Moonfall

Rated: MMoonfall

Directed by: Roland Emmerich

Screenplay Written by: Roland Emmerich, Harald Kloser, Spenser Cohen

Produced by: Roland Emmerich, Harald Kloser

Starring: Halle Berry, Patrick Wilson, Donald Sutherland, Michael Peña.

‘We’re not prepared for this.’

Part disaster movie, part sci-fi, comedy and drama, Moonfall begins its journey in space.  Where an anomaly throws a routine repair mission into a tragedy.

Jocinda (Halle Berry), AKA space wife loses her memory.  And space hero Brian Harper (Patrick Wilson) loses everything.

After the tragedy is chalked up to human error, back on earth, Harper is now a fallen hero.

Fast forward ten years and something’s not right.

The moon is out of orbit and the first one to realise is megastructure conspiracist, K. C. Houseman (John Bradley).

But no one will listen.

‘Make them listen,’ says his mum.

So he does.

Being a Roland Emmerich film (think, Independence Day (1996), The Day After Tomorrow (2004) and 2012 (2012)), I expected a big budget disaster movie, and as already introduced, Moonfall is part disaster, part everything else.

Some notes hit, like the chuckles evoked from conspiracist, I-lost-two-mops, Houseman (you’ll recognise John Bradley as Sam in, Game of Thrones).  And some notes didn’t with the suspense lost in the drama of Jocinda and her ex, military man, Doug Davidson (Eme Ikwuakor) and bad-boy son, Sonny (Charlie Plummer).  And what I think was supposed to be an exchange student (?) Michelle (Kelly Yu).

I got a little lost down some rabbit holes.

But there’s a good foundation with a strong performance from Patrick Wilson and the movie’s saving grace, John Bradley.

And the effects on the big screen managed to distract from the sometimes forced, ‘I work for the American people and you’re keeping them in the dark,’ sentiment that made up about an eighth of the movie.

What was lacking in the emotional subtleties was glossed over with exploding cosmic rocks like fireworks and a looming, disintegrating moon pulling the ocean up and over high rise buildings.

Entertaining on the big screen and one of the better disaster movies with some attempt to dive into some interesting concepts.

What I enjoyed the most was the comedy.

So, a bit of an all-rounder.

I didn’t love it; didn’t hate it.

I had a giggle, liked the effects, made me wonder while some of the drama made me cringe.

Ad Astra

Rated: MAd Astra

Directed by: James Gray

Written by: James Gray & Ethan Gross

Produced by: Brad Pitt, Dede Gardner, p.g.a., Jeremy Kleiner, p.g.a., James Gray, p.g.a., Anthony Katagas, p.g.a., Rodrigo Teixeira, p.g.a., Arnon Milchan

Starring: Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler, and Donald Sutherland.

‘I will not be vulnerable,’ says Roy McBride (Brad Pitt) in a monologue that threads the story of the film together; it’s a voice that measures the thought processing behind those blue eyes with green specks.  A thought-process hidden, because the person Roy shows to others is a performance, ‘my eye always on the exit.’

Set in the near future, Ad Astra is a mystery set in space, the story based in commercialised space travel to the moon, to rockets that blast toward the human inhabitants of Mars, to go further, for Roy to reach Neptune in search of his father who began the Lima Project thirty years before; his father’s purpose: to find evidence of extra-terrestrial life.

Instead of science fiction and the practicalities of space travel or even the exploration of physics to understand human existence, Ad Astra, at its heart, is a drama.

There was plenty of opportunity to get technical, but the film skips over the science behind the impending disaster from outer space so the story jumps while the movement in space is slow and calculated.

So although there’s a disturbing beauty to the tense moments of guns fired from space rovers and visually stunning scenes of a reflection of darkness across the orange visor of a helmet that looks like a faceless being, I felt like the story was missing the factual backbone to hold up the idea of the mysterious father figure who has dedicated his life to science and space exploration.

Ad Astra is not a journey into space but for Roy to find his way back to humanity.

The story circles around to give some satisfaction, to be able to, Let go.

And there’s so much going for the film with the build of tension with the low vibrating soundtrack of a siren; with those crime thriller moments set in space with the slow danger of being in an environment with toxic air, without gravity – in a place no other living Being has ever been found.

But for me, those amazing moments of suspense combined with the beauty of space on the big screen would have been so much more astounding if the story dug just a bit deeper into the physics of the environment – that would have made the film more believable while adding that extra layer to the drama of the story.

Still, an interesting change in pace that adds a mysterious twist to the thriller genre.

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