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#591 – Covid-21: Lethal Virus (2021)
Covid-21: Lethal Virus (2021)
Film review #591
Director: Daniel Hernández Torrado
SYNOPSIS: After a new strain of Covid turns most people into zombies, a biochemist is travelling to a laboratory to work on a cure when her convoy is attacked by zombies. She runs into a lone survivor, who begrudgingly accompanies her, and the two have to survive the harsh countryside overrun with zombies…
THOUGHTS/ANALYSIS: Covid-21: Lethal Virus is a 2021 zombie film. It is also (perhaps unsurprisingly) part of a host of covid-zombie movies that appeared around this time. The film revolves around a typical zombie plot (with a covid twist): the melting of polar ice has released an ancient super strain of covid that turns people into zombies. Following on from that statement which should never be uttered, we have the typical post-apocalypse world where the survivors have to avoid becoming undead themselves. Into this unoriginal setup we have a biochemist named Allyson, who is being escorted to a secret lab where she will be able to develop a cure. Unfortunately, her convoy is attacked by zombies, and because no one in this film has ever seen a zombie film before, the convoy is overrun and Allyson has to make it to the lab on her own. Well, until she runs into Scott, an angry loner who sort of accompanies her to argue all the way. The story consists mostly of this bickering and occasionally hacking away at some zombies, without any real direction or development. There’s nothing original or interesting about this post-apocalyptic world, and it’s all been done before in better films. The use of “covid” as part of the premise is irrelevant, as this “super strain” is only mentioned off-hand in dialogue once, and was probably only put in to promote the film.
The characters are all dull and unlikable: apart from Allyson and Scott and their distinct lack of any chemistry, there’s also two random soldier guys who are walking through the woods too, whose little side-story has no real purpose other than to shove some more action scenes in, I suppose. But again, the lack of any originality makes it uninteresting. All of this is supplemented by some poor acting and flat deliveries, and there are points where the actors clearly mess up their lines. The little twist at the end doesn’t really add much when the characters always feel disposable and without purpose anyway.
The production as a whole feels very unprofessional, with horrid, shaky, close-up shots that make it difficult to follow what is going on (and to avoid paying for backgrounds and sets), the colours are all dull and washed out, and the lighting is haphazard and nonsensical. I know you can’t be too judgmental when it’s an obvious low budget film, but there’s still a lot more that could have been done with what they had. There’s nothing to recommend Covid 21: Lethal Virus in any way: it’s unoriginal, unprofessional, unstructured, and any enjoyment you might get out of it being a “bad” film is scuppered by it being just so incredibly dull. Avoid.
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#589 – 7:11pm (2023)
7:11pm (2023)
Film review #589
Director: Chaitu Madala
SYNOPSIS: Ravi lives in the idyllic village of Hamsaladeevi. However, dark forces are working to sell off the village and turn it into a nuclear dump site. Meanwhile, in the future on a distant planet, the last hope of a dying planet is to go back in time to find the important research which can save them. Ravi is thrust right into the midst of all these problems as he seeks to save the village and everyone…
THOUGHTS/ANALYSIS: 7:11pm is a 2023 Telugu sci-fi film. The film centres around the idyllic Indian village of Hamsaladeevi, where Ravi lives. However, evil businessmen are in the process of trying to sell off the village and turn it into a nuclear waste dump. Meanwhile, in the future of a distant planet, the human inhabitants require knowledge from the past to save their planet, and must send someone back in time to Ravi’s village to find it. As you can tell, there’s a lot of different plots swirling around throughout the film: some ranging from the typical romance and corrupt businessmen as you find a lot in Telugu cinema, to some science-fiction elements which are less common. The mash-up of different story elements is very much unbalanced, and things only come together at the last minute, with some plot elements being absent for the majority of the film. The script definitely needed winding back on it’s ambition to just do seemingly everything. The science-fiction element doesn’t offer much, and it feels very similar to Back to the Future, and you’re never going to beat Back to the Future on it’s own turf, and are always going to come off as a cheap imitation. The film could probably have cut out the whole “future aliens” thing and it would have made it flow better immediately.
The film is split into distinct parts, with the outset establishing Ravi’s character and the village, and then Ravi being sent to the future (and Australia, for some reason), and finally, the finale where Ravi goes back and basically fixes everything. These different parts just don’t really connect to each other, with the chunk of the film being set in Australia in the future (of 2024) just having very little to do with anything, and could probably be it’s own film). The climax feels very rushed, as everything is hurriedly pieced together and the plot jumps to each little point to deal with it before quickly moving on to the next one. The different elements lack the depth necessary to leave any kind of impact.
