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Voyagers: Teaser Trailer 1

Where to watch voyagers.

Watch Voyagers with a subscription on Netflix, rent on Prime Video, Apple TV, Fandango at Home, or buy on Prime Video, Apple TV, Fandango at Home.

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Cast & Crew

Tye Sheridan

Christopher

Lily-Rose Depp

Fionn Whitehead

Colin Farrell

Chanté Adams

Formulaic, soapy teen space drama has lust, sex, violence.

• Average 4.9
• Reviews 144

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© 2020 VOYAGERS FINANCING AND DISTRIBUTION, LLC. ALL RIGHTS RESERVED.

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The Ending Of Voyagers Explained

Voyagers , the latest science fiction film starring Tye Sheridan and Lily-Rose Depp is, in a way, a sort of Lord of the Flies set on a starship far from the reaches of Earth and human civilization. While the children in Lord of the Flies wind up trapped on an island by accident, the young people onboard this starship (which is more of an ark) are there by design. In both cases, the adolescent ensemble has to reckon with the chaos of a world without adult rules.

On its face, Voyagers has a familiar sci-fi premise: The Earth's time is running out. Richard ( Colin Farrell ), a scientist with a plan, takes a crew of young people who have never interacted with the rest of the world into space, where they will live and eventually breed the next generation of humans. The hope is that their children will eventually arrive on a new world for humanity to populate. So, a pretty standard execution of the generation ship trope.

The stars of Voyagers will never see that new world. They are the intermediary generation between the humans of Earth and their children, who will hopefully be the ones to kickstart human civilization all over again someplace new. The end of Voyagers and its meaning are tied to the chaos of what happens aboard that lonely vessel in the blackness of space. Here's the ending of  Voyagers explained.  Major spoilers ahead.

Voyagers ending isn't about the future, it's about right now

Richard's big plan once everyone's on the ship is to trick the kids into self-medicating with something called "The Blue," which is essentially a cocktail of anti-androgens and other meds designed to keep everybody sexless and docile. But the kids find out about the drug, and they stop taking it. Without The Blue, the kids become volatile, which results in Richard's death, leaving the kids to fend for themselves.

These kids may not have experienced much of Earth, but they're still human, so they do exactly what humans do — they vie for power through violence and manipulation. They even create a pretend evil alien designed to explain away Richard's death. More crewmembers die and, for a while there, it seems like the entire mission will end with no survivors.

The movie actually ends with a détente, however. Two male leaders, Christopher (Tye Sheridan) and Zac (Fionn Whitehead), who have been struggling for control of the mission, accept the compromise that Sela (Lily-Rose Depp) the medic will take charge. Christopher and Zac step down and cease hostilities, but they agree that everyone will stop taking The Blue.

The movie ends showing that these people do age, and do indeed procreate. Their progeny do make it to a new world. The resolution is a major contrast with the rest of the chaotic and violent third act. It begs a metaphorical reading of the movie's plot: Earth is our vessel, and like the crew of the fictional starship, we are often manipulated by one another into doing self-harm. We have these periods of volatility, during which we wonder if the human species will make it to see another day, but even when our interests seem diametrically opposed, it's the process of reconciliation that guarantees our future.

Voyagers looks to this future, but it reminds us of our past, too. It reminds us that there has always been chaos caused by humanity, which carries the risk of extinction. We've survived wars, we've endured genocides, and we've navigated the creation of planet-destroying weapons. All of these wounds are self-inflicted, and yet we are still here. What Voyagers is daring us to believe with its ending is that we will not only keep surviving, but that we'll thrive for so long that we'll reach out into the farthest parts of the galaxy to inhabit new worlds. It's an optimistic movie in the end.

• Lionsgate Films

Summary With the future of the human race at stake, a group of young men and women, bred for intelligence and obedience, embark on an expedition to colonize a distant planet. But when they uncover disturbing secrets about the mission, they defy their training and begin to explore their most primitive natures. As life on the ship descends into ch ... Read More

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Colin Farrell

Tye sheridan, christopher, lily-rose depp, fionn whitehead, chanté adams, quintessa swindell, archie madekwe, isaac hempstead wright, viveik kalra, archie renaux, april grace, mission director, laura dreyfuss, ivf technician, veronica falcón, marianne sancar, patrick bucur, christopher - 4 years old, rufus bateman, zac - 4 years old, jaquelin capusan, sela - 4 years old, rafi wilder, christopher - 8 years old, antonia dragoman, sela - 8 years old, critic reviews.

