Season 02 – Episode 07 – Europa Report


We have a mission – not to Mars but Europa, one of Jupiter’s moons. Hence the title of the movie. If you didn’t get that. This is a rare movie that borders between horror and sci-fi. If you like either, you should like this. Many people did, so you’re wrong if you don’t. 😉 just kidding

The movie looks like a documentary of an actual past historical event. It uses cam footage from the mission spacecraft – so it also has elements of found footage. There’s a lot going on here.

Might also mention, if you liked Cloverfield because they didn’t ruin the movie by showing the monster too much, you’ll also enjoy this one. Oh, spoiler alert.


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[00:00:48] Stephen: we’re on episode seven, we’re working our way through this next season. This was an interesting one because Europa report, I knew nothing about this movie. I don’t even know if I ever heard of it before.

[00:00:58] Rhys: Awesome. [00:01:00] It’s it really does just barely border on, is this a horror movie you could actually argue with me and, convince me that it’s

[00:01:09] Stephen: not, I had said it was ominous.

You started to say that’s crazy that

[00:01:15] Rhys: it was crazy that you had that you haven’t heard of it. I guess maybe not, but it’s you could actually argue with me whether or not this even classifies as a horror movie because it’s

[00:01:24] Stephen: running. I’m so glad you say that because. I did mention that it comes, it looks like a scifi movie.

Yes. It appears to be completely Saifai, but arguably it’s not even Saifai because Saifai usually has some scientific elements. The closest we get to some technical science stuff is the radiation levels and oxygen levels of how long they have. And even then it’s, it doesn’t sound completely. I grow, you’ve got two hours.

She’s got another 90 minutes in her reserve. Really? This was not

[00:01:59] Rhys: [00:02:00] really ironic. You mentioned that because one of the things this movie is known for is its accurate depiction of what space travel. It looks like really?

[00:02:08] Stephen: Yes, because they didn’t mention hardly any science-y

[00:02:12] Rhys: stuff. No, but all the stuff that they do on the day to day and all of the just general genre living your life, stuff that happens in that is incredibly accurate to what an actual space mission.

[00:02:26] Stephen: Oh, that’s hilarious. So it doesn’t feel like Spotify because it’s actually more realistic,

[00:02:32] Rhys: correct. They don’t throw in any fancy fluffy stuff. They go through, in fact it was nominated for three awards and won one. And the one award that it won was from like kind of a technical prowess kind of site, they gave it to them.


[00:02:47] Stephen: That’s great. Yeah. So for me it, it was a very subtle horror. This is something you could watch. That’s not super jump out scary with younger kids. Not that they’d really be [00:03:00] interested, but it was a space found footage. So

[00:03:05] Rhys: that’s really interesting. You mentioned that too, cause that’s another point.

The film is a United States film that was made in the U S with an incredible international cast of people. It was made in 2013 and people classify it as a scifi horror or a found footage film. And I don’t consider it really found footage. To me, this is a mockumentary.

[00:03:28] Stephen: That was the other thing I put that it presents itself as really vent in a documentary fashion.

Some hit some historical event that happened and we made a documentary to get the word out to everybody. What you know about history, right?

[00:03:40] Rhys: Because for me found footage is a player which or paranormal activity where you have stuff that’s just streaming. There’s no commentary involved.

There’s no background music. It’s just a, Cloverfield, ah, camera, I’m running to Google, this was very smooth. This felt it [00:04:00] was, I have archival shots of people in a Lander, and I’m going to put them together with a background track and the narrator who’s going to tell the story.

So that’s one of my issues with calling it found footage,

[00:04:12] Stephen: it borders on it has elements. If you like found footage, it’s like that. Cause most of the footage is supposedly from the cameras that are on the thing. So you always have the same shots. So I guess you could say it’s an, it’s a variation on found foot.

Sure. Yeah. It is a lot like Cloverfield now that you mentioned that because you don’t really see the creature, which not much

[00:04:34] Rhys: just at the end. Yeah. And I love

[00:04:37] Stephen: that.

[00:04:37] Rhys: Yeah.

It’s really interesting to me in the way that it was presented. Just in that it’s that five minutes in the future thing. Yes. You don’t know when it is, but it’s not so far ahead that they’ve got replicators and, transporters and stuff like that. [00:05:00] But it’s far enough ahead that, we’ve, we’re going to launch six people to Jupiter,

[00:05:05] Stephen: and that’s why I said it it didn’t feel scifi like the Martian where they didn’t, you didn’t hear a lot of this scientific Babel and jumbo stuff because they didn’t talk.

It’s just, we’re going. We did it, so that makes it almost you could classify it as a fantasy almost in some ways.

[00:05:22] Rhys: Yeah. It’s W one of the biggest like technical issues for me as a guy working where I work is that in, in the film Dr. Unger says, once they pass the moon, this was the furthest mankind had ever gone, which is, true.

If we were to launch Kraft tomorrow to go to Europa, when it passes the moon that’s as far as mankind has ever gone. But if I was going to pick somewhere to be the first man mission outside of Earth’s external orbit it would not be anywhere near Jupiter because Jupiter is a meat grinder between the [00:06:00] massive gravitational forces and the radiation that comes off Jupiter is the largest non-solar thing in our solar system, because it starts at Jupiter and it just spreads clear out to Neptune.

It’s just so volatile. And so killer crushing

[00:06:19] Stephen: from that fantasy type of element. You can’t do Mars because Mars isn’t as interesting anymore. We’ve got too much Mars. This is dangerous,

[00:06:29] Rhys: right? If you’re going to go to Mars and just touch down and grab some samples and come back, that’s not really dangerous.

It’s expensive. It’s going to take a long time. Yeah. There’s the offhand chance at some weird things going

[00:06:41] Stephen: to happen as mark Watney, he found out.

[00:06:46] Rhys: But if you look at the Martian right with

[00:06:49] Stephen: mark Watney. Yeah. Born. Yeah. It’s important.

[00:06:54] Rhys: While it was vaguely plausible. The things that he was doing there to be wiped out [00:07:00] by a storm on Mars is virtually impossible because the air pressure is so low that even the biggest, massive storm that’s going to come rolling through.

Isn’t going to blow anything anywhere.

[00:07:11] Stephen: Th but they are finding that there are twisters and storms on there more than they thought. That’s a new thing, the Rover tray. And but the Martian is way more science fiction because he vested all of his information. That’s all real. If this really happened, this is really how you could fix it.

So it’s very scifi, but not horror. It’s tense, right? This had some. It almost crossed over into temps more than horror for a lot of it, because you didn’t know what was going

[00:07:45] Rhys: on. The other movie that I identify with it is and it’s gonna sound weird is the descent, because you watch the descent, the first half of it, there’s no monster cipher or a horror thing going on.

