Moonfall Review

Moonfall

Dir: Roland Emmerich

Starring: Halle Berry, Patrick Wilson, John Bradley, Charlie Plummer, Kelly Reilly, and Michael Peña

2h 10m

 

Since 1996, when aliens came to Earth for destruction in "Independence Day," director Roland Emmerich has destroyed the world in many different ways. In 1998, "Godzilla" destroyed New York City. In 2004, a storm plunged the world into the Ice Age in "The Day After Tomorrow." In 2009, global catastrophes annihilated humankind in "2012". And in 2022, the moon falls out of orbit and begins a countdown towards a collision with the Earth in "Moonfall." 

 

What adds drama to this big-budget disasterpiece is that the moon isn't what it seems. For Roland Emmerich, "Moonfall" feels like a combination of everything the director has thrown at the silver screen during the more than twenty-year cinematic exercise of destroying the planet. And the b-movie sensibilities of "Moonfall" are undeniable, and if you are a fan of this blend of science fiction action melodrama, the film will not disappoint. The special effects and A-list talent are simply icing on the cake. However, this film is not for you if you are looking for thoughtful social commentaries, insightful character developments, or anything holding obedience to the laws of physics. 

 

The moon has been knocked out of orbit by a mysterious force. Dishonored astronaut Brian Harper (Patrick Wilson), who first encountered the mysteries of the moon during a space mission gone wrong ten years prior, and conspiracy theorist K.C. Houseman (John Bradley), who was first to discover the moon's orbit problem, is recruited by former NASA astronaut Jocinda Fowler (Halle Berry) for a humanity-saving rogue mission.

 

The events of "Moonfall" occur at breakneck speed; missions are launched, failed, and relaunched, tidal waves of water collapse on Los Angeles, people escape the coasts for higher ground in Colorado, and the collective goodwill of humanity turns dangerous in the background. These events all happen before the mission to the moon part of the movie. Between the breaks of science theorization, pretty much a screen of moon ellipses circling closer to the Earth, and cutaways to different parts of the world experiencing catastrophe, Emmerich and co-writers Harold Kloser and Spenser Cohen fill the small gaps with minimal character development and unnecessary side stories in an attempt to add some emotional gravity to the story. It seldom works. 

 

Halle Berry shows up as NASA administrator, the only person who seems remotely interested in trying to save the Earth. Berry is a confident actor and makes this character shine even though the underlying qualities aren't always on the page. Patrick Wilson plays a former astronaut fighting to save his family. Wilson plays the hero character throughout with ease. The best performance is John Bradley playing a conspiracy theorist much more intelligent than he may present with his silly ideas. Bradley provides humor and embodies the tiny heart of the narrative. 

 

"Moonfall" delivers on everything the trailer advertises; it's a special effects-laden spectacle that is aiming for nothing more than pure, simplistic entertainment value. And for that, the film will satisfy those looking for an escape. 

 

Monte's Rating

2.50 out of 5.00

Ad Astra Review

Ad Astra

Dir: James Gray

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

In the first few minutes of director James Gray’s deliberately paced, visually intriguing space exploration “Ad Astra”, the image of a person uncontrollably plummeting to earth is witnessed. The tumbling, somewhat lifeless, figure falling from the blue heavens towards the green earth seems poetic in a film that aims for insight over intensity, that examines the journey of the exploration instead of the joy of the destination. 

“Ad Astra” is an often quiet and utterly controlled film, one that is pulling influences from other methodically structured films like “2001: A Space Odyssey” and most often “Apocalypse Now”. The isolation from the world, the journey of self-discovery, and the fear of the unknown are all themes explored in all these referenced films. “Ad Astra” has all of these concepts clearly apparent from the opening minutes, sometimes even using a voice-over narrative to make these ideas extra focused. 

The narrative mission is simple, an astronaut has gone rogue and his exploits are threatening life on earth. His son, a famous space scientist named Roy McBride (Brad Pitt), is tasked with traveling to the moon and then onto Mars to deliver a heartfelt message/plea to try and thwart the efforts if his father (Tommy Lee Jones). 

The composition of the film is completely stunning, a visual treat of the “not-too-distant” future that seems completely genuine in the portrayal of what the arrival terminal would look like on the moon, how massive an antenna tasked with searching for extraterrestrial life would look, and how business would find a way to make a quick dollar with airline luxuries. Add to this the beautifully composed photography with striking color bursts and intriguing geographic angles, and the film is a complete pleasure to look at. 

Director James Gray has a distinct quality that can be felt in the design elements but the narrative for “Ad Astra” depends heavily on actor Brad Pitt, who is fantastic here, to progress the scenes from one moment to another. Pitt does an interesting job of composing his journey of self-discovery, the subtle emotional touches seen with mannerisms during the crumbling connection with his wife (Liv Tyler) and the calm demeanor displayed during tense scenes help to display the focus of the character who is in search of answers outside the normal. But it is solely Pitt doing the heavy lifting throughout the film as many of the other actors in the film are crafted with minimal depth, sometimes no depth at all.

Even with great performances and some fantastic designs, the narrative for “Ad Astra” struggles consistently throughout the film in connecting its themes of loss, fear, abandonment, and isolation in more meaningful ways. Instead the film turns into a bland story about fathers and sons. And while it searches for more meaning, it begins to meander aimlessly. This severely affects the pacing of the film which starts with promise but very quickly slows to a crawl. Scenes begin to feel overly drawn out and, most disappointing, the investment in Roy McBride and the journey to find his father dwindles and ultimately is lost by the time the final act arrives. 

“Ad Astra” is a beautiful film to look at with an exceptional performance from Brad Pitt. Unfortunately, the promising theme of self-discovery becomes, like it’s primary character, lost in its own search into the unknown.

Monte’s Rating

3.00 out of 5.00