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Voyagers review – horny Lord of the Flies in space quickly crashes to earth

Colin Farrell leads a crew of genetically engineered and chemically subdued youths on a perilous journey in a film that doesn’t have the guts to explore its perverse premise

T here’s a tantalising R-rated premise at the centre of the PG-13-rated sci-fi thriller Voyagers. In the future, the Earth is slowly becoming uninhabitable (something that’s depressingly less fiction and more science) and so a crew is assembled, by a muted Colin Farrell , to travel to another planet to check for viability, a familiar set-up given a novel spin. Because of the length of the journey – a rather off-putting 86 years – participants will be created rather than procured, spliced together from the finest DNA and grown in a lab, their sole purpose to begin the trip, procreate and let their children and then their children lead the way.

But deep into the quest, a shocking discovery is made: the crew is being drugged. A blue liquid they’re told to take daily (explained away as some sort of enzyme mixture) is revealed to be something far more nefarious: a cocktail of chemicals aimed at subduing their impulses. By removing the ability to feel or desire extremities (fear, excitement, horniness) they are then made more docile and in turn more effective at achieving their mission. When two members decide to stop taking it, disaster strikes.

The possibilities teased by writer-director Neil Burger (who dealt with a loosely alternate version of this concept in 2011’s thrill pill drama Limitless) are intriguing. How would submissive, isolated youths growing up without any influence from the outside world deal with a sudden cracked upon universe of sexual desire and rampant emotions? With training designed specifically to cover the practical side of their trip, how would they then understand concepts of consent and responsibility? What dangers would arise? But such thorniness is soon blunted in the ho hum execution, a Lord of the Flies-lite drama that plays out more like a YA adaptation of a book fans would claim is far better.

The trippy neon trailer would have you believe that we’re entering Gaspar Noé-adjacent territory, all psychedelic head fuckery and playful perversity, but Burger is too restrained, too polite to take us anywhere quite so extreme. The heightened emotions felt by the crew are never really felt by us the audience, there’s a headiness that’s missing and in the brief moments when Burger does try to convey the characters’ giddy intensity, he relies on a failed visual motif, a dated montage of discordant images, closer to a musty 90s Windows screensaver than something from a film released in 2021. The script never really grapples with the dark implications of his conceit, how without regulation and law, the youths would embrace their wilder side in more horrifying ways, choosing instead to tiptoe rather than forcefully tread, a psychosexual cautionary tale rendered impotent.

Sex is lightly suggested (again in opposition to what the trailers promise) while any form of sexual fluidity is nowhere to be seen, Burger’s script perhaps, hopefully unintentionally implying that queerness is less nature and more nurture. But such big thinking would suggest that much thinking has actually gone into Voyagers, a generous assertion, given how anything remotely challenging is quickly chucked into deep space and replaced by rote formula. The crew inevitably divides into warring factions battling for supremacy but such little care is taken with the characters that we struggle to care who wins out. Tye Sheridan, Fionn Whitehead and Lily Rose-Depp are the only three who get the lightest of look-ins but not one of them is able to do much with the scraps they’ve been given, leaving the ramped-up conflict ineffective as the film crashes toward a predictable conclusion. The production design is sleek but anonymous and aside from the specifics of the set-up, there are no particularly inventive elements to Burger’s vision of the future, nothing to distract us from the rather dull human drama.

It’s all just too sanitised and safe, a journey that stumbles as it takes us from the unknown to the familiar, a film that plods when it should stride. How did a bracing idea about rebellion, sexual awakening and lawlessness turn out so boring?

Voyagers is out in cinemas in the US on 9 April, and in the UK on 8 October on Sky Cinema and NOW.

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The Little Mermaid horror movie: everything we know about the R-Rated makeover

J ust when everyone thought the horror genre had reached its creative limits, along came horror movies based on beloved childhood classics. In these remakes, characters like Winnie The Pooh , Peter Pan , and Bambi transform themselves into compassionless and violent monsters.