All of the horror is the situation they’re in. [00:08:00] And then in the second half, you have all of the crazy cave creatures that come and eat them. This is the same way where you have this kind of underlying sense of dread, just because of the situation they’re in. It has nothing to do with aliens or, strange beyond our perception kind of things that happens at the end

[00:08:22] Stephen: and really.

The, what I was thinking about is the horror aspect more in what’s. The frightening part is the unknown writing out in space where you can’t just easily come back to other easily, get repair parts or easily fixed things that the unknown, be where monsters be here. The old mapmakers that I think preys upon, interferes of a lot of people.

[00:08:47] Rhys: And I mentioned in here that because of its technical accuracy in its depiction people really nitpick the technical aspects of it. So one of the things that people really didn’t like [00:09:00] is you get to this point in the movie where James is gone now and everyone’s standing there and someone says something about going back and the argument is.

Astronauts don’t have that conversation because there is no going back. You can’t just turn the ship around. This is a planned mission. You have to keep going forward and turn when it’s your time to return. If you turn around now, Earth’s not going to be there. When where you should be meeting it, it’s going to be somewhere else.

They have the whole thing all planned out. You have to stick to the schedule. So that was one of that was one of the kinds of critiques that you’d see on. This is oh, come on, they astronauts, wouldn’t sit there and wonder if they can go back. They know they can’t well, okay,

[00:09:43] Stephen: I get ya. But it’s one of those things that if you’re in that industry, in that field, whatever the movie is and.

You’re going to find things wrong because things get changed to make the story interesting and fun for a movie. And that’s across sports computers [00:10:00] space. It doesn’t

[00:10:01] Rhys: matter. Yep. And that was the other point is a lot of the problems in this film come from the fact that they can’t communicate back home.

And I can’t tell you how many things I came across, where they’re like if they have blah, blah, blah, on board, they could easily send a signal back and blah, blah, blah. And then these people are like listing the different kinds of equipment that they would have on board that could easily send a signal back and reestablish communications.

And it’s okay, I get your point. But Joe Schmo, who’s watching this. Doesn’t know that.

[00:10:29] Stephen: It doesn’t want to right care. I don’t care if Maverick cannot do that. Immelmann turn at the speed. He’s going. It’s exciting to watch, that’s

[00:10:38] Rhys: exactly right. It would be like sitting around watching top gun with a bunch of actual pilots.

[00:10:43] Stephen: Yeah. My cousin is an actual air force pilot, so I never want to watch those movies with him. Exactly. Yeah. Okay.

[00:10:50] Rhys: So the film was written by a guy named Phillip Galot. He was born in Wisconsin. He actually came from the comic book industry. One of the titles that he has an ESPN [00:11:00] number four is the Indiana Jones adventures volume one.

Wow. I figured you probably own that.

[00:11:05] Stephen: I own the individual issues and he was

[00:11:07] Rhys: the guy who wrote Europa report so

[00:11:10] Stephen: nice.

[00:11:11] Rhys: He was also the primary writer for the video game rise to the two.

[00:11:15] Stephen: Oh, okay. We got that too. Of

[00:11:17] Rhys: course. He has he’s written an animated feature called the spine of night, which I haven’t seen, but he also was a writer, head writer in love, death and robots on Netflix.

I recommend it to everybody. It’s an awesome little show. His film debut was the bleeding house, which showed the Tribeca film festival and then it was followed up by Europa report. So that’s the second film. Wow. It was directed by Sebastian Cordero. Now this is starting to get that international influence, even though it’s an American film, Sebastian was born in an Ecuador and he became interested in making films at the age of nine.

The first time that he saw Raiders of the lost

[00:11:54] Stephen: Ark, which ties right back altogether again.

[00:11:57] Rhys: He went to Southern California [00:12:00] to study film, and when he finished his education, he returned to Ecuador to start his career in making movies. He’s only directed nine films in his first three debuted at major movie festivals.

So he’s a pretty gifted director. Europe report was his fourth major length film. And it’s first in English and of the nine films he’s made. He’s won 11 awards for them.

[00:12:24] Stephen: Wow. That’s pretty prestigious. And it was really well done as it didn’t feel, not that anything we’ve watched, I hated, but it didn’t feel like a bunch of guys in Vermont, like the battery which was a great movie to watch, but it didn’t have the Polish, I guess you could say,

[00:12:42] Rhys: and we’ll come back to that in just a second, actually. Okay. Wow. It’s a small cast. There’s 11 people who cast for this film. 11 people have speaking roles. 12, if you count, there’s a little blip of Neil deGrasse Tyson. Yeah. And that’s like stock footage of him talking [00:13:00] about Europa. But of those 11 people, it’s a really diverse international cast.

Which makes sense. Yeah. And the other thing that I really enjoyed about this film is that almost everybody on cast. You don’t know what they’re from. You might think I’ve seen this guy, but you’re not sure where exactly. Yeah. So the first one is Sharlto co-PI, Copeley sorry. He’s from South Africa, he plays junior engineer, James Corrigan.

He’s been in 28 films from the likes of district nine which he won an award for him personally, for his role in district nine. He was in the 2010 remake of the 18. He was in the 2013 remake of old boy, which still I will not watch, but he was in it. He was also in chappy. Makes sense. Another south African based Elysium lymphocytes and that TV showed the powers.

[00:13:55] Stephen: Okay. I think that was actually on a PlayStation, [00:14:00]

[00:14:00] Rhys: so yeah, You have seen him around. You’ve never seen him looking like this and you’ve never seen him sounding I shouldn’t say never. You’ve never seen them sounding like this. I don’t, I never saw him in Maleficent, but almost every movie you see him in.

I don’t want to say that higher end because of a south African accent, but they’re definitely using him for it. You know what I mean? I thought that was interesting. And he does not have any hint of that accent in this film. Yeah,

[00:14:26] Stephen: I w neither does Tom Holland and Spiderman. That’s true.

Pretty good about that.

[00:14:30] Rhys: Christian Camargo, he’s an American he plays chief science, officer Daniel, Luxembourg. He started he started in soap operas and guiding light. He had a role in guiding light. He was also in the hurt locker law and order numbers. He was in the Twilight films. He shown up on Dexter, the good wife house of cards and wormwood,

[00:14:51] Stephen: typical guy, trying to get jobs, a lot of

[00:14:55] Rhys: TV stuff here and there.

Yeah. Daniel. Woo. [00:15:00] He played commander Williams zoo he’s American, but he works out of Hong Kong now. He was born in Berkeley, California, but he’s an action star out of Hong Kong really

[00:15:12] Stephen: well. That makes sense. Cause he had a pretty dramatic death scene. He did. In

[00:15:16] Rhys: fact, he had more stunts than anyone else in this.

He’s been in 78 films. A lot of them are Hong Kong action films. So you’re not going to know a bunch of those. But titles, you might know he was in divergence part of the insurgence series. He did voiceover work for Warcraft and tomb Raider. Michael Nyquist is Swedish and he plays the chief engineer Andre block.

