merica finally beat Russia in the space-race by putting a man on the moon in 1969 – a historic, monumental achievement for a governmental organization and a country. It’s an inspiration to the citizenry – as well as to fellow astronauts, including Jim Lovell (Tom Hanks), who desperately wish to follow in their footsteps, moved so tremendously by this unequaled feat. Indeed, he’s scheduled to be a commander for the Apollo 14 mission, set for the following year. But currently, Jim works in the Vehicle Assembly Building in Cape Kennedy, Florida, seemingly conducting more public relations tasks than planning for a walk on the moon himself.

In an unbelievable stroke of luck, Jim and his crew, including Fred Haise (Bill Paxton) and Ken Mattingly (Gary Sinise), get their chance much earlier than anticipated; they’re going to be piloting the Apollo 13 mission instead, which means that they’re next up for a moon touchdown, set for April of 1970. Jim is ecstatic, but his wife Marilyn (Kathleen Quinlan) has her reservations. “They’re not rushing things, are they?”

And sure enough, just two days before the launch, dependable copilot Ken is suddenly diagnosed with a high probability of getting measles, forcing him to be replaced by Jack Swigert (Kevin Bacon), a less experienced, less liked NASA hotshot. Even Marilyn doesn’t want to attend the launch, nervous about the possibilities of something going wrong. Yet that can’t possibly prepare them for the challenges to come. “Houston, we have a problem.” (Interestingly, that most famous quote is one of the few lines not taken verbatim from actual transcripts and recordings.)

Just like in previous pictures that adapted true-to-life space-going undertakings (perhaps most notably “The Right Stuff,” the gold-standard of such works), there’s a significant attention to familial issues, as if to suggest that astronauts aren’t capable of simply accomplishing their extraordinary tasks without parents and spouses and children getting in the way of a laser-focus. Drama must be inserted to heighten the tension and allow for some deeper relation to the astronauts – as if they’re superhuman. Yet with this A-list cast, including Ed Harris as the leader of Mission Control, it’s virtually unnecessary; this is a genuinely likable, easygoing, determined, convincing ensemble. Of course, without that expected additive, which continues to crop up with children misbehaving, worried wives yelling at liaisons, or even the politics of broadcasting the flight (all of which are marginally needless, considering the excitement of the primary ordeal), there might not be enough non-technical content for this lengthy thriller. A good chunk of the runtime is dedicated to astronaut argot, which fuels the authenticity but pads the dialogue.

“We are not losing those men!” Engagingly, the film makes the most of sensors going haywire, displays dropping to what seem like dangerous levels, and Mission Control techs rapidly chattering and panicking over readings and figures. Even last-second math calculations are nicely nerve-wracking. Director Ron Howard capably handles the suspense, aided by decent special effects that detail some of the damage, the isolation, and the movements of the spacecraft, alongside the editing in of press coverage and hard-nosed-reporter questioning. But the most effective shots are the interiors of the ship, highlighting the claustrophobia (and darkness), the scrambling actions, and the faltering attitudes as options and hope diminish.

Also of exceptional design are the brainstorming sequences – lightly comedic, inspirational moments of ingenuity and teamwork for harrowing, life-or-death scenarios (both by specialists on the ground and in space). This entire episode is a truly great exercise in establishing how highly intelligent professionals can work together and formulate life-saving plans while under an inconceivable amount of pressure (with escalating predicaments accruing). And thanks to the proficiency of the filmmakers here, this ordeal is quite the cinematic entertainment – dramatic, exciting, jittery, unpredictable, emotional, uplifting, and, ultimately, triumphant. “Gentlemen, it’s been a privilege flying with you.”

– Mike Massie