Most of their concerns are more mundane compared to the alien shenanigans in orbit, like thieves and avalanches.
Unfortunately for the audience, the devastation is only a small part of the cast’s struggle. These digressions continue to be a distraction throughout, as Harper’s family is the Earthbound half of Moonfall, the eyes through which we see the tides overwhelm dry land and skyscrapers uprooted by the Moon’s gravity. Instead, the film spends its first half on Brian’s fractured family, his troubled son, his wife’s asshole new husband, that sort of thing. As the situation becomes increasingly hopeless, the only people left to save the planet are K.C., Brian, and his former partner Jo Fowler (Halle Berry) who launch a desperate, ill-advised mission to the Moon.īut Moonfall’s script buries its lede, committing the storyteller’s sin of not opening with the most interesting stuff first. tells the world in order to spur NASA into action. When it becomes obvious that the Moon is off, K.C. Meanwhile, disgraced astronaut Brian Harper (Patrick Wilson) knows something is off with the Moon after a mission gone awry, but the authorities refuse to believe him, and blame him instead. Houseman ( Game of Thrones’ John Bradley), a conspiracy theorist who works as a janitor at a research university - suspects something is wrong with the Moon’s orbit. Which is a shame, because Moonfall is a killer title/premise combo, the kind of cinematic cheese that makes blockbuster-lovers perk up at the sheer lunacy (sorry) of it all. Moonfall is a throwback to that sort of spectacle, but it’s one that makes a terrible case for the genre’s return. The genre that made him famous, via movies like Independence Day and The Day After Tomorrow, has fallen out of favor, as cinematic destruction has largely become the purview of superhero films. The Moon and this artificial intelligence are the last remnants of an interstellar war, and Earth just happens to be in the crossfire.Įmmerich has made a name for himself as one of the last great disaster-movie kings. Seriously.) It’s a science fiction film about how the Moon is actually hollow, a vessel from our interstellar ancestors, which is under assault by an alien threat in the form of a sentient cloud of nanoparticles. It’s the sort of thing that prompts a last-ditch mission for a ragtag crew of astronauts, who must rocket off to stop the Moon somehow.
Here is what Moonfall pretends to be: a film about the Moon falling out of orbit, wreaking havoc on Earth’s ecology and spurring catastrophic destruction on a global scale.
Instead, it offers the world’s noisiest lullaby. This film could have literally given us the Moon. That pivot is the most interesting thing about Moonfall - an inexplicable choice that leads to unintentional hilarity and a world of missed opportunity. In its third act, it also falls to pieces when it pivots into bonkers science fiction spectacle.
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The trouble is, Moonfall barely delivers on the trailer’s promise of a throwback disaster movie from the one-time king of the genre. I really wanted to enjoy Moonfall, and I hope anyone watching it will find something worth enjoying in its 130-minute runtime. It’s better for all of us if I spoil Roland Emmerich’s big silly action movie Moonfall here, at the start.
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