That was one of the other things that showed up a lot in complaints about this film was engineered block and the science officer. Cachia patrol vena. All of these people were jumping all over where they’re supposed to be from and where their names actually came from. And I was like, okay, [00:16:00] everyone really needs to take a step

[00:16:02] Stephen: back.

That wouldn’t be the Southern district, whether it’d be the Northern right.

[00:16:09] Rhys: Michael Nyquist he’s been in 94 films going way back to 82. And the vast majority of them are Swedish films, which makes sense, him being Swedish. He was in the vastly superior Swedish version of the girl with the dragon tattoo movies which is where I know him from.

He was also in mission, impossible ghost protocol. And he was in John wick, just the first one, which makes me think he’s the Russian sounding guy that John Wood goes after and kills Dan. Then you have a Carolina wind. Or Wydra she’s Polish. She plays a Marine biology, science officer Cachia patrol.

Now she’s been in 25 movies, including a version of law and order house, true blood. The 2017 twin peaks remake, the 2017 MacGyver remake agents of shield. And she was in a movie called incarnate. [00:17:00] Incarnate is one of those movies, like you’re talking about where it wasn’t even the direction it was the scripting is what actually ruined the film.

It starts the guy who played to face in the Batman movie.

[00:17:12] Stephen: I forget his name.

[00:17:14] Rhys: Yeah. And he’s got this ability to enter people’s dreams or something. And he uses that to help exercise people who were possessed. The movie was okay, but. The day-to-day just conversation. Like the scripting of that was horrible, which, is kudos to those actors who could actually pull that off, but it really drew away from the film.

And it’s one of those things like you were saying, if you have a bad director on a film, it doesn’t matter who you put in it. If they listen to the director, it’s going to end up being crappy.

[00:17:50] Stephen: And she’s the one I recognize the most. And just about everything you listed, I’ve probably, I think I’ve seen.

[00:17:56] Rhys: Yeah. Yeah. Anna Marie marinca she’s [00:18:00] Romanian and she plays pilot. Rosa DOSC. She has 56 films under her belts. A lot of them are foreign, not necessarily Romanian, a couple of them are, but she did a lot of work with the BBC. She was in an episode of doctor who she was in that movie fury with a. Brad Pitt.

How about the tanks? Yeah, she was in the girl with all the gifts which is a good movie. If you haven’t seen that. She was in the 2017 ghost in the machine, so she’s been, around and stuff and Beth David’s she plays Dr. Unger. Who’s the CEO of Europa enterprises and is basically the narrator of the film.

She and Rosa take turns basically narrating in kind of a interview kind of style,

[00:18:52] Stephen: right? Like to the well they’re doing like the news scenes and stuff that documentary had the scrolling [00:19:00] news items on the bottom, just like CNN or something. But that really adds to the whole documentary.

[00:19:05] Rhys: She was born in America, but moved to South Africa because that’s where her parents were from

[00:19:14] Stephen: African jumping around

[00:19:15] Rhys: here. Yeah. It’s really odd. She’d been in 46 titles and you’re going to know some of these and the crazy thing is I can recognize her from the stuff, but I would have never recognized her from what you look like in this movie. She was an army of darkness. Really? Yeah. She was in Schindler’s list.

Matilda, Bridget Jones diary, 13 ghosts by far the least impressive thing on this list so far. She was in an episode or two, a scrubs Californication. She was in the American version of the girl with the dragon tattoo. She played. Mary Parker and the amazing [00:20:00] Spider-Man one and two. Okay. She was in madman and Ray Donovan and Grey’s anatomy.

So she’s been around in a lot of stuff too, but the way they had her hair and stuff, I did not recognize her in the slightest.

[00:20:15] Stephen: Yeah. She almost looked familiar, but I thought, eh, I can’t really think so. Yeah, but trove, no. Was the only one I definitely said. Yeah. I’ve seen her in something.

[00:20:26] Rhys: Yeah. And you’ve seen her in quite a bit, actually.

Yeah. Yeah. The movie opens with a shot. It’s got the Europa mission past. Patches are really big thing in my industry. We’re always making patches for stuff and we’re making stuff. That’s not further patch. We make it look like a patch. I don’t know

[00:20:46] Stephen: why when I was in Scouts and we visited NASA space center, we got a patch.

[00:20:52] Rhys: Yeah, we got patches. We got patches galore. So they’ve got their own patch, the Europa mission patch and the [00:21:00] words, the Europe Europa one mission was the first attempt to send men and women into deep space shows up on that card.

[00:21:06] Stephen: And that’s where it’s oh, it doesn’t say based on real events or something, that’s, it’s a different way.

It keeps the documentary feel right from the beginning.

[00:21:14] Rhys: You’d be surprised how many people. Came into it with, was this based on a real story or did this actually happen?

[00:21:23] Stephen: That’s like they should’ve done don’t look up and said, this is based on real events that haven’t happened yet.

[00:21:29] Rhys: Or they should have done the whole Blair witch thing where, before it came out, they ran it for about six months as like an actual

[00:21:36] Stephen: thing Blair, which was crazy because they even had websites at the time that all linked together the

[00:21:43] Rhys: websites.

[00:21:44] Stephen: Yeah. So it was crazy cause they really made it look like it was real, but a whole nother discussion.

[00:21:51] Rhys: So it then cuts the in interior shot. Of inside one of the modules and someone’s descending a ladder. I think it’s, Petrova, maybe she’s climbing down a [00:22:00] ladder. And the following scene is of Corrigan sending a message home to his family.

Is he sitting on his bunk in the habitat module, and then it cuts to a rear view showing a very small sun in the distance to let you know that, they set the tone and location of the film just brilliantly in three minutes. Like here’s a title card saying where they’re going. Here’s where the sun is.

You can see how far they’ve gone and you can see they’re obviously in some small, realistic spacecraft

[00:22:29] Stephen: and then what they didn’t do, which I thought was fine and great was I didn’t do the, 18 months earlier,

[00:22:35] Rhys: yes, I’m totally. One of the things like I said, the is known for is the tight, relatively accurate depiction of space missions.

And it’s reflected in. In that first establishing that little three minute blip at the start, that page, that card comes back up and it says for six months, the world watched every moment. And then there’s lots of genre shots showing [00:23:00] how, everyone’s sharing space and they’re performing their tasks.


[00:23:05] Stephen: talking about drinking urine. That

[00:23:06] Rhys: comes later. But yeah, all that kind of stuff that they do. It, honestly, of all the criticisms I have about the movie, that was one of the biggest was during like that scene Corrigan is just like super massage. Monistic oh, the girls are complaining because they don’t have enough shoes and I’m like, bitch, these girls have more education than you do sit down, but one’s a pilot.