The acting and performances in the film are decent enough and without issue. The special effects aren’t groundbreaking, but serve their purpose. One thing that might stand out is that there’s a fair amount of violence and graphic gore, the scenes in which it is present just don’t seem to match the rest of the film. It has a few twists and turns which are mildly interesting, but 7:11pm lacks coherence and appropriate pacing to handle the sheer volume of ideas and plot elements it wants to string together. Messy, but has some momentum to it, even if it lacks direction.
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#588 – Crawler (2009)
Crawler (2009)
Film review #588
Director: Sv Bell
SYNOPSIS: A construction site hires a bulldozer, but due to a mishap, they get sent the wrong one. When strange things start happening on site and people start disappearing, it seems that, somehow, this bulldozer is at the centre of it all…
THOUGHTS/ANALYSIS: Crawler is a 2009 sci-fi horror film all about a killer bulldozer. The whole concept might sound absurd, or it actually might sound familiar, as the 1974 TV movie Killdozer centred around the same concept of a killer piece of construction machinery. This time, a bulldozer is hired for a construction site, but because the driver was late picking it up, it went to someone else. Desperate, the guy tries to convince the guy to rent him another one which is apparently not available for rent. The next day, the bulldozer shows up at the construction site, with the driver nowhere in sight. When a number of strange happenings occur at the site, the workers suspect, however implausibly, that the bulldozer is somehow involved. The plot works it’s way up very slowly, comprising early on of scenes of dialogue between characters that fail to ingratiate themselves to viewers or stand out in any real way. It is worth remembering that the whole thing is a little tongue-in-cheek and knows it has limits, but it nevertheless plays it straight throughout. The concept of the killer dozer is unique enough (save for the aforementioned TV movie), and the film does eventually develop along lines you might not expect, but there’s nothing too memorable about the story.
The strengths of the film are in the practical effects: the alien elements are fairly detailed, and the gore is pretty convincing, although it often looks like unrecognisable mush. The weaknesses of the film stretch from the monotone delivery of the lines from the acting, to the poor lighting and editing of action scenes which is composed of random short cuts that fade in and out, and disrupt any sense of flow. The bad certainly outweighs the good, and overall Crawler, while having a few good points, has little going for it either in being so-bad-its-good, or actually creating a a decent horror story. A severe lack of tension and urgency, both due to the sluggish pace of the film and the flat delivery of the actors, make it a dull and uninspiring experience.
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#585 – The Big Step (2019)
The Big Step (2019)
Film review #585
Director: Antonio Padovan
SYNOPSIS: Mario heads to the countryside to deal with his estranged brother Dario, who has been arrested for arson. Dario is released into Mario’s care, as he struggles to deal with his brother’s confrontational and weird nature, and his big secret: building a rocket to fly to the moon…
THOUGHTS/ANALYSIS: The Big Step (Il Grande Passo) is a 2019 Italian film. Mario, who owns a hardware store in Rome, has to drive out to the Italian countryside to take care of his Brother Dario, who has been arrested, and must be released to another family member. Mario learns that Dario has been trying to build a rocket to fly to the moon, and the two brothers must try to get along after being estranged for so long. The film is essentially a drama film that focuses on these two brothers, as Mario tries to keep Dario out of trouble. It’s a fairly simple film without any bells and whistles, but does what it does well thanks to some good acting, writing, and accompanying musical score. The different lives of the brothers provides enough conflict to provide both drama and humour, and although the film ties all the little things together nicely, the ambiguity of the ending might be a little unsatisfying, and some things are left a mystery (such as the identity of the two men following Dario, the “creepy” guy at the store).
Overall, I don’t think there’s too much to say about this film: I could probably sum it up as “charming.” There is a familiarity in it that feels like you’re watching a story you’ve seen plenty of times before, but it’s always a comfortable watch every time you see it. There’s no big “funny” moments, but the ending is heartwarming, and the film as a whole flows nicely; it just doesn’t deliver a stand-out moment to make it memorable.
