Review of ‘Moonfall’: A movie to make your eyes pop
“Everything we knew about the Universe just went out the window,” he says. Halle Berry at the first change. Roland Emmerich he takes it literally. Actually, it goes much further: flush any scientific certainty down the toilet and then flush it, multiple times. That’s it ‘Moonfall’. But let’s not be as catastrophic as the German filmmaker, the man who has committed the most attacks against the planet. If the viewer disconnects their neurons and lets themselves be carried away by the roller coaster that the film proposes, they can even leave the experience happy.
We have already seen in the cinema stories of more or less voluminous boulders falling towards Earth. Just a decade ago Lars from Trier He also told in ‘Melancolía’, without going into details and self-absorbedly, what would happen if a clueless planet crashes into ours.
Here it is the Moon that goes out of its orbit, in a film designed so that the same thing happens to the viewer with his eyes. The looming snap is one of those that mark an era, for once literally.
The new version of the Apocalypse has been written by Emmerich himself in the company of Spenser Cohen Y Harald Kloser, the latter also a composer and one of the director’s usual henchmen. Next to what happens in ‘Moonfall’, ‘Armageddon’ looks like Italian neo-realism. Even the pace is more dizzying, in a race not to exceed the two hours just. The desperation in the script and editing is noticeable to remove any scene or dialogue that does not advance, something that always has its good side.
Michael Bay He sent an oil driller into space to change the course of a meteorite the size of Texas. What happens to Emmerich and company is not far behind. Verisimilitude is badly wounded.
In normal conditions, it would be possible to take refuge in the quality of the special effects, but many of them are too seen. They sing and tire. On the other hand, the resource of putting the fate of the planet in a few hands so that there are not too many characters can be forgiven. That all of them are related to each other is an excess of inbreeding.
It is a bit surprising that the NASA collaborated with the film, because it doesn’t look very good. The state body is reflected as a company that could not be easier to enter and exit. They also come to tell us that all those computers and engineers that appear in other films are props.
The philosophical background, the debate on the dangers of artificial intelligence, passes at the same speed as everything, without leaving the slightest residue. Of course, there is no ecological background and no bagpipes here. The best character is the conspiracy theorist KC Houseman, played by John Bradley, a role that is usually filler in other films and that for once has its moments of glory. It is the connecting thread of the story. Surely, an entire series could be released with the discarded scenes in which they appear Kelly Reilly Y Michael Pena, two wasted talents. The other leads, Halle Berry and Patrick WilsonThey pay the beauty fee. Even Donald Sutherland looks like he fell asleep inside a skit.
Another inexcusable flaw is the absolute absence of spatial emotion. It is emotional emptiness. It may be old-fashioned, but the best movies in the genre, even the coldest of them all, in which page 9000 played chess, exude that feeling.