Here’s the junior engineer. Okay. But, a little bad script writing on occasion, you got to

[00:23:36] Stephen: let it, you can also be taken as just friendly kitty as we’re stuck with each other for two years or whatever it is,

[00:23:44] Rhys: that, so the genre shots continue showing everybody hanging out over time.

The shots end up with this kind of jittery kind of staticky thing until eventually it freezes like our screen Sue quite frequently when we’re doing this product. [00:24:00]

[00:24:00] Stephen: Oh my God. We’re being invaded by aliens. Yes. That’s what it means. Watch our podcast to see when

[00:24:06] Rhys: it freezes on a shot of Rosa. And then we get a shot of a solar storm.

It just interjected in there very briefly, but there’s a shot of a coronal mass ejection. And then Dr. Unger comes in with her narration and she taught starts talking about how it’s, it was such a great feat for us to do this. She speaks directly into the camera interview style and between these interactions in the interviews, throughout the editing and the music and added in, again, it just reinforces to me that this isn’t so much found footage as it’s a mockumentary.

[00:24:42] Stephen: Yeah, it really did. Definitely.

[00:24:44] Rhys: This is something you’re watching on the discovery channel, based on something that happened, she’s talking about the mission and she becomes visibly upset as she’s talking. And then the card returns back and it says with thousands of hours of recently declassified footage, Europa ventures [00:25:00] can now complete their story.

And so there’s the found footage it’s, recently declassified, but even at that, even with the found footage part, like you have Rosa again, speaking into a camera directly like an interview kind of process, not the run it through a burndown city. They helped me.

[00:25:20] Stephen: And the other thing is that, something went wrong and they really do approach this as if they really were making a documentary.

And as if the people watching this documentary already know this mission, didn’t succeed, that things went wrong. So they don’t pander to the audience that you have to kinda go along and figure it out. And there’s a lot of those little moments where they hint at stuff. So it builds that tension without giving it all

[00:25:50] Rhys: away.

And I think that’s one of the things that lends to its authenticity is that it feels like it does feel like you’re watching something on CNN that you might’ve read a [00:26:00] passing article about in a newspaper. The first shot after that last title card, Plays right into what you’re saying, because you now have five astronauts sitting around the habitation module, seemingly distraught.

If you count, there’s originally six. All right. So five of them there Corrigan seems to be missing the guy who’s calling home to his family and Andre, his hand is bandaged. Then if you’re actually paying attention, what they’re saying catchy is saying, they need to tell his family and now they’re alone.

So they’ve in that little tiny window Corrigan’s died and we don’t have communication anymore. So again, a very efficient way of passing the information on without having a whole lot of exposition to get you there.

[00:26:47] Stephen: Yeah. Yeah. And that was done very well throughout the whole thing.

Then one little montage thing too.

Also I, that they would do the video feed montage of nine and then they flip them.[00:27:00]

Wow. Okay. So they do the montage of nine and they’d flip, different scenes or whatever. And then there was right at the end when, before they cut that scene where one of them is someone’s screaming and then it cuts and you’re like, wait, where was that?

[00:27:19] Rhys: The ironic thing is the guy who’s screaming.

Isn’t the one who’s dying,

[00:27:24] Stephen: but it’s so builds attention. It doesn’t build attention.

[00:27:26] Rhys: Then they cut to the, an interview with Rosa. She’s talking about, she’s got this kind of disassociation that’s associated, not just with the trip and the length of time they’ve been in space. She doesn’t feel like herself anymore, but also.

Because of the trauma of James being gone, we still don’t know what happened to him, but we know he’s gone and it’s having a serious effect on the crew. There’s a few other scenes that establish that the crews isolated from home base, the questioning, what to do, decide, trying to decide whether they should go on or not.

Again, real astronauts. No, you don’t have the [00:28:00] choice you’re going anyway. But Katia is talking to Andre trying to suss out how he’s doing and reveals that he hasn’t spoken to her in a week. And the only time she actually gets him to speak to her is when she slips into their native language.

Now I was going to say when she starts speaking Russian, but I don’t want to say that. Cause maybe it wasn’t Russian for all. I know he Swedish she’s Polish or yeah. So you know, who knows what language they’re actually speaking to each other, but in the film.

Whatever happened to James really had something to do with him. And it’s really disturbing. And then you have this time jump, and this is the part that can be confusing to me. And this is, this might sound the first time I saw this, you have a Daniel and you have James and they’re both two dark haired, Caucasian guys wearing a blue suit.

And it was [00:29:00] hard to tell them apart to be honest, one set on the top bunk and talked to his family once that on the bottom bunk and then walked around, fiddling with stuff. So between that and not paying attention to the timestamps, it was hard to tell the first time I saw it, where we were in time. Cause they jump around.

[00:29:22] Stephen: That’s interesting because there’ve been a couple other movies we’ve watched where I’ve been, like, I lost track of who was, who and where they were and what was going on, but I didn’t have any trouble with this one. It was one slowed night. And so I guess, maybe it’s just the way people’s brains work and the setting

[00:29:37] Rhys: it’d be it worked out for me.

Granted I’ve seen it like five times now, but it worked out fine for me this time, they established this kind of time jump and it happens very briefly because Katia says it’s been a year since we lost him. So we have, right when he got lost and then suddenly we jumped to a year since [00:30:00] we lost him.

And then to make it just a little more confusing, the title card comes. Congratulations, eight minutes into the movie. Here’s the name of what you’re watching and lets the viewer know that now we’re going to go back 19 months, 10 days and 14 hours.

[00:30:18] Stephen: And it will you think about it? That’s a crazy amount of time, to be on this mission and they cut out all the stuff you didn’t need.

If you look at it like that, if it was a real document. Yeah.

[00:30:29] Rhys: Yeah. And if you actually track it, they land on Europa after 22 months, let’s say they complete their mission and then turn around. They’ll have been gone for just about four years. Yeah. Which is hefty.

[00:30:49] Stephen: Yeah. Cause he says, when I get back, my son will be six.


[00:30:51] Rhys: It’s in material for you

[00:30:53] Stephen: buddy. Hate to tell you this, but

[00:30:56] Rhys: yeah. So we’re back to launch day and Dr. Hunger’s press conference with the [00:31:00] two actors who were in it. So little, I didn’t bother looking up what they’ve been in. And the scene does a really nice job. She actually goes through an inner introduces every member of the crew.

She tells you who they are, what their job is on the thing. There’s a little tiny like interview snippet with them. Kind of thing.

[00:31:18] Stephen: With some really cool backgrounds video while they’re talking in the monk, buddy suits, wheeling out this big engine thing in the back, I was like, yeah, he’s just sitting in a chair while they’re doing this.

[00:31:31] Rhys: William and rose are doing the piloting of their perpendicular to the rest of the crew during launch, because once you’re in zero JS, it doesn’t matter what weighs up.

