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

Ghostbusters: Afterlife Review

Ghostbusters: Afterlife

Dir: Jason Reitman

Starring: Mckenna Grace, Finn Wolfhard, Celeste O'Conner, Logan Kim, Carrie Coon, and Paul Rudd

2h 4m

 

"Who you gonna call?" 

 

The cultural impact of Ivan Reitman's 1984 film "Ghostbusters" continues to display its influential grasp every year since its release. The repertory cinemas arranging screenings every Halloween, the hard to escape Ray Parker Jr. theme at parties, costumes with glowing proton packs, and the franchise's reboot with a female influence in 2016; "Ghostbusters" is undeniably a pop culture icon. 

 

Ivan Reitman, director of the original and sequel, created a not-so-scary film about ghosts with major crossover comedy appeal for audiences. Both of these films were met with mixed critical reactions. The reboot in 2016, directed by Paul Feig, gathered a group of hilarious women and placed them in a movie that had the simple goal of being an entertaining nostalgic revisit. The film received unnecessary hate from numerous regions of the internet. 

 

While the cards are stacked against "Ghostbusters: Afterlife," new director Jason Reitman takes the Ghostbuster's motto of "no job too big" and fashions an entertaining, kid-centric film that is also a loving tribute to his father, Ivan Reitman. Focusing solely on the original film as a jumping point for future events, Jason Reitman takes the ghostbusting out of the big city, transposes it into a small town, and hands the responsibility to a group of young people. "Ghostbusters: Afterlife" wears its heart on its sleeve proudly.

 

Egon Spengler, no longer known as a Ghostbuster but rather "the dirt farmer" in the small Oklahoma town where he lives a secluded life, is attacked and killed by an indiscernible entity. Callie (Carrie Coon), Egon's estranged daughter, struggles financially and decides to take her two kids to the farm to sort out the mysterious affairs left unresolved by her father. Trevor (Finn Wolfhard), the oldest of the siblings, is a teenager who finds work and a crush at the local diner. Phoebe (Mckenna Grace), an intelligent and curious 12-year-old, finds a fast friend named Podcast (Logan Kim) and begins to unravel the true nature of her grandfather's past. 

 

The town experiences small earthquakes and strange occurrences happening in the local abandoned mines. These disturbances catch the attention of Phoebe and her summer school teacher Mr. Grooberson (Paul Rudd). Once Phoebe begins investigating the unusual tremors and her grandfather's cryptic home, she discovers an evil force preparing its return to the world. 

 The introduction of "Ghostbusters: Afterlife" composes the most horror elements of the entire film; a chase scene with an unseen presence, lots of camera atmosphere, and a fun combination of scenarios help build the tension. An excellent introduction for a budding horror movie fan who might not be ready for more intense PG-13 horror films. The remainder of the film is less scary and more action and comedy-focused, featuring an eclectic group of characters committedly played by an ensemble of talented actors. 

 

The young actors bring the charm and heart out of "Ghostbusters: Afterlife." Mckenna Grace is a highlight as Phoebe; she imbues the character with the same dry wit and staunch composure as Harold Ramis playing Egon. Finn Wolfhard is also good, playing the committed and trustworthy older brother. Logan Kim, playing a humorous podcaster named Podcast, has terrific chemistry with every character on screen. The relationship between Phoebe and Podcast is the foundation for the film. 

 

The narrative brings pieces of the original film back into the frame while also developing some unique alterations and twists for new audiences. The story is a heartfelt attempt to pay homage to the original movie and redevelop the themes for a new generation. There are a few pacing issues with the film, which makes the final act feel a little rushed in the scheme of the story. But most of these issues go unnoticed because of the engaging cast and Jason Reitman's assured direction. 

 

"Ghostbusters: Afterlife" is a fun rehash of the original "Ghostbusters" film, utilizing young people to lead the charge. While it may not have the most engaging story to tell at times, it has a ton of heart and great humor. Jason Reitman has done a diligent job of updating this pop culture sensation for new audiences. 

 

Monte's Rating

3.50 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