EVERY MOVIE HAS A LESSON

That’s a sample of the welcome, sympathetic depth of The Water Man. So few fantasy films nowadays handle difficult questions like that one. Escapism for this demographic sells, no doubt, but internal odysseys will always have their place and merit. The Water Man, while destroying far fewer warehouses of Kleenex to reach its pinnacle, joins A Monster Calls and I Kill Giants as a trilogy of valuable discourses for bridging teens and adults together to engage with current and impending despair they may feel in their lives.

The sliding scale severity of the answers to those questions creates the embarrassing memory and the “have I got a story for you” yarn we tell your friends and family later of the past predicament. This simple premise can have any number of interesting connective circumstances, from nightmarish to adventurous. With a sunny glow of lifted spirits and healed flaws, the batch of life’s little inconveniences dealt to Brian Tyree Henry’s Charles Young enchant a bevy of wry smiles in The Outside Story.

This is going to get confusing, but critiquing Voyagers calls upon several illustrative conflicts. First off, science fiction is the realm of high-minded concepts of fantasy, and yet organic humanity creates and drives each and every great idea in the genre. In the same regard, you have homage versus originality in applying prototypical themes to the luster of new settings. Lasty, you have an audience’s subjective aim to project any number of thoughts out of a movie while the work was created with certain objectives in mind that may not be seen or readily interpreted. All three of those dichotomies clash in Neil Burger’s new film with mixed results.