Written by Taylor Baker
Chazelle assembles a first-rate series of high high’s, high low’s, low high’s, and low low’s. I couldn’t agree more with everyone heaping praise upon the technical proficiency found aboundingly in this film. If one were to put it in a class of technical mastery based off of recent films you would lump it amongst Blade Runner 2049, Dunkirk, and just ever so slightly beneath Mad Max: Fury Road. During this film I experienced shock, awe, jubilation, grief, anger, and solace. Chazelle tosses narrative norms to the side and brings you into an emotional ride loosely tied together by it’s handful of main characters and main goal.
Reach the Moon.
I’ve been trying to think about it’s narrative depths so as to express it’s wrinkles and omages and it keeps slipping through my fingers like that fine grain silt on the Moon’s surface. What I am absolutely certain of is that beauty and love are the two most apt words to describe what Chazelle packs into First Man’s omages to 2001: A Space Odyssey. The lights reflected to us off of Gosling’s helmet near the end, the docking sequence, the brief AI concern, the Moon as a monolith, and that last shot of Foy reflected off the glass within Gosling’s head. The love while not easy to see on the surface was always there, it was behind everything. Behind the sacrifices.
Gosling’s performance is amazing, and of the Fall fare as of yet Foy’s supporting role is peerless. The entire ensemble is almost sure to grab the best ensemble cast this year unless Vice or Widows really floor audiences. This is a bonafide blockbuster and a wonder to behold. See it in a premium format if you can, whether it’s IMAX or Dolby you won’t be let down.
–Taylor Baker originally posted this review on Letterboxd 10/12/18