[00:31:39] Stephen: And that looked really cool too. Yeah.

[00:31:41] Rhys: W one of the things that was really odd to me was that once they cleared atmosphere on launch mission control decides they’re going to play blue Danube.

It’s Hey, here you go. But if you think about it, that move with space, that from song is most well-known for 2001, a space Odyssey, [00:32:00] right? Yes. Ends in

[00:32:01] Stephen: disaster. Maybe that’s the little wink, wink, nudge, nudge from the director. Yeah. Yeah. The

[00:32:07] Rhys: other thing, and again, this is like a little thing, it’s a nitpicky NASA thing, but like Andre says that he’s spent more time in space than anyone else, he’s like proud of that.

There is a cap to how much time they will let astronauts be in space. And once you reach those hours, you’re not allowed to go back because of the cosmic radiation buildup in your body that we really don’t have any kind of shooting

[00:32:33] Stephen: for. We don’t want the silver surfer on earth. So exactly.

[00:32:38] Rhys: So you know him saying that his little incongruous.

They wouldn’t have put him on this mission, not

[00:32:45] Stephen: unless they said pretty much, you’re not going to come back. So you might as well go. I guess that’s one way to look at it. It’s

[00:32:53] Rhys: like, all these people are like, yeah, I’ll go to Mars. And I’m like, okay if you’re going to go to live on Mars, you’re never coming back.

Because the [00:33:00] chances of you dying are astronomical. Again, if you’re just landing and picking something up and going back, it’s not a big deal. It’s not till you move in that it becomes an issue.

[00:33:09] Stephen: Look at mark Watney again.

[00:33:10] Rhys: Exactly. James does this kind of video tour. He’s got his camera and he’s like doing a video of the habitation module and stuff and up in the cockpit for his kids, which is super cool.

And it’s a really nice way of him. Orient the audience to here’s our ship. This is how it works. We have gravity in here. And when we go up here, we don’t and isn’t that cool. And so he goes through and like introduces cast members again. And you can tell he’s the junior engineer. Cause when he like shows the shot of Andre, who was the chief engineer, Andre’s would you put that down?

Let’s get some work done kind of thing.

[00:33:49] Stephen: Arguably that’s a pretty big camera. They got weight limits couldn’t they have found them a smaller little camera.

[00:33:55] Rhys: Oh, trust me. There’s a lot of stuff they brought with them that wouldn’t have been their [00:34:00] first.

[00:34:01] Stephen: He has headphones on and it’s yeah, I don’t see you taking that based on what I know, which isn’t, obviously.


[00:34:08] Rhys: no, you’re right. Every single ounce counts.

[00:34:10] Stephen: So that sounds like a t-shirt they should make t-shirts for the missions Europa report, every single ounce counts.

[00:34:17] Rhys: I can think of some better ones. If it’s stuck, don’t force it.

[00:34:22] Stephen: That’s so catchy. Yeah. Yeah. We’ll get to that in a minute. Yeah.

[00:34:28] Rhys: And then there’s a few more establishing shots showing how well the crew’s getting along.

It is like a little family kind of thing. And then we move along. Time-wise it jumps back out to that six month mark, but it’s not quite the six month mark where everyone’s sad because James has gone. Cause James is still here. So if you’re watching, you’re thinking to yourself, we’re going to find out what happens to James.

And I don’t really know that you do right here, but they moved back to six months out. Everything seems good. Hunger’s at a press [00:35:00] conference.

No wait, sorry. My notes jumped.

[00:35:07] Stephen: Oh, it’s like the movie. Yeah, exactly. And that was, one of the other science fiction, things that you didn’t get in this one, people would get nitpicky, but it’s always mentioned and pointed out in these type of movies that as I get further away from earth, the communications take longer, there’s always mentioned, it’s always calculated and that’s going to be 8.39 minutes, and they didn’t mention that again.

That’s why it didn’t feel so science fiction to me, and maybe that’s why people have to get so nitpicky is because they need to find something in there,

[00:35:38] Rhys: and they solved that though, because at six months they lose communication altogether. So the lag is no longer an issue because they can scream all they want.

If the signal is not being sent back, nobody’s going to hear it.

[00:35:54] Stephen: That’s true.

[00:35:56] Rhys: So we go back to 19 months since the launch, [00:36:00] after this whole introductory. James has already dead. The male members of the crew are talking to Andre about his recovery and about what happened and his mental trauma. And he doesn’t want to talk about it.

He just basically turns around and climbs up the ladder and just leaves them there. And here they make a very important decision because the plan was for them to get to Europa, have the, or had the Europa Voyager orbit, send a Lander down to Europa to run three weeks of tests and then go back up and Andre was going to be in the orbiter that whole time.

And William the, he’s the commander of the trip. He’s I don’t feel good leaving him up there by himself for three weeks. So they decided to bring him with them plus the downer man, because James has gone. So they don’t leave anyone in the orbiter, which I don’t know that it would’ve changed the outcome of the.

But it [00:37:00] definitely would have been slightly different in that there would have been one guy left alive.

[00:37:07] Stephen: That only, but in reality, would they really have changed it and not left anybody on station? It just seems to me like the backup you would need. And I know the mental stress he was under, but seriously they go through how many tests and rigorous stuff.

So it’s okay, suck it up, deal with it. We’re on mission. I just feel like that, but that’s nitpicky and it didn’t bother me for the

[00:37:29] Rhys: movie. And honestly it’s it’s a toss of the coin because you want to have an engineer with you down there in case things go sideways. And you’d like to have an engineer open the order in case things go sideways.

And they had to at the start of the movie

[00:37:47] Stephen: for three weeks with that thing, floating around, if something would have hit it or you off course a little bit, they can’t wait three weeks and then go, oh crap. We don’t know how to get back. [00:38:00] Yeah. I’ve played that video game.

[00:38:05] Rhys: Yeah. So now we jump ahead again at 21 months out and they have arrived at Jupiter and they’re on their approach.

And it moves fast here. There’s some beautiful shots of Jupiter as they’re approaching. They leave Jupiter’s well, you never really leave Jupiter’s orbit, but they leave Jupiter’s orbit and start orbiting Europa. And the Lander starts coming. As they’re coming down and landing zone, there’s some thermal venting that happens that knocks them off course slightly.

And they end up on the surface, but about a hundred meters off from the landing zone

[00:38:39] Stephen: just it doesn’t seem like it does, but it seems like it’s a big deal to them, but I love the scientist who he’s like, Hey, you know what? Even if we don’t find anything, that’s a discovery. That’s true scientist thinking.

And he’s here’s w we’ll see what we do find that at least it’ll be something. And I think that

[00:38:56] Rhys: was, that was really interesting because [00:39:00] William’s the commander of the mission. And his whole thing is to get the mission there and get it done. And then get out. And he’s the one who’s saying, if we don’t find anything, that’s still a discovery.

