Jupiter Ascending: A Feminine Drama Masquerading as a Space Opera

A woman’s journey of self-discovery and winning over Channing Tatum, disguised as a grandiose space opera.

Humans didn’t originate on Earth. They evolved on a distant planet billions of years ago and spread throughout the universe, seeding habitable worlds with their DNA. However, their intention wasn’t to expand their numbers. The humans on these seeded planets are merely livestock, a source of raw material to be processed into an elixir of eternal youth. There’s only one exception to this rule: if, through genetic recombination, a “livestock” planet happens to produce a doppelganger of an influential alien, that individual can gain universal human rights and even lay claim to the “family” inheritance. Jupiter Jones (Mila Kunis) is precisely such a genetic match. A half-Russian cleaning lady from Chicago, she’s unaware that she’s the spitting image of a deceased alien who owned a significant portion of the universe. When the heirs of the Abrasax clan discover this unexpected “relative,” one sends assassins after her, while another dispatches a former galactic special forces operative, Caine (Channing Tatum), a half-human, half-wolf, to protect her.

A Change in Perspective: From Brothers to Brother and Sister

When Larry Wachowski announced his gender transition to Lana Wachowski, it was a personal matter concerning only his loved ones. Moviegoers who didn’t know him personally were entitled to ask only one question: “Will the work of the creators of ‘The Matrix’ change when they become not brothers, but a brother and sister?” Now we know the answer. The work has changed. And how!

More “Girlie” Than “Hunger Games”

We were shocked when we realized it, but the fact remains. Although screenshots of “Jupiter Ascending” evoke memories of “Star Wars,” “Dune,” and even “Lexx,” the film has much more in common with “Twilight.” It’s arguably an even more feminine film. And certainly more “girlie” than the action-packed “Hunger Games” and “Divergent,” where the heroines succeed because they’re no weaker than men.

Jupiter’s Journey: Finding Inner Strength

You can’t say that about Jupiter. Defying the heroic tradition of “Star Wars,” she doesn’t master any martial arts and doesn’t seem to kill anyone with a blaster, because she doesn’t really shoot at anyone. She also lacks the abilities of a technomage or telekinetic. Jupiter is an ordinary girl, and her combat repertoire is limited to a kick to the groin. She doesn’t command armies, doesn’t incite rebellions, doesn’t inspire fighters for democracy… In short, she doesn’t do anything that heroes of “male” science fiction or their imitators from “female” films are supposed to do.

What, then, is her plot “quest”? To find her own dignity. Frankly, at the beginning of “Jupiter Ascending,” Jupiter is a submissive doormat, walked all over by everyone from her colorful Russian relatives (thankfully, without a samovar and balalaika!) to cosmic killers. But when the Abrasax trio begins to use her as a pawn in their inhuman game for influence in the universe, the girl gradually realizes that she’s not a trembling creature, but has a right – the right to choose. A choice between an eternally young handsome man (a vampire!) and an unsociable half-wolf (a werewolf!). A choice between living on her knees or dying on her feet. A choice between saving Earth and saving her family. And many other choices that can arise in a girl’s life in her position. And although Jupiter isn’t able to defend her decisions with magic or grenades, she understands that enemies can capture or kill her, but they can’t deprive her of her inner freedom and turn her back into a “good girl” who is bossed around by everyone.

Echoes of Soviet Cinema: A Woman’s Path

A strange parallel, but when you think about Jupiter, you remember Vera Maretskaya’s character from the Soviet film “Member of the Government.” Remember her legendary monologue? “Here I stand before you, a simple Russian woman, beaten by my husband, frightened by priests, shot at by enemies, resilient…” This, of course, isn’t a portrait of Jupiter, but it’s the same spiritual path – the path not of a superhero, but of a woman who hasn’t become a tomboy, but is tired of being afraid. And who, in the finale, finds not a Jedi sword and not pride in victory over enemies, but the joy of life and romantic love that had previously eluded her.

A Film for Those with “Lined Eyes”

When you realize that “Jupiter Ascending” should be watched with “lined eyes,” you immediately begin to understand why the film pays more attention to surreal alien outfits (what a gorgeous wedding dress Jupiter has!) than to the incomprehensible battle scenes, which are like defective Christmas tree decorations – they sparkle, but don’t bring joy. Moreover, for such a film, there are too few battle scenes in “Ascending”: something at the beginning, something at the end, and a gaping hole in the middle. The Wachowskis clearly paid more attention to the family passions of the Abrasaxes than to the battles filmed for show. But there’s more than enough eccentric design in the film. Well, and when Channing Tatum takes off his shirt for no particular reason and begins to walk around (and fight!) shirtless, even the most inattentive viewer will understand that this is a film for fans of “Super Mike.”

Missed Opportunities: Where the Film Falls Short

The problem is that it would have been better if everything in “Jupiter Ascending” was perfect – especially what viewers go to space operas for. For example, it would have been great if the film had at least one truly exciting space shootout and if Caine wielded not a banal blaster and force shield, but some more sophisticated weapon. Yes, he also knows how to fly with anti-gravity boots. But the abundance of computer graphics only makes Caine’s fights boring “pixel battles.” Moreover, he doesn’t face a single bright opponent in any scene who would be worthy of tying Darth Vader’s shoelaces. Or Agent Smith’s. Or even the villains from “Guardians of the Galaxy.”

The Wachowskis used to know how to write such films. Now they’re more interested in scenes like the one where Jupiter awkwardly tries to confess her love to Caine. Or the one where a “relative” shows the heroine how the elixir made from humans instantly rejuvenates the skin and smoothes wrinkles. Or the one where, at the beginning of the film, Jupiter discusses with a “glamorous” employer what dress to wear to impress a millionaire. Yes, the second heroine flaunts in a bikini, and this is partly an episode for male eyes. But the female conversation about men in it is still more important than Alisha Heng’s body. Who, by the way, looks surprisingly like a hanger. You can immediately see a professional model! And from women’s, not men’s magazines. Compare her with the heroines of “Bound,” and you’ll immediately understand which film Larry was filming and which one Lana was.