the footage and explains to the rest of the crew that Zac is the origin of all the issues. Even after the footage is shown, Zac seemingly convinces his group that the alien could be anywhere, and he wants to protect them from it. To prove his point, he randomly selects crewmate Peter and begins interrogating him on the spot. He says that Peter has the alien in him and that he should be killed.

Zac’s group needs little to no convincing of this. They chase him down and brutally beat Peter to death. Christopher, trying to stop them, also gets hurt in the process. The group realizes what they have done, but Kai persuades them they did the right thing. Directly from the story, we get a clear image of how power-hungry Zac really is. He is equipped and ready to fabricate any story that will keep him on top. He even goes to the extent of killing Richard.

The alien is nothing but a mere made-up story driven by its mysterious setting and unsettled listeners. It all began when Edward initiated the possibility of it being an external influence to Zac, using the story for his power-hungry needs. He actually didn’t even need to convince the rest of the crew; the noises helped him without trying. It just goes to show how gullible people can be within a herd mentality. In this setting, the alien is really Zac’s lust for power; although intangible, it can become a reality if the need for it is larger than life.

What Was in the Secret Compartment of the Ship?

When Christopher figures out the real composition of the Blue, he also stumbles upon another secret that the mission withheld from the crew. Within the bounds of the ship is a secret compartment, Pod-23 , that contains something mysterious. Christopher found the compartment in the ship’s plans. Curious about this, he discloses this information to Zac and some others.

Later on in the film, Christopher and Sela recognize that the compartment actually contains weapons. Sela mentions to Christopher that Richard had provided this information earlier. Hiding from the rest of Zac’s followers, Christopher ventures out searching for this compartment, but to the dismay of his stealth skills, is unable to and leads Zac and his followers straight to it. The weapon’s cache is now in the hands of Zac and his peers, adding even more chaos.

The reason behind the weapons cache existing on the ship is clearly mentioned in the film. The mission integrated the weapons into the ship, only to be used by the generation that reached the planet. They would use these weapons for self-defense if they encountered any threat on the planet. After all, it is imperative for the crew of the ship to survive on the planet if they are meant to colonize it. Therefore, having weapons is a must.

The secret compartment helps us understand how intelligent the crew members really are. Anything that is kept secret will eventually be unearthed, especially when confined to a particular space, which in this case is the ship. It paints a picture of adolescent curiosity, something that can uncover several mysteries if it wants to. Human ingenuity knows no bounds, and considering the crew members are genetically enhanced for their intellect, it would be concerning if they didn’t find the cache.

Purely from a narrative perspective, the weapons play a vital role in storytelling. Without the guns, the intensity and thrill displayed towards the end of the film would not exist. In the hands of these young adults, the weapons are a symbol of power. Others would fear them because they possess it. This is precisely what Zac wanted: power, and he got even more of it with the weapons. Zac tells his peers that he’ll protect them from the alien, and with the acquisition of the weapons, Zac can carry out his claims.

The secret compartment of weapons isn’t just there to add a feature to the narrative. It has systematically been placed by the writers to help its viewers understand the scenario onboard the ship. It is a symbol of intelligence, power, fear, and hatred, traits that readily appear in the film.

Are Sela and Christopher Alive at the End?

Details about Sela and Christopher dwindle towards the end of the film after the birth of their children. While it is unknown whether they survived the journey in its entirety, from a purely cinematic perspective, this could be plausible. The odds aren’t necessarily in their favor. To understand if they survived, we must know how old they could be at the end of the film.

Using the information provided at the beginning of the film, it is assumed that the children were conceived right after the exoplanet was found. We can confirm from the movie itself that it is an exoplanet, as displayed during the initial presentation by the mission director at the start of the film. The chart indicates that the spacecraft will be traveling to Alpha Centauri, which in reality is the nearest solar system from ours, about four light-years away.

Using the information provided in the film, the children were conceived right after the exoplanet was found. This means the children are born approximately one year after the planet was found in 2063. If the children were born in 2064, they were launched within Humanitas (the spacecraft) only during their pre-teen years, ages 9 to 12. If the average age of the children is nine years, they were launched into space in 2073.

