Clint Eastwood's "Space Cowboys"

Eastwood reunites his long-term production crew, much like his character in this film, bringing a sense of old-time professionalism to his latest film. Inspired by John Glenn's recent flight and bearing more than a little resemblance to "Armageddon", as slick and well polished as this film is it somehow lacks something in originality.

1958 sees team Daedalus pushing the limits of aeronautics as test pilots Frank Corvin (Toby Stephens) and Hawk Hawkins (Eli Craig) push their latest plane to its limits and beyond, while engineer Jerry O'Neill waits below and Tank Sullivan (Matt McColm) flies support, upon return to terra-firma their boss Bob Gerson (Billie Worley) informs them of the formation of NASA and that their participation will not be required.

40 years later Gerson (Cromwell), now a project director with NASA finds he needs Corvin (Eastwood) to repair an outdated guidance system that he designed which has found it's way onto a deteriorating Russian satellite. Corvin insists on reuniting his old crew for the mission, Baptist priest Sullivan (Garner), aging lothario O'Neill (Sutherland) and cowboy pilot Hawkins (Jones).

There has been a recent theme throughout modern films such a "Me, Myself and Irene" and "Memento" to deconstruct the Clint Eastwood image and indeed no one has done this better than Eastwood himself in such films as "In The Line Of Fire" and "Unforgiven" but this time he fails to follow through, reverting to type in a gung-ho second half that betrays the subtlety of the first half.

Eastwood is Eastwood like his character in this film he's been playing the same part for 40 years and now is no time to start messing with a successful formula. Jones and Sutherland play their roles like kids who have refused to grow-up, while only Garner shows his age, holding the Cowboys together with a strong central support. Cromwell and Devane provide perfectly nuanced support while none of the younger performers are even given a look-in.

Like "The Hollow Man" also reviewed this week, an intelligent build up is betrayed by a commercial decision to appeal to traditional box-office provens by blowing things up, the gentle mocking and an intriguing espionage sub-plot are dropped suddenly as the film swings into your traditional f/x driven action-adventure for an un-imaginative conclusion

NASA's assistance once again leads to some interesting insights into NASA training and enough fantastic hardware shots to bring the Lizard spontaneously orgasm. Industrial Light & Magic bring all of this to life with some fantastic effects that for once aren't allowed overwhelm the story and instead just give a sense of realism to the whole affair.

Fascinating but flawed entertainment that pleasantly passes a wet Sunday afternoon.

Home | Reviews | Reputations | Contact the Lizard