And then you have Katya who is a Marine biologists, and she’s yeah, but really come on. We can look a little more. It can’t wait just a little bit more.

[00:39:18] Stephen: Which I don’t know if a Marine biologist would have been the top priority type of scientist to send on the first mission, that’s maybe just me.

No, that’s not how I would have outfitted my party in the pub.

[00:39:30] Rhys: So if you’re outfitting in the park, in the pub, you have two pilots, two engineers and two scientists. So she was the Marine biologist, but Daniel, actually the head of the chief scientists, science officer, who’s there, we don’t really know what his specific background specialty is, but and Neil deGrasse Tyson’s whole little thing is, I want to cut a hole in the ice and go fishing and see what licks, looks the end of my camera, which was

[00:39:56] Stephen: Funny.


[00:39:57] Rhys: That is like part of the big part of the big [00:40:00] thing. People are excited to go to Europa because that’s a lot of ocean and you can have stuff down there.

[00:40:04] Stephen: Yeah, absolutely. Yeah. It’s all academic for us right now. That’s true.

[00:40:09] Rhys: So they land the biggest technical nitpicky thing that I’ve come across that I can actually get behind is they land and I get it saving budget and everything.

The force of gravity on Europa is like, What is it? Point one, three for that of earth. So they would still be almost floating as there.

[00:40:34] Stephen: Yeah. And really, like you said, the, all the weird stuff going on, Jupiter man would be pooling so hard. I’m surprised they didn’t have even worse problems. Jupiter.


[00:40:46] Rhys: hard, the four inner gov and moons are tidally locked and they’re locked up so that every rotational sequence they go through, they will line up on occasions. And when you have three of them lined up in opposition with the other [00:41:00] one, the gravitational force is so great. It actually squishes the other moon.

So it becomes like football shaped. And that’s what causes like all these massive geological activity on these things. It’s just the force of gravity crushing these moons over and over again.

[00:41:16] Stephen: So what we’re really saying here is if you do get a chance to go to Europa on a space, mission up your life insurance for your family.


[00:41:25] Rhys: Fine, they’re walking around normal earth, gravity, whatever, or they start to, they start drilling through the ice to get their probes in. As the sun goes down and the sun’s not really going down. It’s, they’re ending up in the eclipse, but as night sets in there are quakes on the surface as the temperatures drop.

Now, another one of the nitpicks is somewhere in there. Someone says something about absolute zero and the surface of your open never gets to absolute zero. It hits something like 75 [00:42:00] to 150 degrees Kelvin. So it doesn’t get that cold, but still.

[00:42:05] Stephen: Okay. Just the question for me is did some of these people realize that this is a fantasy horror type movie and not a real documentary?

I say it, it’s not real folks.

[00:42:18] Rhys: I’m thinking a lot of the people who are, having these arguments were like people I work with who are like, oh, Hey, there’s like a realistic depiction of a space ship, space, mission. Let’s watch it. And then they sat there and watched it. They’re like, oh, come on. The gravity is nowhere near

[00:42:32] Stephen: that stuff.

You remember that day at work when like none of them seem to get done. That must have been when this movie that’s, when this got

[00:42:39] Rhys: released. That’s right. They all got on. Started typing up.

[00:42:44] Stephen: I can’t let that stand.

[00:42:45] Rhys: Andre sitting in the habitation module. He’s the only one in there and he sees some lights outside and he’s whoa.

And he tries to record it. No success. He tells the crew. And because of the state of his mind where he’s at, [00:43:00] they blow him off. Katrianna seems much more into the idea that he saw something.

[00:43:05] Stephen: Of course she’s the Marine biology.

[00:43:07] Rhys: And then they use this. This meme every time in a movie where they want some sort of monstery thing with external force, it glitches your cameras.

For some reason,

[00:43:19] Stephen: you got to show it

[00:43:20] Rhys: somehow, so you can see that the camera’s all glitch at some point in time when he started to see these lights, so that kind of coincides with it, they call it radiation interference. I’ve never known of radiation to interfere with the frame rate of anything.

[00:43:35] Stephen: But that kind of show with the lights and the radiation. I took it as, Hey audience. This is the hint when the monster shows up and this monster is causing this, which means that’s not good, but they don’t show the monster. We seem to like movies where they don’t show you the big rubber monster throughout the whole thing, because it adds more tension.

[00:43:55] Rhys: It reminds me of the hacking scene from the movie earlier this season, [00:44:00] Where, all of a sudden, there’s a line of code that shows up on your screen that doesn’t actually happen when you get hacked guys. But it’s a good way to show the audience that had happened.

[00:44:09] Stephen: I actually had a weird problem on my Linux laptop where I couldn’t log in and I know I was hitting my password and I started trying other passwords and it started like blinking and listing all the passwords I had typed.

And I’m like, oh, that’s not good. I liked the system. So I don’t know what’s going on. But anyway, I digress.

[00:44:30] Rhys: So Katriana seems more into the notion that he did see something there’s this very brief jumped back to three days after the launch and James and Andre are arguing over the possibility of life, actually being there, they’re making a bet on it.

Then it jumps right back to the present and Andre is obsessing on what. But he even has considered the possibility that he just might be crazy. Daniel’s you need to get some sleep and he’s no, I’ve got to be alert and awake for everything. Which if you’re thinking you might be crazy, [00:45:00] a little sleep goes a long way.

My friend.

[00:45:03] Stephen: Yeah. Again, this is where the movie, the real horror of the movie is our inner fears, the unknown, because how many times do people? I thought I saw something out the car in my head, but I’m going to dismiss it,

[00:45:14] Rhys: yeah. So the next day, the drill makes it through the ice.

They send their probe down. There’s it’s of course beautiful and pristine as it would be. Then they hear this noise like a whale song. And someone even makes a joke about it being well song. And then you can see the radiation levels are starting to rise and you get your camera glitch indicating that there’s radiation, it’s affecting the cameras, but it’s coming from below the ice.

I should be shielding them from the rest. Then they see a light. They can’t identify and they’re about to grab some samples and the probe goes dead. It’s been hit by some.

[00:45:51] Stephen: And I loved this and there’s other things, with the whole dismissing it, blah, blah, blah. It’s parallels to all the footage we have nowadays of paranormal [00:46:00] stuff that people dismiss it because, oh, it could be shadows oral, it could be this.

And they do that in this. So it does make you question. Was it just radiation from the sun? Was it the heating and cooling of the ice? Was it, any of it could be explainable but you eliminate all that. It’s there’s a creature here that is hunting you essentially, but they dismiss it on it.

Very realistic in that sense, all you nitpickers. Yes.

[00:46:26] Rhys: Katia wants to walk out to the original landing zone and get samples there, which is what they wanted to do originally. Now we go back to six months after the launch. James is sending message to his family, talking about how much he misses them and it’s really like giving on him.

