Those practicalities get especially glorious treatment in “Ad Astra.” Gray conjures the future in grandly imaginative touches that link it giddily to the present day while signaling its alienating strangeness. As travel to the moon and to Mars have become common practices, they’ve become infected with the oppressive trivializations of train stations and airports—a Subway franchise, a Hudson News kiosk, and a host of bureaucratic annoyances and intrusions. (Natasha Lyonne does a brief and brilliant turn as one of those bureaucrats.) Spaceships have all the charm of airplanes, complete with overpriced and doled-out extras.

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