Spaceman: Adam Sandler’s Bold Shift from Comedy to Cosmic Isolation

Adam Sandler’s latest film Spaceman is a radical departure from everything we've come to associate with the actor. Over the years, Sandler has built a reputation as a comedic legend, from the goofy charm of Happy Gilmore to the slapstick fun of Grown Ups. Whether through his iconic wardrobe or witty one-liners, he’s always managed to make audiences laugh. His casual outfits, often featuring baggy basketball shorts and oversized T-shirts, became as much a trademark as his comedic timing. Sandler’s humor transcends generations, keeping him relevant and beloved by moviegoers for decades.

So, when I had the opportunity to attend the premiere of Spaceman at the luxurious Egyptian Theatre in Hollywood, I was eager to see Sandler back on the big screen. I went in with minimal knowledge about the film, only knowing that it was set in space and that Sandler was the lead. Naturally, I expected some comedic element, maybe even a lighthearted space adventure. As the premiere began, I awaited Sandler’s usual bold fashion choices, perhaps a signature pair of basketball shorts, but to my surprise, both Sandler and the film’s director, Johan Renck, appeared in formal attire. What really threw me off, however, was their announcement that Spaceman was “not a comedy.” This revelation immediately put a damper on my expectations, and while it clouded my initial feelings toward the film, I have to clarify that my disappointment in Spaceman wasn’t solely due to its lack of humor.

The film is based on Jaroslav Kalfař’s novel Spaceman of Bohemia and follows Jakub Procházka (played by Sandler), a Czech astronaut on a mission to explore an interstellar cloud near Jupiter. The plot centers around Jakub’s intense isolation as he spends a year alone in space, competing against South Korea in a cosmic race. His wife, Lenka (portrayed by Carey Mulligan), is pregnant and growing increasingly frustrated with Jakub’s emotional and physical absence. Despite having access to a communication service called Czech Connect, Lenka refuses to speak with him, and their relationship begins to unravel. Jakub’s loneliness becomes unbearable, and his mental state begins to deteriorate.

At this point, the narrative introduces a bizarre but intriguing twist: Jakub starts communicating with an alien entity—a massive spider voiced by Paul Dano. This arachnid is not just any space creature; it can speak English and seems to have the ability to probe Jakub’s deepest insecurities and regrets. The spider serves as a psychological mirror for Jakub, reflecting his unresolved issues from his childhood to his failing marriage. Instead of providing comic relief, Dano’s spider becomes a somber and somewhat unsettling presence, serving as Jakub’s only outlet for his growing depression and isolation.

The premise of Spaceman certainly had the potential to be a deep, emotionally gripping narrative. The concept of an astronaut dealing with loneliness, coupled with the idea of a giant, talking spider acting as his therapist, could have made for an innovative story. However, the film’s execution left much to be desired, and it ended up feeling like a misfire, especially considering its apparent influences from other space dramas like Interstellar.

One of the most glaring issues with Spaceman is its disconnect from its Czech origins. For a film based on a Czech novel and featuring a Czech protagonist, there’s a surprising lack of cultural authenticity. Sandler and Mulligan both adopt slight Eastern European accents, but the film is entirely in English, even in scenes set in Czechia. This decision felt odd and somewhat alienating. It was as if the story had been uprooted from its cultural foundation, and as a viewer, I struggled to connect with the characters because of it. The accents were inconsistent, and the setting felt detached from the narrative, weakening the film’s overall impact.

The dialogue also lacked depth and substance. The repetitive nature of Jakub’s conversations with the spider, who continuously refers to him as “skinny human,” quickly grew tiresome. What might have been an opportunity for some lighthearted banter or comedic relief instead became a monotonous exchange of Jakub pouring out his existential fears to an alien creature that seemed to offer little in return. Paul Dano, as talented as he is, wasn’t given much to work with here. The spider’s dialogue became repetitive, and after a while, I found myself tuning out.

Another major issue I had with the film was Jakub’s character. For a protagonist, he’s surprisingly unlikable. His decision to leave his pregnant wife on Earth for a second space mission, despite the obvious strain it placed on their marriage, made it difficult to sympathize with him. While the film may have been attempting to explore themes of emotional detachment or avoidant attachment styles, Jakub’s actions came across as selfish, and I found myself more frustrated with him than empathetic. His loneliness in space felt more self-inflicted than tragic, and the film didn’t do enough to redeem him in the eyes of the audience.

The film’s pacing also contributed to its downfall. For a story set in space, where the stakes should feel high, Spaceman moved at a sluggish pace. Scenes dragged on, and the film seemed more interested in showing Jakub’s emotional breakdown than advancing the plot. By the time the credits rolled, I felt mentally drained, not because the film had delivered a powerful emotional punch, but because I had spent two hours waiting for something more to happen.

Ultimately, Spaceman missed an opportunity to blend whimsy with a meaningful emotional arc. The idea of a lonely astronaut and his talking spider companion could have been a perfect addition to Sandler’s comedy repertoire, especially if it had embraced a more lighthearted tone. Instead, the film’s attempts at serious, psychological exploration fell flat. In trying to be profound, Spaceman ended up being a lackluster experience that neither captivated nor entertained. While it’s far from the worst film of the year, it’s certainly not one I’ll be eager to revisit.

In conclusion, Spaceman stands as a curious experiment for Adam Sandler—a break from his comedic legacy that, while admirable in intent, ultimately misses the mark. The film’s lack of cultural authenticity, weak dialogue, and unlikable protagonist contribute to its overall failure to engage the audience. Despite the intriguing premise, Spaceman is a forgettable entry in Sandler’s filmography, a far cry from the beloved comedies that have cemented his status as a Hollywood legend.