Frustratingly predictable on many levels, strong acting, hard to remain invested or interested after too many twists and turns.

First the good, I enjoyed Casey Affleck, Laurence Fishburne, Tomer Capone, and Emily Beecham. Capone does a great job of portraying panic, nervousness, and anxiety in many of his roles. When he is uneasy and freaking out, I am getting nervous. Affleck did a great job presenting a man unsure of what is going on, and doing his best to piece together what is happening. You can feel his struggle of uncertainty. Fishburne always commands a presence, you don't need additional cues to tell you he is the captain. He presents as the strong authoritative leader. Beecham does good presenting as a love interest, and showing the conflicts of such a romance in such a situation.

That's about as nice as I can be. The story tells you upfront very clearly that we will experience the whole narrative from Affleck's point of view after being medically drugged for deep sleep. We are told multiple times that there might be confusion, memory loss, and hallucinations. This sets up the premise for us seeing and hearing things we, like Affleck, cannot be sure are true. The problem with a narrative like this is there is no way to know "what way is up". You are simply being toyed with by the writers with random twists explained by the sleep drugs. There is no sense of what is real, so a lot of what you're seeing, hearing, and feeling feels wasted because it is hard to get invested when you aren't sure any of it is real.

The story kind of stumbles along with a few main possibilities of what is really going on and what the possible outcomes can be. Then they slap some new ones in randomly, once again explained by the drugs and confusion. The ending felt like a flip of a coin. I am not even sure if the ending is what the writers/director wanted or visioned, or if they just threw a dart at a board and felt it was good enough.

It ambiguous enough people on social media aren't entirely sure what to make of it. Many people question what parts were real, which help justify how they came to their decision on what to believe at the end. Questions of if things shown were symbolic, and not what really happened. The problem is the movie never gives us enough to know, again to know "which way is up". I find it hard to have any investment or attachment when the viewer is left in the dark the entire time and ends without any clarity.

Spoiler view on the end. [spoiler] Some users argue the airlock scene shown at the very end is some kind of internal/mental representation of Affleck letting go of his internal views of himself. The he isn't a strong enough loner to make the trip without needing companionship. He wants/needs love in his life. Other takes are that those last few seconds are reality, but there are too many things left open or unexplained. [/spoiler]

Solid performances for a story that feels like it goes no where.

Sci-fi releases that attempt to do something more than the minimum of what’s typically expected of them are to be admired for their ambition and creativity. That’s especially true when they seek to fuse their subjects and storylines with material drawn from other genres. However, to achieve success at that, the filmmakers behind these projects need to be very precise and diligent in coming up with a mix that works, and, sadly, that’s where this offering fails – not by much, mind you, but just enough to characterize it as a well-intentioned near miss. The film follows the diverse, often-surreal experiences of an astronaut (Casey Affleck) on a daring, cutting-edge mission to the Saturnian moon Titan, one that’s to be reached via a gravitational slingshot effect around Jupiter that will propel the craft to its destination at an accelerated speed. That consideration aside, though, the journey is nevertheless a lengthy one, requiring the protagonist and his crew mates (Laurence Fishburne, Tomer Capone) to be placed in drug-induced hibernation for vast stretches of the trip, a tricky proposition given the potential side effects of these powerful substances. This blend of story elements thus sets up the characters for an odyssey (ironically, the name of their ship) fraught with strange dreams, hallucinations and other unexpected developments, particularly when the spacecraft is mysteriously damaged, placing completion of the mission in jeopardy and affecting the psychological stability of the crew. Matters become further complicated when our hero begins having visions of his romantic interest (and one of the ship’s designers) (Emily Beecham) aboard the craft. So what is exactly going on here? That’s what director Mikael Hafstrom seeks to explain, though it’s far from an easy task. While the picture has its moments of intelligence and even poetic insights, it nevertheless struggles with a narrative and screenplay that become a little too convoluted for their own good. The writing, unfortunately, isn’t completely capable of fulfilling its intent, often taking the long way around to connect the dots and involving material that could have used some cleaning up to attain its goal (such as (ironically enough) using some “slingshot” shortcuts to move the story along instead of getting bogged down in plodding, elaborate attempts at explanation). Some will also note the many thematic similarities between this offering and “Spaceman,” released earlier this year (though, admittedly, there are enough distinct tonal differences and plot devices to adequately distinguish the two films and keep them from being labeled copycats). And then rhere’s the production’s tendency to push the limits of appropriate on-screen violence, verging on becoming a little too gratuitous though never actually crossing the line of acceptability (despite coming precariously close on occasion). Regrettably, these shortcomings detract somewhat from some of the picture’s genuinely fine attributes, such as some gorgeous special effects, a simple but smart production design, solid performances and a catchy soundtrack. It’s truly a shame that those elements noted above don’t match the level of these qualities; had “Slingshot” done so, this would have been a stellar release in the same vein as offerings like “Solaris” (2002) and “2001: A Space Odyssey” (1968) instead of becoming a largely forgettable sci-fi also-ran, a destiny with which it’s ultimately likely to be saddled.

In the mesmerizing thriller "Slingshot," viewers are taken on a gripping journey through the vast expanse of space and time. Casey Affleck stars as John, a character who finds himself trapped in the depths of space, leading to a series of unexpected twists and turns that keep audiences on the edge of their seats.

While the film may have moments that captivate and intrigue, there are also instances where the pace slows and boredom may creep in. However, as the third act unfolds, the movie truly takes flight, delivering an exhilarating and unforgettable experience that makes the initial dryness worth enduring.

Throughout the film, viewers are kept guessing and questioning the fates of characters like John, Nash, and Frank, creating a sense of anticipation and curiosity that drives the narrative forward. Lawrence Fishburne shines as the formidable antagonist, bringing a menacing intensity to his role that adds depth to the story. Meanwhile, Casey Affleck delivers a standout performance that solidifies his place as a talented actor.

While the first act may feel lackluster at times, "Slingshot" is a film that is best enjoyed through streaming platforms, rather than in theaters. It's a journey worth embarking on for those who appreciate a thought-provoking and immersive cinematic experience.