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#582 – Everything, Everywhere, all at Once
Everything, Everywhere, All at Once (2022)
Film review #582
Director: Daniel Kwan, Daniel Scheinert
SYNOPSIS: Evelyn is an overworked laundromat owner who is preparing for her Father’s visit, an audit by the IRS, among everything else. She is suddenly forced into a battle across the multiverse to save every reality from being destroyed by a nihilistic entity who just so happens to be her daughter…
THOUGHTS/ANALYSIS: Everything, Everywhere, All at Once is a 2002 sci-fi film. The film centres around Evelyn, a laundromat owner who is being audited by the IRS, amongst a host of family issues as well. Evelyn is suddenly pulled into a battle to save the multiverse, and must tap into the possibilities of the different versions of herself to stop an evil entity from destroying everything. Operating on a number of different levels and perspectives, the film is inherently chaotic, and it is designed to be, but has specific themes and relationships that ground the film and provide an entryway into the story. Perhaps a few of these can be boiled down into very typical relationships and problems, but maybe that’s what makes them relatable and meaningful; I think your mileage may vary. Nevertheless, the film has a quick pace and packs a lot into it’s two and half hour runtime. Being a film about the infinite possibilities of existence and jumping between different realities, it would be quite easily to leave a viewer confused, or have the film get bogged down in technical jargon and exposition: fortunately, the film manages to keep its pacing and energy while setting itself up for the viewer, and switching around the different realities and revealing things in a piecemeal fashion help keep the film going.
In terms of characters, Evelyn as a role was made for Michelle Yeoh: it showcases her acting talent across all the different genres and roles she has done over the years. she takes on all the different roles she has to play effortlessly, while also retaining the everyday core of her character that is just trying to manage a business and her family. The rest of the cast too are solid in their roles that are uniquely carved out for them, and are a bit of stability in contrast to Evelyn’s constant flux.
Credit should be given to the writing of the film that balances the right amount of entertainment, drama, action, and emotional moments that are switched between to avoid the film becoming too bogged down in any particular details. The film makes it simple enough to go along for the ride, but also provides some powerful emotional moments that hit when you least expect. The film does wobble a bit near the end, where I don’t think it sets up the climax of the film as such, because the film has had so much energy and motion that you don’t realise that this is where everything is coming to a head, and not just another step somewhere else. The philosophical clash between a humanist existentialism and a nihilistic meaninglessness has some weight to it at the end, but it’s not something explored throughout the film so it feels like you’re getting a pay off from everything you experienced. Part of that is intentional: that out of all the different possibilities and realities, what matters is the seemingly drab one that you inhabit, and because everything is valid (in other universes), then no single one is more meaningful than the other. As mentioned, some of the themes and characters are boiled down to rather simple positions or outlooks by the film’s end, but these are all minor gripes about a film that does so well with so many things, and turns in solid performances from the cast, as well as navigating a host of different themes: keeping things interesting for casual movie-goers, while also not being afraid to delve deeper into heavier subjects when necessary. Overall, Everything, Everywhere, All at Once is a high energy mix of films that nevertheless relies on a careful arrangement of it’s parts so it doesn’t fall into a giant mess. Being able to sustain interest and attention across the runtime thanks to solid performances, fun action scenes, and emotional moments that pull you back in. A few missed beats around pacing and oversimplifying certain positions don’t upset the overall impact of a film that both opens itself to the infinite possibilities of existence, while still making the here and now matter.
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#581 – Deep Impact (1998)
Deep Impact (1998)
Film review #581
Director: Mimi Leder
SYNOPSIS: A reporter who is investigating the resignation of the Secretary of Defence stumbles on a much bigger story than she expected, and forces a public announcement from the President: A large comet is due to collide with the Earth and cause huge destruction. While a last-hope mission to the comet is being prepared, there are also plans to make sure humanity survives if the comet actually makes it to the planet…
THOUGHTS/ANALYSIS: Deep Impact is a 1988 sci-fi disaster film. It is perhaps most notable for being released in the same timeframe as Armageddon, a similar disaster film also about a comet heading for Earth. The two have slightly different angles and tone though as we shall see. The film opens up with journalist Jenny Lerner investigating the resignation of the Secretary of Defense. this leads to her discovering (inadvertently) that there is an Extinction Level Event threatening the planet, which forces the President to disclose to the world that a comet is on a collision course with Earth. It’s a fairly typical disaster film after that, with the film focusing on a mission to try and destroy the comet, and also balancing that with the human stories of the characters caught up in it. This film, more so than Armageddon, focuses on the latter, with the different characters roles and responses to the impending catastrophe being the primary focus. The main issue with this, however, is that it focuses on human drama, and it chooses the most boring of said drama to show us. The main character is constantly awful: the way she treats her dad for no real reason is childish and nasty, and even when she does something good and heroic, the way she does it hardly redeems her. probably the most interesting thing about the film is the space mission that is sent to destroy the comet, which provides a decent amount of action, but their mission ends half way through, and then their whole story arc just becomes irrelevant until the finale. In fact, the film pretty much runs out of steam at the halfway point, and just gives up at the same time that the characters give up trying to stop the comet. The film mentions a lottery that will choose the people that will be allowed to survive the impact, but doesn’t really explore the impact of this, and the usual riots and breakdown of society which usually occurs in these types of disaster films apparently just does not happen, or at least we never see on screen, which is odd to just gloss over, even if it’s something we expect and have seen many times before.
