Recensioni di Metacritic

The Swedish director Mikael Håfström, whose best-known American film is the chilling 2007 Stephen King adaptation “1408,” employs jump scares and quick cuts to capture the looming sense of danger (or is it paranoia?) aboard the ship, while the screenplay by R. Scott Adams and Nathan Parker takes the story back and forth between the present-day unraveling on Odyssey-1 and flashbacks on Earth.

It’s a somber, serious experience that won’t appeal to everybody, but it’s quite smart and will keep you guessing until its last seconds.

Though on the surface Slingshot looks like a space-exploration thriller with many cinematic forebears, it makes elegant use of misdirection.

In the context of COVID, Slingshot becomes something else, transforming from what would have been a decent but derivative sci-fi thinker into a stirring ode to the vital importance of others.

The result feels more like a B-grade thriller that’s been elevated by a good cast and a script with some clever moves.

The tension on the ship keeps accelerating in a straight and dramatically unsurprising line until the final scenes of “Slingshot,” at which point the twists come piling in, one after another, each shocker nullified by the next.

Slingshot is more of a murky mystery where the big revelations don't hold up under scrutiny.

The paranoia sets in all too quickly in this awkwardly paced thriller, and it’s among a handful of defects in a film whose creative process seemed to begin and end with its final twist in mind, haphazardly and unconvincingly working backward to construct what’s necessary to build up to i

If Slingshot leaned into that character study, rather than roughly gaffer-taping it to a deep space thriller, maybe it wouldn’t stall out on the launch pad so badly.

Consistently boring in a manner that almost feels defiant, “Slingshot” plays as a shallow COVID lockdown allegory for most of its runtime, before insultingly spiraling off the rails. It feels like a movie that hates its characters. And hates you too.