Space Sweepers review: Netflix sci-fi movie feels like Cowboy Bebop
Declared as the very first smash hit Korean science fiction, Jo Sung-hee’s Area Sweepers rapidly relocates to damage any magnificence that may originate from that declaration. Throughout the launch of the spaceship Success, Jo turns the cam downward to the pilot’s feet to note his totally damaged socks, instantly undoing any possible glamour from the concept of area travel. That’s where Area Sweeper’s interests lie: with the scrabbling, clingy individuals who would fall in between the fractures in its theoretical brave brand-new world.
The year is 2092, and Earth is borderline uninhabitable, overrun by dry deserts and the dry orange color grading of Blade Runner 2049. Everybody who can manage it has actually moved off the messed up world to reside in orbit on an apparently utopian nest called Eden, constructed and ruled by a megacorporation.
Jo’s movie is worried with individuals who can’t manage the advantages of the brand-new world, consisting of Success’s eponymous “space sweepers.” The lead characters make their living as a team of freelance interplanetary rag-and-bone males who collect the scraps the rich utopians leave. The sweepers are constantly broke, as destitution looms much more ominously than the cold vacuum of area. (“Between repairs and fines, we just pay debt with more debt,” among the team grumbles early on.)
Their precarious however uncomplicated presence is disrupted by their unintentional discovery of a young kid called Dorothy, who ends up being an android apparently including a nuclear weapon. The team at first sees Dorothy as a golden goose, and they rapidly seek to ransom her to the greatest bidder to purchase themselves out of hardship. However they obviously warm to her, and take the movie down a fairly foreseeable however truly moving found-family arc. Though it’s predictable, it’s still delightful to see this cast of hardened stock types soften to Dorothy’s presence, unable to mask their glee at being included in her drawings, or referred to as “Uncle.”
At first, the crew simply focuses on accumulating enough money to buy their way to fulfillment, whatever that means to each member. To former government operative Tae-ho (Song Joong-ki, a frequent collaborator with director Jo), it’s paying the authorities to find and identify the missing body of a family member he lost long ago in an accident. Effectively, he’s being charged for closure. There’s a little less to learn about the cool and arrogant Captain Jang, Kim Tae-ri of The Handmaiden fame, whose desire for revenge is kept vague until late in the movie. Meanwhile, Jin Sun-kyu (The Good, The Bad and the Weird) gets to have fun mugging as former gang leader Tiger Park, who simply finds the blue-collar work humiliating and wants to buy his way out. He relives his glory days by bragging about how many hands he chopped off in his prime.
The interplay between these characters is the film’s saving grace, and the reason it’s still mostly a joy to watch, even when its designation as “the first of its kind” gradually becomes an albatross around its neck. Though the characters and scenario are familiar, the film is still at its best when observing the antics of the misfit crew, whether they’re getting in outrageous fistfights over low-stakes poker games or giving each other makeovers. Ironically, in spite of its supposedly lofty status, Space Sweepers is best as a hangout comedy.
That said, the crew’s vaguely sketched motivations sometimes threaten to become the film’s undoing, as the process of getting to know them is its greatest strength. Entertaining as they are, outside of Tae-ho, they can feel one-dimensional. There’s one exception: a military robot named Bubs. Bubs’ desire to assimilate with their human crew members is implicitly told through offhand dialogue and their amusingly cozy-looking loungewear. Their arc is surprisingly gentle, and while its (brief) exploration of gender identity mostly exists at the film’s fringes, it’s a pleasant deviation from the frequent navel-gazing and pseudo-profundity of most “AI that wants to be human” stories.
Outside of Bubs’ story, there’s little subtext to Space Sweepers, which wears most of its implications and class-warfare messaging on its sleeve. It’s full of narrative beats that’ll be immediately familiar to anyone, not just science fiction enthusiasts: it wraps a fairly traditional found-family plot within a grander conspiracy to wipe out the poor people still stranded on Earth. In contention with the crew of the Victory is a seemingly benevolent CEO (Richard Armitage), who quickly reveals his true nature as an eco-fascist and misanthrope. While it’s hardly an original role, it significantly benefits from Armitage’s signature ferocity. The viciousness he brought to his part as Francis Dolarhyde in Hannibal adds a little more punch to lines like “I hope you carve this deep into your heart!”
Between bursts of originality, Space Sweepers frequently appears as a collection of tried-and-tested concepts. The billionaire survivalists in particular might remind some film fans of Neil Blomkamp’s flop Elysium. But the sense of humor sets this apart from other post-apocalyptic sci-fi. The film is never too po-faced to be above the occasional fart joke or pratfall. It also contains shades of Ad Astra, which had its own amusingly mundane presentation of what the colonization of space would genuinely look like, as simply more of the same however elsewhere: the Applebee’s on the moon phenomenon. Aside from this, one of the film’s most striking elements is its casual multiculturalism. Characters from presumably dissolved nations speak to each other in a mix of their native languages, while English mostly appears as the language of power and of the film’s white antagonists.
Through that multiculturalism and the droll observations on the daily minutiae of life in the future, Space Sweepers tends to come across as a live-action riff on Shinichiro Watanabe’s famous anime series Cowboy Bebop. Bebop’s DNA is visible throughout Space Sweepers, from its clunky, characterful ships to its scrappy team trying to make their method in a future gig economy.
But where Bebop married its vignettes into a larger tapestry, the big conspiracies of Space Sweepers feel like they’re in contention with that shaggy-dog atmosphere, and they drag the movie beyond its natural endpoint. The combination of SFX and intricate set design are at least impressive to witness, both in their presentation of large-scale space battles and in cinematographer Byeon Bong-seon’s dynamic capturing of opulent future nightclubs, dingy back alleys, and the detritus outside the shelter of Eden’s walled-off paradise. Director Jo is often creative and concise in constructing action sequences, with some enjoyable visualizations, such as Bubs swinging in between pursuing spaceships like a space-faring Spider-Man. The work is distinctive and well-directed, even if its most significant strengths lie more in its characters’ charms than any of its sci-fi grandeur.
Area Sweepers manages to rise above the familiarity of its concepts, bolstered by its cast’s sheer charisma. Its many exciting and moving moments are found in the back-and-forth between its ragtag cast of characters and the minor details of its near-future world. Imagining space as an extension of earthly capitalism certainly isn’t new, but at least Area Sweepers’ cast has the collective charm to make the material feel like fresh, worthwhile viewing among the increasing detritus of streaming content.
Area Sweepers is now streaming on Netflix.
Jobber Wiki author Frank Long contributed to this report.