After the 10-year jump, Sela and Christopher are 19 years old. While most of the film is accompanied by suitable answers, time-frames have fallen short. Information about the time frame between Richard’s death and Sela becoming Chief Officer is quite foggy. However, if the time frame lies between a few months to a year, Sela and Christopher could have given birth to their child at the age of 21.

If they stuck to the designated age provided by the rules of the mission of 24 years, it would alter the trajectory of their ages. Sela would have ample time to re-adjust the state of affairs onboard the ship and bring consensus and peace among the crew after the events that took place when they were 19. Sticking to this route, Sela would give birth to her child at the age of 24, 15 years after the launch of the mission.

If the crew sticks to the same pattern, then Sela’s children will also give birth at the age of 24. Sela would be 48 years old during the birth of her grandchildren, 39 years into their journey. Gen 1 would give birth to Gen 2 at the age of 24; Gen 2 would give birth to Gen 3 when Gen 1 is 48 years. Sela and Christopher would need to survive another 47 years before landing on the exoplanet at the age of 95.

The average life expectancy worldwide is around 73.4 years, which means Sela and Christopher would be in a minimal percentage of people who live to the age of 95. According to other academic records, the centenarian (people who are 100 years old and above) percentage around the world is around 0.017%. This could indicate that Sela and Christopher have a very minute chance of living that long, irrespective of other conditions.

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Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what's outside the ship or who they're becoming inside it.

Review: 'Voyagers' film comes apart at the seams

This psychological thriller, set in space, enters theaters this week.

For everyone eager to return to life in all its infinite pleasures after a pandemic, "Voyagers" is bound to touch a nerve.

This psychological thriller, set in space and entering theaters this week, is all about what happens to our heads and hearts after we emerge from a lockdown.

Sadly, the usually astute writer-director Neil Burger ("The Illusionist," "Limitless," "The Upside") botches his provocative premise: What if 30 test-tube babies who never see sunshine or the outside world are sent on a space mission to colonize a new planet since Earth has been infected and climate-changed into near oblivion.

The catch? The mission will take 86 years, which means the colonizing will have be done by the kids' children and grandchildren since the originals are around 10 at takeoff. Don't look here for deep-sleep, sci-fi clichés where everyone wakes up daisy-fresh and youthful after nearly a century of cryogenic hibernation. Every year takes its toll on these space babies.

MORE: 'The Midnight Sky' review: George Clooney's film finds its heart in its actors

At least the kids are bred for smarts. An early lab scene shows an egg being fertilized as a voice says, "poet laureate meet MIT genius." Even so, these prodigies need adult supervision. They get it in Richard, a simpatico scientist played by Colin Farrell, who accepts he's on a one-way trip as the ultimate father figure.

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So far so intriguing. Except for a prologue and epilogue, "Voyagers" focuses on these guinea pigs when they're 24 and ready to raise their own test-tube babies. Hey, aren't their hormones raging? They would be were it not for "The Blue," a pacifier they think is a vitamin supplement. But it's really suppressing emotions such as love, hate, anger, fear and that old devil sex drive.

When the kids learn they've been duped, all hackneyed hell breaks loose and the film comes apart at the seams. The plot pits noble Christopher (Tye Sheridan) against hothead Zac (Fionn Whitehead) for control of the ship and the affections of medical officer Sela (Lily-Rose Depp -- Johnny's daughter). That leaves three fine, young actors struggling with roles the script forgot to develop.

And what of the other voyagers? They barely register, running around in black T-shirts looking hot and unbothered. That is until they stop taking "The Blue," then they smolder and seethe. There's no same-sex attraction among the ethnically diverse crew even when they wrestle (yes, there's a gym on board). I guess gender fluidity was not in the Voyagers PG-13 program.

MORE: 'The United States Vs. Billie Holiday' review: Andra Day gives performance of the year

Burger falls back on achingly familiar violence to spark his film into life. Zac terrifies his shipmates by claiming there's an alien on board. And when a cache of weapons are discovered, Zac and his newly formed stormtroopers, now hungry for power and fascistic dominance, threaten Christopher and Sela, who represent civilization in a battle against savagery.

Yes, folks, "Voyagers" thinks it's "The Lord of the Flies" in space, with none of the urgency and political relevance of William Golding's landmark 1954 novel. What's left is a paint-by-numbers outline for a film that never makes sense of its borrowed convictions or any sense at all.

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