Is “Moonfall” a real movie or a trick played on the public?


In space, no one can hear you scream. In cavernous, half-empty IMAX theaters, however, you can definitively hearing other people laugh at the unintended comedy of a really bad movie set in space which is as close to saying you might want to see moon fall with an audience, if you feel compelled to see this. Covid has robbed moviegoers of so many different pleasures, including the ability to collectively marvel when a truly awful, incoherent mess shows up for our enjoyment, and in such oversized portions. However, recommending someone submit to Roland Emmerich’s neo-disaster sci-fi movie is a bit like putting three-month-old milk under an unsuspecting person’s nose and asking, Smells good ? You already know the answer; you just need to share the pain.

It also assumes, of course, that a person regards what they see unfolding on the ginourmous screen in front of them as a “movie.” It looks like one, in that the images are moving and so on. But that begs the question: is this the story of a disgraced astronaut (Patrick Wilson), his former co-pilot (Halle Berry), and a conspiracy theorist (game of thrones‘ John Bradley) being humanity’s last hope against [checks notes] is a falling moon really an elaborate prank played on people? And if not – if it’s actually meant to be a blockbuster to be consumed by human beings, with eyes, in multiplexes – what year do Emmerich and company think it’s?

the Independence Day The director made a lucrative career in the 1990s and 2000s fusing sci-fi, action and disaster movie cliches into one loud, indistinguishable chunk, and those cough-like hairballs typified a particular kind of Big Dumb Fun involving stars, close-call escapades, lots of special effects, and a ridiculous amount of suspended disbelief. (Who can forget the joy of this? Or this? Or this?) moon fall, to its credit, has the first two qualities in abundance, but in its attempt to resurrect a bygone type of overpowering, overpowering ooohh-aahhh experience, the crucial third seems to have been left on the dark side of the film’s villain. It would be, yes, the moon – although apparently that big circle in the sky isn’t quite the harmless piece of rock we thought it was.

The hint comes early, when Wilson’s Brian Harper and Berry’s teammate Jocinda Fowl experience a “space anomaly” that claims a co-worker’s life during routine satellite troubleshooting in orbit. Specifically, they are attacked by a swarm-like thing coming out of a crater. Nobody here believes them. Ten years later, he’s an outcast, she’s a NASA executive, and the moon, apparently, has changed its rotational path. It now appears to be closing in on Earth, how its gravitational pull will wreak havoc on our planet, tsunamis will devastate coastlines and “city-sized” chunks of the moon will rain down on us as it breaks .

The whole thing is discovered by Bradley’s KC Houseman, a basement space obsessive who calls his cat Fuzz Aldrin and, when a sticky situation arises, asks, “What would Elon do?” He also maintains a blog and contributes to online forums about the existence of aliens, cover-ups, and “mega-structures,” i.e. hollow planets built by alien technology and powered by stars. trapped. Some stolen data supports his idea that our moon is not just one of these megastructures, but is headed straight for us! Government agencies, scientists, and other egg-heads think he’s just another marginal lunatic. Through a series of handy turns and a graffiti-covered decommissioned space shuttle found hidden, Houseman, along with Harper and Fowl, will travel skyward to confront the moon and find out what’s causing such bad lunar behavior.

And a crackpot will drive them! Does anyone other than us think putting forward a movie where the conspiracy theorists end up being the voice of reason heroes and all those “experts” are just acting in bad faith and seeing, they are the only ones who knew the real the truth from the start – does Houseman literally swallow a red pill at some point after discovering that his ideas might be correct? Yes, he does! — is this a somewhat dubious prospect at this precise moment? This dubious and uncomfortable notion gives too much credence to comfort around 2022, even in a film in which the central premise involves military officials darkly discussing the best possible options for blowing up the moon. (We’ve been here before.)

Meanwhile, back on Earth, Harper’s troubled teenage son (Charlie Plummer) weathers snowstorms, “gravity waves,” and other weather disasters, along with Fowl’s young son and his college student nanny. trade (Wenwen Yu) in an effort to get to a Colorado bunker. The general populace freaks out every time Emmerich cranks up the volume and switches to an orb that lurks ominously in the background like a slasher movie killer. It’s one of those scenes that ultimately gives rise to the film’s singular moment of transcendentally excruciating happiness, in which a supporting actor gazes into the distance and, in the most beautifully mature line reading, exclaims: “Oh shit, the moon is rising!!!”

The score is Wagnerian, the markers are pfftID4 blew up the White House and Two days later froze Lady Liberty; this one decapitates the Chrysler Building – and the dialogue, courtesy of Emmerich and screenwriters Harald Kloser and Spenser Cohen, is pure Velveeta. And once things take a false cerebral turn towards the end (the Contact the vibes are strong in this one), your tolerance is fried. On the plus side, it’s a much funnier film than the remarkably similar comedy. don’t look up, but that shouldn’t be taken as a compliment to either job. You don’t mean that moon fall is 2022’s first true cine-turkey. But if the moonboot fits….


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