The mastermind behind this trend is Rhys Frake-Waterfield , whose success with “Winnie-The-Pooh: Blood and Honey” convinced him to create his own MCU, “The Twisted Childhood Universe”, dedicated to reimagining Disney classics as macabre nightmares.

Now, other filmmakers have followed his lead, among them Leigh Scott . His “The Little Mermaid” horror adaptation released its first trailer yesterday, and appears ready to challenge the recent accomplishments of Frake-Waterfield. Its cast features Mike Markoff and Lydia Helen as the “prince” and the “mermaid”.

What is The Little Mermaid horror movie about?

Leigh Scott’s plot follows archaeologist Dr. Eric Prince , who journeys to a small Caribbean island and stumbles upon a groundbreaking discovery. His findings reveal the existence of an ancient prehistoric society unknown to the world.

In the midst of his investigation, he meets Aurora Bey , a mysterious and beautiful woman with whom Eric falls in love. While they get to know each other better, strange calamities begin to occur around him.

As is often the case with such adaptations, the remake bears little resemblance to its original source. With these narratives spanning decades and entering the public domain, the entertainment industry exercises complete creative freedom over them.

The Twisted Childhood Universe movies’ release dates

Regardless of when “The Little Mermaid” horror movie is released, Leigh Scott’s creation will have to contend with the upcoming movies from “The Twisted Childhood Universe,” which are slated for release between 2024 and 2027 , according to IMDb.

The closest to premiering is “Bambi: The Reckoning” , already in post-production and expected to hit theaters on October 31st. Following closely are “Peter Pan’s Neverland Nightmare” and “Pinocchio: Unstrung” , scheduled for release next year, although specific dates have yet to be announced.

In 2026, the franchise’s biggest project, “Poohniverse: Monsters Assemble” , will amalgamate all previous narratives into a singular storyline, marking the conclusion of the first phase of the universe. Near 2027, “Awakening Sleeping Beauty” will kick off the second part.

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X-Men '97 finale trailer includes a dig at the X-Men movies

I think X-Men ‘97 just called out Wolverine’s ‘00s leather suit…

The X-Men ‘97 season 1 finale trailer is here teasing the final three episodes, as well as throwing some shade at the live-action X-Men movies. 

In the preview for Tolerance is Extinction, we see the X-Men prepare to face new villain Bastion and his Sentinel cybernetic hybrids, as well as a cute bonding moment between Cyclops and his son Nathan Summers, AKA Cable, who has traveled back in time to save his father and the X-Men. Watch the full trailer above. 

But it’s the 10-second snippet at the end that is the most interesting, where Cyclops attempts to give Cable an official blue and yellow X-Men uniform to wear. Cable scoffs and asks "Am I going to war or a circus?" to which Cyclops replies, "What did you expect? Black leather?" Now we don't know about you, but that sounds like a direct dig at the early ‘00s black leather X-Men suits. See the clip posted on Twitter by X-Men Updates below. 

"What did you expect? Black leather?" 😂 #XMen97 pic.twitter.com/LfRnKHmXu3 April 29, 2024

Now, this isn't the first time that on-screen superheroes have made fun of past interpretations of characters, but this reference seems to call out X-Men 2000 in particular. This is when we first saw Hugh Jackman’s Wolverine, Halle Berry’s Storm, James Marsden’s Cyclops, and more in black leather suits, massively differing from their comic book characters. Luckily for the fandom, times have changed, so much so that we have just had our first full look at Jackman in Wolverine’s proper blue and yellow X-Men get-up in the new Deadpool 3 trailer . The leather is no more.

As for X-Men ‘97, the series so far has transported us right back to the ‘90s following everyone’s favorite band of mutants. In episode 7 , we saw the gifted group locate the Sentinel inventor, and Bastion was revealed as the real villain against the X-Men. In the final three episodes, we will see the X-Men once again band together to face a mutual threat.

The finale begins on May 1 with Tolerance is Extinction part 1, then will continue on May 8 with part 2, and on May 15 with part 3. See our X-Men ‘97 release schedule for more.

X-Men '97 is available to watch on Disney Plus. For more on the series, check out our guide to all of the X-Men ‘97 Easter eggs and cameos you may have missed, or our guide on how to watch the X-Men movies in order .