And then you find out mission control, loss, communication with them because of a solar storm, which is, it’s a legitimate thing. It can actually happen. It didn’t even have to hit their ship. It could, big enough CME that hits the, our planet will fry communications much less. That little [00:47:00] thing it did drive me nuts a little bit that they added sound effects to the coronal mass ejection cause examined space, okay, whatever

[00:47:10] Stephen: clip of film footage I’ve ever seen has had that.

So it must exist. Reese, come on, you guys must be lying about that.

[00:47:16] Rhys: Andre and James are going to go out spacewalk repair, the damaged communication equipment. This kind of thing is they do this at the ISS all the time. They’re running out of time. So they’re going through panel by panel, looking for stuff they get to this end panel and open it up.

And there’s a Friday. And of course, there’s one bolt that just won’t come out. If you’ve ever worked on a car, you can get three of the four bolts out. But that last one just won’t freaking come out. So Andre decides he’s going to force it and his glove catches something and it rips his glove.

[00:47:48] Stephen: Now I questioned them.

You want to be nit-picky. These guys are supposed to be highly trained. They know the, where they’re at in the situation. I’m not sure he was like banging on it until it came free. The

[00:47:59] Rhys: [00:48:00] funny thing to me was that, and I get it from a character standpoint. The funny thing to me was that they chose the senior engineer to be the one who.

Like overreacting because perilous because of it, that seems like something that junior engineer would do, it’s oh no, won’t get this. And,

[00:48:18] Stephen: but he was supposed to Russian. So it fits that stereotype.

[00:48:21] Rhys: So it rips his glove. He falls off the side. He’s harnessed to James, James grabs him and brings him back to the airlock.

They’re about to come in. And that’s when they noticed that James has hydrazine all over his suit. And hydrazine is a common propellant use in space missions. It’s crazy poisonous. And if they get into the decompression chamber and pressurize the decompression chamber, then it’s going to get into the air.

It could very well kill everybody. Who’s on.

[00:48:52] Stephen: And this was another little thing. They never really explained that in detail, you figure it out as you’re going through the scene, which I loved. I [00:49:00] don’t need hit over the head with all that, but most Saifai you would be talking in all these numbers and it’d be this many minutes.

And how much did you get on you? A deal 2.3 liters and

[00:49:11] Rhys: calculating.

[00:49:13] Stephen: Yeah. So again, that took it out of the Saifai realm for me. But I liked it, that they didn’t feel the need to have to go into these, hit you over the head details to explain it.

[00:49:24] Rhys: Survivalist horror actually is what you’ve got here.

Right? James Franklin with his arm in Iraq.

[00:49:29] Stephen: I think this is a lot more scary to me than like a desert island though.

[00:49:34] Rhys: I’m never going to space, right?

[00:49:36] Stephen: I’ll, I’m not going to put it on my calendar.

[00:49:40] Rhys: So Andre actually has a good idea. We’re just going to take you out of your suit.

[00:49:45] Stephen: That is the part that actually made me get oh dear God, I couldn’t handle that.

I was like feeling, the butterflies just yeah.

[00:49:52] Rhys: And you can do that. You, the thing that’s going to kill you fastest in space is you’re going to fixate. You’re not going to freeze. You’re not going to [00:50:00] boil, not in the pressure,

[00:50:03] Stephen: not immediately.

[00:50:04] Rhys: But you’re not going to have any air for three minutes.

If you go past three minutes, you’re going to have some problems. So him getting him out and into the airlock is actually a really good solution. Unfortunately, he has no air because it’s been leaking out of a suit and he passes out. Yeah. So James doesn’t really have any other option. He pushes Andre into the airlock and closes the door and tells them to seal it, which they do.

And then James, just very lonely drifts off into space.

[00:50:33] Stephen: Right? Which I wondered why he wasn’t latched on to something at that point. And that’s something else that they, the first thing they always do is lie. You’re always tethered. Yeah. Yeah. He wasn’t even tethered to the anything.

So I questioned that, but Hey, it made it very dramatic.

[00:50:50] Rhys: There’s a lot of procedural things like there would’ve been everybody there would have had an Eva suit, somebody else could have thrown the suit on at the very moment that glove tour, somebody [00:51:00] should have done it. Been in the airlock, been able to come out, executed the removal thing.

[00:51:06] Stephen: Don’t they always have someone waiting with a suit on. I thought that, I don’t know. I’m just saying from what I’ve read elsewhere.

[00:51:14] Rhys: But again, like you said, tension games dies. See James

[00:51:19] Stephen: slowly. Yeah alone. You know what I mean? Think about that too. But when he starts floating away, he probably lost sight of the whole thing before he was gone.

There’s nothing around you by the time you’re almost, that’s scary as hell. That’s worse than the ocean. The

[00:51:40] Rhys: odd thing though, now that I think about it, he might never have lost sight of it really he’s traveling the same speed it is.

[00:51:50] Stephen: And so he was moving away from it. He

[00:51:52] Rhys: Pushed off, so his vector would have moved him to the side, but it would have taken a very long time at that speed for, but [00:52:00] he would have kept going in this direction with the ship because there’s no wind resistance to slow him down.

[00:52:08] Stephen: That’s a lot of math is just one more thing for the nitpickers to go after. So there you go.

[00:52:12] Rhys: We’re back to the future now. They’re voting on whether or not catch it, gets to do the walk. And of course you’ve got some people like is definitely against it and William’s definitely against it. On the other hand, Daniel’s yeah, Katia is.

Yeah. So it comes down to Rosa to break the tie and Rosa agrees and cautious excited grabbing her gear. She heads out the door. She’s got her helmet on, there’s a little rad meter on the HUD in her helmet. So we’ll know when the monsters close.

[00:52:44] Stephen: That thing seems to be ticking up quite a lot. Based on the amount of radiation that seemed to be showing to me, you probably wouldn’t have lived long afterwards. Anyway.

[00:52:55] Rhys: Now one of the things I love about this shot though, is like the camera’s in. Really [00:53:00] close to her. And as I’m watching it, I’m looking at her eyes.

I’m like her left eye is dilated and her right eye isn’t.

[00:53:06] Stephen: Yes. And that was to me, another indicator of the monster. And that’s what I took it as the intense radiation blew her eye out. Actually, maybe hallucinating or something too. I don’t know.

[00:53:19] Rhys: It’s actually called coloboma and it’s a birthday.

Really? Yes. She’s really like that. In utero, her left, Iris never fully formed.

[00:53:29] Stephen: That’s crazy because it fits so well with this movie. I wonder if they did that on purpose then knowing that, put the camera on that side. I don’t know. Maybe they used it because I was like, oh man. She’s. Cause she just that scene, she just stood there staring and the radiation was clicking up there and saying, come back.

