The Martian reminds us that the first word in "science fiction" is SCIENCE!
The film adaptation is largely faithful to the novel by Andy Weir. In either format, this a terrific story!
Of necessity in a visual medium, the movie doesn't spend any time on the equations or similar wonkiness that gave the book its signature credibility. It likewise culls some of the realistic personality quirks that got only a page or so in the print version, including the feuding nerds, the Aspergerite nature of the orbital-mechanics genius, and the vulgar cynicism of NASA's chief PR flack. They were practically cinematic from the get-go, but the movie runs 141 minutes as it is, and the tertiary stuff was what got the axe. The film also trades in the book's barely noticeable dust cloud at the end of Mark Watney's Martian trek for a more visually exciting use of atmospheric propulsion to effect the orbital rendezvous, which also has the salutary benefit of dramatizing the crew of the Hermes as having a significant role to play in the rescue beyond merely agreeing to do it.
You can search on line for more differences between the book and the movie and Weir's reaction to them.
To achieve a PG-13 rating (a move I reluctantly support in order to reach a wide audience), the screenplay (by Drew Goddard) neutered the novel's occasional (and wholly justifiable) profanity. (Shoot, I was really looking forward to Watney's typographical representation of boobs.) We do get a brief nude rear view of a body double showing a skeletal Watney after months on ⅓ rations, but that apparently wasn't enuf to push it into R territory.
In compensation for the cuts, we get the sort of things that movies are really good at: visuals! Looks like Mars, looks like space, looks like JPL, looks like science geeks. We're also reminded that a whole lot of mechanical problems can be fixed using only duct tape to make things sticky and WD-40 to make them slippery. And that it's a good idea to hang onto those decades-old Earth-based mockups.
The most engaging aspect of the book — the crew's fierce loyalty to each other — is preserved intact. However, aside from Watney (Matt Damon), mission director Vincent Kapoor (Chiwetel Ojiofor), and NASA chief Teddy Sanders (Jeff Daniels), the rest of the cast doesn't get much individual screen time. But even the tiny performances are pitch-perfect. It's relentlessly and unapologetically international and gender-neutral, as is science itself. Good! Better than good — perfect, in fact — is the tune played under the end credits: "I Will Survive".
You can see the movie in 3-D (post-production conversion), but there's no particular reason to do so. Arid, monotonously rusty desolation looks just as forbidding and depressing in 2 dimensions, and 3-D's wasted on anything occurring in space, where there aren't any referents to provide a sense of scale or depth.
This film marks a return to form for Ridley Scott after the regrettable Prometheus and Exodus: Gods and Kings. No, it's not Blade Runner, but who (other than Stanley Kubrick) ever gets more than one masterpiece in a lifetime? He'll just have to settle for it being the best SF&F movie of the year.
The film adaptation is largely faithful to the novel by Andy Weir. In either format, this a terrific story!
Of necessity in a visual medium, the movie doesn't spend any time on the equations or similar wonkiness that gave the book its signature credibility. It likewise culls some of the realistic personality quirks that got only a page or so in the print version, including the feuding nerds, the Aspergerite nature of the orbital-mechanics genius, and the vulgar cynicism of NASA's chief PR flack. They were practically cinematic from the get-go, but the movie runs 141 minutes as it is, and the tertiary stuff was what got the axe. The film also trades in the book's barely noticeable dust cloud at the end of Mark Watney's Martian trek for a more visually exciting use of atmospheric propulsion to effect the orbital rendezvous, which also has the salutary benefit of dramatizing the crew of the Hermes as having a significant role to play in the rescue beyond merely agreeing to do it.
You can search on line for more differences between the book and the movie and Weir's reaction to them.
To achieve a PG-13 rating (a move I reluctantly support in order to reach a wide audience), the screenplay (by Drew Goddard) neutered the novel's occasional (and wholly justifiable) profanity. (Shoot, I was really looking forward to Watney's typographical representation of boobs.) We do get a brief nude rear view of a body double showing a skeletal Watney after months on ⅓ rations, but that apparently wasn't enuf to push it into R territory.
In compensation for the cuts, we get the sort of things that movies are really good at: visuals! Looks like Mars, looks like space, looks like JPL, looks like science geeks. We're also reminded that a whole lot of mechanical problems can be fixed using only duct tape to make things sticky and WD-40 to make them slippery. And that it's a good idea to hang onto those decades-old Earth-based mockups.
The most engaging aspect of the book — the crew's fierce loyalty to each other — is preserved intact. However, aside from Watney (Matt Damon), mission director Vincent Kapoor (Chiwetel Ojiofor), and NASA chief Teddy Sanders (Jeff Daniels), the rest of the cast doesn't get much individual screen time. But even the tiny performances are pitch-perfect. It's relentlessly and unapologetically international and gender-neutral, as is science itself. Good! Better than good — perfect, in fact — is the tune played under the end credits: "I Will Survive".
You can see the movie in 3-D (post-production conversion), but there's no particular reason to do so. Arid, monotonously rusty desolation looks just as forbidding and depressing in 2 dimensions, and 3-D's wasted on anything occurring in space, where there aren't any referents to provide a sense of scale or depth.
This film marks a return to form for Ridley Scott after the regrettable Prometheus and Exodus: Gods and Kings. No, it's not Blade Runner, but who (other than Stanley Kubrick) ever gets more than one masterpiece in a lifetime? He'll just have to settle for it being the best SF&F movie of the year.