Apart from the main character, the rest of the cast are similarly uninteresting. The weirdest ones are the teenage couple who constantly act like they’re a middle aged couple. They get split up but then reunite later in a pointless diversion, and their whole characters just feel off. you could easily cut them out of the film and lose nothing. The crew aboard the “Messiah” spacecraft likewise don’t have that much development or interesting things happens to them on a character development level. Another aspect of the film that I thought was odd is the focus on journalism and the media at a time of catastrophe. I get it in part, because the main character is a reporter, but nearly everything is done through the media and TV stations, and the film feels like it wants to “glorify” the role of the media and journalism in times of disaster and it being almost the centre of importance, which just feels a bit…wrong and dirty in some way. Maybe the film had to emphasise the significance of the media because it got the rights to use the MSNBC likeness for the backdrop, but either way, it made the film feel like it was focusing on the wrong things, and if the film wanted to focus on the “human” element of catastrophe, then doing it through the lens of the media just obfuscates that.
There are some moments in the film which are decent: the comet striking Earth and the destruction scenes are well done, and it gets some of the emotional scenes right, but these often have no impact on the characters themselves. The science is a bit more accurate than a film like Armageddon, but I’m not sure how much that would matter to the average film-watcher.
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#580 – Cloud Atlas (2012)
Cloud Atlas (2012)
Film review #580
Directors: Lana Wachowski, Tom Tykwer, Lily Wachowski
SYNOPSIS: The interconnected lives of strangers intersect across multiple lives over the course of 500 years…
THOUGHTS/ANALYSIS: Cloud Atlas is a 2012 sci-fi epic film based on the novel of the same name. It’s difficult to give a summary of the plot because the film centres on six different settings over the course of five hundred years, with different stories in each time. The characters in each era are played by the same actors throughout, which hints at the idea of reincarnation, perhaps symbolised by a birthmark that many of the characters have, but this is left up to interpretation: in fact, a lot of this film is left up to interpretation. I imagine multiple viewings will reveal new things and connections which are easily missed the first time. While this can be a positive, I think the film thematically needed something more to bring things together. The film ends with a somewhat weak message that doesn’t feel like much of a payoff after sitting through nearly three hours. While it is a long runtime, I don’t think there’s any lulls in the film thanks to the constant switching between the different characters and stories, but it’s difficult to say what you’re supposed to take away from it all.
The host of different characters and time spans obviously provides plenty of variety in the film: some have stronger stories than others, and some are very predictable. The film is definitely helped by having some top acting talent, such as Tom Hanks and Halle Berry, and the massive budget this film had (one of the most expensive independent films of all time) allows for lots of different on-location shots, so at least in that respect you can get the “epic” sense of the film. This film seems to have a polarising response from people, ranging from it being a really good film, to it being one of the worst, and it is easy to see the reasons for both perspectives. The film has plenty of ambition and variety, and meanders through its different stories in such a way that they are all balanced well throughout the long runtime. However, the editing may also leave viewers feeling like they are wandering aimlessly around with no real purpose. The things which are supposed to tie the film together: the strange birthmark across generations that suggest some form of reincarnation, the writings of a philosopher oft-quoted, and such, don’t really provide any overarching themes to bring things together. If this is a film that is meant to be viewed multiple times, then that is a problem, as I do not feel like this would be worth a re-watch for me. There’s plenty of ambition and a lot of skill in editing this all together, but the things which are supposed to tie it all together just don’t have the required impact.
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#575 – R.I.P.D. 2: Rise of the Damned (2022)
R.I.P.D. 2: Rise of the Damned (2022)
Film review #575
Director: Paul Leyden
SYNOPSIS: Sherriff in the Old West Roeciphus Pulsipher is gunned down and killed in a shootout with some outlaws. Before he can proceed to the after life, he is recruited by the Rest in Peace Department (R.I.P.D.) to hunt down souls that have not departed from the Earth. “Roy” is partnered with veteran officer Jeanne to investigate a disturbance that could put the whole of humanity at risk…
THOUGHTS/ANALYSIS: R.I.P.D. 2: Rise of the Damned is a 2022 film. Despite what the name implies, the film is not a sequel, but a prequel to the 2013 film R.I.P.D., in which we see the story of how veteran officer Roeciphus “Roy” Pulsipher joined the department. The film is set in the Old West, where Roy is killed in a shootout with a local outlaw gang. He is recruited by the Rest in Police Department (R.I.P.D.) to deal with souls called “Deados” who have remained on Earth after death and must be sent to the afterlife. Roy is teamed up with another officer, Jeanne, to investigate an increase in strange activity. If you watched the first film, you’ll know exactly what to expect from this film, because it is basically the same plot: rookie and veteran partner up to stop the souls of the dead from returning to Earth. However, unlike the first film, which was still entertaining by just rushing through the film and relying on constant action and strong character performances, R.I.P.D. 2 doesn’t even have that, and the film stumbles along without any real energy or appeal. It doesn’t expand on the world or the lore in any way, it doesn’t reveal anything new about the characters, it’s just a completely recycled product with all the good stuff thrown out.