And she was losing oxygen slowly. Cause that was fine. But I’m like all this combining, maybe the monster, like with the radiation. It sounds star Trekkie, but it like blew her eye out and controlled her [00:54:00] mind almost hypnotically and stuff. And I just took it as an indicator. That’s pretty cool though.

[00:54:05] Rhys: Yeah. She’s grabbing samples out there. Geiger counters going higher and higher. She makes the discovery of a unicellular organism while she’s out there. Very excited. She’s got 90 minutes of oh two left and then she sees a light in the distance and she’s oh, I’m going to go check that out. And people are like, no, don’t do that.

[00:54:28] Stephen: Which again, she’s not thinking straight. I took it as, the monsters.

[00:54:33] Rhys: There’s a bio, there’s a bluish glow under the ice. And she’s playing games with her own lights. She’s going to turn the lights off. She’s getting her lights on. She thinks it’s bioluminescence. And then the ice breaks under her and she’s gone under the ice under the water.

And there’s a shot of her face. Her eyes are just wide with shock and then there’s.

[00:54:53] Stephen: And the reflection of the light and that’s the, you see the monster the most, that way [00:55:00]

[00:55:00] Rhys: the crews debating whether or not to leave now or try and get more data, they decided to leave at the next launch window and the launch doesn’t go smoothly.

Equipment’s malfunctioning left and right. They can’t get a safe launch speed. The engine shut down, they’re crashing down. They’re going to crash on the surface of Europa William on buckles himself. And he blows the water shielding to help slow down their descent.

[00:55:22] Stephen: And it’s saved you, but you’ll just die anyway.


[00:55:25] Rhys: it’s true. He gets bounced around like a doll he’s dead camera goes black water shielding, a water does a great job of blocking radiation. And so they’ll put a coating of it in between the whole inner hole and the outer hole of the ship to help block radiation. And in this case, he blows it all out the bottom and it helps to helps slow their descent.

The ship is a shambles. When the power does come back on roses, the first to wake up, manages to get the lights on the sheep, and then she goes down and she’s waking Andre by smacking him in the face, which is the least safe way possible for [00:56:00] someone who might have a neck injury, in, in five minutes in this movie, it’s not going to matter.

They ended up actually landing in the original landing zone and it turns out it was a bad place to land. The ice is cracking under the way to the ship. They’re losing oxygen. They’re losing heat. Andre thinks he can still get them into orbit. Daniel’s no, we’re done here. And it turns out one of the fuel lines froze and that’s what caused the problem. So Andre and Daniel are going to go out and unstick the fuel line while roses in the.

Firing the ship to, get up

[00:56:34] Stephen: there. I see they got that tape at Lowe’s. You should’ve just wrapped it ahead of time. I know you’ve crawled under buildings to rabbits shrines. Yeah,

[00:56:44] Rhys: absolutely. And now we find out that interview with Rosa was not an interview. It was her talking into a camera this whole time.

I saw the interview. The first time I watched it, I thought, oh, at least one person survives. Nope. That’s not it. No.

So as Daniel’s [00:57:00] leaving, the ship has Geiger counters already, way up high, the ladder broke off, but he manages to get to the ice. There’s a shutter and a grind and he’s gone. Andre’s telling Rosa to turn on the exterior lights, but she’s flicking the switch nothing’s happening.

He says the ice is cracked beneath him. He’s surrounded by lights. He’s got.

[00:57:25] Stephen: This is like the movie aliens. When you tally, who keeps diet, except this one’s a lot easier.

[00:57:30] Rhys: He was going out, Andre went out to turn off the life support because there’s, he’s admitted. There’s no way they can get off the moon now, but he can turn off the light support and use the parts to get the radio up and running and they can transmit their feedback.

And so that’s what he was doing when all of a sudden all the lights and the interference he does get the communications array up before he gets disappeared by [00:58:00] a bunch of lights in the ice.

Then the interference starts on the interior cameras with Rosa and water starts streaming into the living quarters. And she’s watching as a mass of tentacles floods in, and then there’s this flash of. Creature. And then it cuts to Ungar who wraps up Dr. Unger wraps up the whole mission. And that’s the end of the film.

[00:58:24] Stephen: You do get the, oh, I did recognize the one scientist guy on earth with the beard. Must’ve I recognized him from something. I was go look him up, but you get him going. Yeah. They all died, but while we found out there’s really life out there, which is, that’s a good

[00:58:42] Rhys: thing to do. Yeah. We’ll remember you one day of remembrance at NASA.

[00:58:46] Stephen: Yeah. You know what? That was the mission. That was the risk. Nothing I can do about it, but they have, we’ve got life now.

[00:58:53] Rhys: Two closing notes on this film in the novel 2010 Odyssey to [00:59:00] see Arthur Clark basically writes that a Chinese mission went to Europa. And this is exactly what happened to them. So this was like an adapted drama to stations of this little snippet in Clarke’s novel, a SQL to 2001, a space Odyssey.

Oh, that’s cool. I like that. And the creature also now I, this is iffy, but people have said the creature bears a close resemblance to the aliens in the space creature movie monsters from 2010.

[00:59:31] Stephen: Oh, I thought they looked like the things from the matrix.

[00:59:36] Rhys: And I don’t know that it’s not a one for one representation, but CRA monsters mentions a crash probe from Europa in it.

Which is kinda cool. Maybe,

[00:59:47] Stephen: What all that means is that it’s the government getting us ready to tell us that there really is these alien life forms and they’re coming for us. That’s what it means. That’s what it was.

[00:59:59] Rhys: [01:00:00] That

[01:00:00] Stephen: is your Roper report. There’s your robot or not? Yeah, arguably it’s a slow burn.

It’s not the high-intense action of some of the movies. Definitely not, but if you like space and you like horror, it’s a good combo. There’s not a ton of those other than alien and stuff, but they’re all about the same. It’s all the dear God, we’re going to die because we’re in space and the aliens are getting us

[01:00:26] Rhys: in the visitation.

Here is us visiting. And the alien visiting the landing craft

[01:00:33] Stephen: and it coming in to see now here’s another question I had, do we know pretty positively under Europa that it is H2O. It’s not some other form of liquid something.

[01:00:46] Rhys: We do think it’s water. Because of the way it looks, it vents quite frequently from the pressure of getting crushed.

So it’ll come spraying out and they can [01:01:00] actually study the spray telescopic early.

[01:01:04] Stephen: So I just went because if they do come to earth, then they can theoretically survive the closest to the sun or the difference in pressures or whatever. Just like

[01:01:15] Rhys: the 2010 movie monsters.

[01:01:19] Stephen: I’ll have to go watch that one now.

So good. Alright. Good movie, man.

[01:01:24] Rhys: Our next one is much closer to home where we’ll be watching through the mouse. It takes place on earth, no aliens, definitely a horror film,

[01:01:33] Stephen: something totally different. I don’t know that one either. Awesome. Good. All right, man. Thanks.

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