There's an entire commentary track with the "science advisors," a NASA employee and a former astronaut, who tried to make the movie as scientifically accurate as possible. Listening to these guys talk about their constant battles to get Michael Bay and company to make the film at all relate to the world of science (for example, when Mir explodes, it explodes, like it's in an atmosphere) is a case study in cognitive dissonance.
Michael Bay and his cinematographer John Schwartzman made the jump from advertising to features, and they brought that sensibility with them. What you get is perfect framing, beautiful photography, but what's actually on-screen is pure wish-fulfillment in a way that's completely divorced from narrative. Like this: [screen cap from the movie] That's the end shot of a love scene between Ben Affleck and Liv Tyler. It's lovely, but it doesn't have any basis whatsoever in reality. Where is the house they've driven to? Does it belong to either character? Why have they strung Christmas lights in the tree? When did they do this? Are we really meant to believe that A.J., a roughneck who works on oil rigs, drives a cute little BMW Z3 when he's on dry land? You can take nearly any frame in this movie and pick it apart in this way, but that presupposes that the goal of this film is to tell a story, and I don't think that's true.
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