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I am an Entertainment Writer here at GamesRadar+, covering TV and film for SFX and Total Film online. I have a Bachelors Degree in Media Production and Journalism and a Masters in Fashion Journalism from UAL. In the past I have written for local UK and US newspaper outlets such as the Portland Tribune and York Mix and worked in communications, before focusing on film and entertainment writing. I am a HUGE horror fan and in 2022 I created my very own single issue feminist horror magazine.  

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DeForest Kelley Made A Change To Star Trek's Dr. McCoy In The Voyage Home

It's unlikely that any of the actors who appeared on "Star Trek" in 1966 would assume they would be playing the same roles 18 years later, but "Star Trek" has had a curious habit of longevity. Each time the franchise dies out, the landscape shifts and the series is revived. That's certainly what happened in 1979 with the release of "Star Trek: The Motion Picture" (which isn't boring, despite its reputation) . After the original series was canceled in 1969, it was put into eternal syndication, allowing new audiences to find it for years thereafter. Trek conventions began in earnest in the mid-1970s, interest was renewed, and, lo, "Star Trek" returned. Sequel movies were put into production, and by 1986, the franchise released Leonard Nimoy's "Star Trek IV: The Voyage Home," the biggest hit in all of "Star Trek" until the release of J.J. Abrams' film in 2009. 

Also by 1986, the characters had aged from their mid-30s to their mid-50s, and the cast had to consider the long careers of Starfleet officers. They were clearly eager to keep serving together but were now sporting higher ranks and were perhaps even aging out of the space adventure game. If you ask me, "The Voyage Home" still should have ended with the heroes all being drummed out of Starfleet for their many transgressions. 

Back in 2014,  StarTrek.com unearthed a 1986 audio interview with DeForest Kelley , who had played Dr. McCoy on and off for essentially two decades at that point. In the interview, the actor commented on the progress Dr. McCoy had made since the early days, and how large character developments had to be made from film to film, as opposed to the incremental character development he worked on during a weekly TV series. Notably, he said, Dr. McCoy had mellowed out a lot.

McCoy and Spock

Kelley talked about the timeline of four feature films vs. the timeline of the 79 episodes of the original series, and how character arcs must be condensed for the latter. On a weekly show, a character isn't necessarily going to change in two weeks, but with a year or more between movies, new changes must be considered. Most notably, McCoy had to develop a new relationship with the Vulcan Spock (Nimoy). On the series, McCoy was openly annoyed by Spock's cold logic. After working with Spock for 20 years, though, that relationship had to evolve. Kelley said: 

"It's very difficult to expand or flesh a character out in a motion picture, so to speak. When we're doing them, it takes a couple of years to get one out. If we were still doing the series, why, it would be a lot of fun to see how these characters change during the aging process. So what I tried to do in ['The Voyage Home'] is kind of ... not soften McCoy, but he's become a little more attuned to Spock and he's looking at him more or less with a bit of amusement, as opposed to becoming so irritated with him."

This made sense, especially after the events of "Star Trek III: The Search for Spock." In that film, McCoy carried Spock's consciousness inside his brain so that it could be salvaged and placed back in an empty body late in the movie. He also committed a brazen act of mutiny, helping Kirk (William Shatner) and his other crewmates hijack the U.S.S. Enterprise for entirely selfish ends. The hijacking would eventually lead to the destruction of the Enterprise. After so much sacrifice, McCoy would necessarily have to be warmer and more peaceful about working with Spock.

Being likeable

Kelley also noted that a TV schedule allowed for more creative opportunities, specifically the opportunity to get things wrong every once in a while. When one is making 20-odd episodes a season and shooting on a tight, weekly schedule, there are bound to be stories that are a little rushed, and perhaps half-baked. Audiences would be forgiving, however, as there would be a new episode seven days later to "reset" any ill feelings. Kelley knew that a movie had to get everything right the first time, as they were released as major, infrequent events. He also continued elaborating on McCoy's relationship to Spock, saying: 

"Not that he doesn't become irritated with Spock, but McCoy has mellowed a little bit during this timeframe. As I say, if we were doing even six 90-minute shows a year we could expand on that, but when you shoot one motion picture every two years, it's rather a problem because it's very difficult to satisfy everyone. We only did 79 episodes, but during those episodes, there was bound to be one episode that perhaps everybody would like. You can't do that with a motion picture because there's going to be somebody who's not going to like something about it." 

