For All Mankind (1989)
Directed by Al Reinert
A testament to NASA's Apollo program of the 1960s and '70s. Composed of actual NASA footage of the missions and astronaut interviews, the documentary offers the viewpoint of the individuals who braved the remarkable journey to the moon and back.
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What critics compared For All Mankind to
The 1950s - 70s heyday of the United States’ manned space program has been a relatively successful (if strangely infrequent) source of compelling cinematic stories, inspiring both rousing dramas (The Right Stuff [1983], Apollo 13 [1995]) and engrossing documentaries (For All Mankind [1989], In the Shadow of the Moon [2007]).
For another, there is the knowledge that the so-called space race that America took part in during the Fifties and Sixties has already spawned a number of exemplary films running the gamut from narrative features like Phillip Kaufman’s genuine epic “The Right Stuff” (1983) and Ron Howard’s exemplary “Apollo 13” (1995) to documentaries like Al Reinart’s “For All Mankind” (1989) and that any new film on the subject would inevitably be compared to them.
2 1/2 Stars (out of 4) Tweet Asking for the Moon By Jeffrey M. Anderson Best Director Oscar-winner Damien Chazelle returns with First Man, an attempt to tell the story of Neil Armstrong's miraculous moon landing in a more close-up style than did Philip Kaufman's masterful The Right Stuff or Al Reinert's essential documentary For All Mankind.
The flight action scenes are as true to life as any film since the wondrous 1989 documentary For All Mankind, which used original NASA footage to tell the story of the Apollo program — including Armstrong’s “One small step for a man, one giant leap for mankind” proclamation on July 21, 1969, which he evidently thought out beforehand.
The ranch is isolated, but nearby is a small cowboy theme park owned by former child star Ricky “Jupe” Park (Steven Yuen of “Minari”) and his wife, Amber (Wrenn Schmidt of “For All Mankind”).
Though it’s not perfect — it lacks the soulfulness of Howard’s film and Christopher Nolan’s ten-hankie Interstellar (all are trumped by Al Reinert and Brian Eno’s exquisite For All Mankind , which is more visual tone poem than documentary, and in its minimalism elevates space exploration to the metaphysical) — The Martian ’s illustration of a world united by space travel is almost utopian.
His oily brother (Michael Dorman, from “For All Mankind”) even delivers the news that Cecilia will inherit money from the dead man’s estate.