Kelley went on to admit in the 1986 interview that he was a lazy actor, and that he would have been content with the "Star Trek" gig, even if it didn't lead to a prolonged film franchise. He, like several other Trek actors , didn't think the show would last very long and that a sci-fi series might even eat into some co-stars' professional credibility. "[W]hen I saw Leonard with his makeup with the ears," Kelley said. "I thought 'Well, he's had it.'"

‘The Exorcism’ Trailer: Russell Crowe Goes Meta as a Troubled Actor Losing His Mind While Making a Horror Movie

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Vertical has released the first trailer for its upcoming supernatural horror film “ The Exorcism ,” starring Russell Crowe and Ryan Simpkins.

According to the official logline, “The Exorcism” follows Crowe as “Anthony Miller, a troubled actor who begins to unravel while shooting a supernatural horror film. His estranged daughter, Lee (Simpkins), wonders if he’s slipping back into his past addictions or if there’s something more sinister at play.”

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Crowe continues his streak of horror films after starring in “The Pope’s Exorcist” in 2023 and “Sleeping Dogs” earlier this year. Simpkin is no stranger to the horror genre herself, starring in all three parts of Netflix’s “Fear Street” trilogy, as well as several horror films in the mid-2010s such as “Twixt,” “Hangman” and “Anguish.” Worthington, known best for his work as Jake Sully in the “Avatar” franchise, makes his horror debut with his role as Joe in “The Exorcism.”

“The Exorcism” comes to theaters June 7. Watch the trailer below.

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The first Borderlands movie trailer is here, and it looks—drumroll—pretty alright

OK, maybe it looks a bit bad, but the piss scene is kinda funny.

The first trailer for Gearbox and Eli Roth's long in-development Borderlands movie is finally here. First impression? It looks alright.

Cate Blanchett just seems to be going along for the ride as Lilith while the others energetically deliver Guardians of the Galaxy-style banter. I'm not sure why they bothered casting Jack Black as Claptrap, since he just sounds like Claptrap, but I guess it's another name for the poster. On the flipside, Kevin Hart's performance is more Kevin Hart than it is Roland, who I recall being more of a straight man in Borderlands 2. But I have no strong feelings about Roland's character.

Meanwhile, I think it was wise for Ariana Greenblatt to tone down Tiny Tina a tad rather than trying to emulate Ashly Burch's voice acting from the game. Rewatch Tina's intro in Borderlands 2 and it's hard to imagine a non-cartoon actor embodying that character for 90 minutes in a way that doesn't make audiences want to be devoured by the Dune 2 popcorn bucket.

The more popular reactions to the trailer are not precisely positive. "It simultaneously looks better than I expected but also an absolute train wreck," reads the top comment in one Reddit thread about the trailer. "It kinda looks as good as a Borderlands movie could," reads another.  

Mountain Dew, the soda, said that it's "so excited," though, and if gamers can't trust The Dew, then who can we trust?

In the PC Gamer staff's mostly unimpressed discussion of the trailer, it was brought up that Telltale did quite a good job writing for the Borderlands universe in its episodic Tales from the Borderlands adventure without genericizing the established characters or adhering so strictly to contemporary action-adventure movie convention. And it's true, that's a good game—probably better than this movie, from the looks of the trailer. But as something to stream on some dull Sunday afternoon in the future, the movie looks entertaining enough. The piss gag was alright!

The Borderlands movie has been a long time coming. Roth finished filming it all the way back in 2021 and then went on to direct and release another movie, Thanksgiving, while Deadpool director Tim Miller handled reshoots. Gearbox CEO Randy Pitchford finally announced last year the Borderlands will be in theaters on August 9, 2024.

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Tyler grew up in Silicon Valley during the '80s and '90s, playing games like Zork and Arkanoid on early PCs. He was later captivated by Myst, SimCity, Civilization, Command & Conquer, all the shooters they call "boomer shooters" now, and PS1 classic Bushido Blade (that's right: he had Bleem!). Tyler joined PC Gamer in 2011, and today he's focused on the site's news coverage. His hobbies include amateur boxing and adding to his 1,200-plus hours in Rocket League.

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