The only returning character from the first film is Roy, who was played by Jeff Bridges in the original, is played here by Jeffrey Donovan (obviously Bridges would have been a bit too pricey for this low-budget prequel). While I see a lot of praise for Donovan’s performance, I just didn’t see it. In his defence, it might just be the awful script and writing that is giving him stunted dialogue and interactions, which is certainly feasible, as the characters interact rather clumsily. Jeanne ‘s characters is very much a typical “veteran cop,” and the French accent gives it away that she is meant to be Joan of Arc fairly early, although the film “reveals” it a lot later (although I’m not sure if it is meant to be obvious, because the writing doesn’t indicate it). Despite her being a famous historical figure, it doesn’t fails to add anything to the film or her character. Following the lore of the film, Roy and Joan look completely different to living people so they can’t be recognised, and are given the appearance of two black women. This does present an opportunity for the film to address the racism and status of black people in the Old West, but the film chooses to play it safe and does the bare minimum with it. If they’re not going to address the topic, they might as well just not bothered having it as a plot point at all.
Every establishing shot in the film gives away that everything is a set devoid of substance beyond the camera. The effects are plain, and nothing stands out to make things interesting. The ending wraps things up in a roundabout way and addresses issues that I didn’t realise were an issue (who actually shot Roy or something). Overall, you’re not going to get anything out of this film that the original, and is far inferior in every way. Everything about the film feels cheap and uninspired, and the things that made the original entertaining are absent. Releasing ten years after the original as well means that the opportunity to ride the hype of its predecessor is long gone, leaving it alone and essentially dead on arrival.
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#574 – R.I.P.D. (2013)
R.I.P.D. (2013)
Film review #574
Director: Robert Schwentke
SYNOPSIS: Police officer Nick Walker is killed by his partner Bobby Hayes as he wants to get rid of some gold that the two found on a random drug bust. He finds himself recruited into the R.I.P.D.: The “Rest in Peace Department,” which is a supernatural force whose purpose is to hunt down people that have died and still roaming the Earth. Partnered with a veteran officer, the two discover the circumstances behind Nick’s death are tied to a much bigger plot…
THOUGHTS/ANALYSIS: R.I.P.D. is a sci-fi action film based on the comic book of the same name. The film opens up with police officers Nick Walker (Reynolds) and Bobby Hayes (Bacon) are discussing some gold they took on a random drug bust, but kept it for themselves. Nick decides he is going to turn the gold into evidence, and Bobby decides to kill Nick at their next drug bust when no one else is around. Nick finds himself dead, but before he is whisked away to the afterlife, he is brought to the R.I.P.D. to be recruited as an officer who specialises in thwarting people who have died and are still hanging around Earth, causing them to transform into hideous creatures called “Deados.” Nick is partnered with veteran officer Roicephus “Roy” Pulsipher, who was a sheriff in the Old West before he died, and the two manage to stumble upon a plot that threatens the whole world, which they naturally have to put a stop to. The story can very easily be summed up as a combination of the films Men in Black and Ghost: you can see certain scenes are almost complete cut-and-paste jobs from these two. Alongside this, it doesn’t have either the worldbuilding or quickfire comedy of Men in Black, nor the emotional depth of Ghost, leaving a film that just completely fails to build its own identity. The plot of an ancient artifact being built that will wipe out the Earth is basically the plot to every Men in Black film. It feels like the script was just finished at it’s first draft, and no one bothered to add in any specific details or worldbuilding to give it some depth. Despite the criticisms, the film actually does a good job of avoiding any boring exposition, and just jumps right into everything and explaining things as it goes. Part of this might be because there’s not much to actually explain, but at least the film manages to keep momentum going over the rather short runtime of just over ninety minutes.
The characters are very much what you would expect: Ryan Reynolds is Ryan Reynolds: it doesn’t matter what the name of the actual character, because he’s just playing the same character he always does. Jeff Bridges playing Old West lawman Roeciphus “Roy” Pulsipher is certainly the stand out performance. Again, he’s not got much depth beyond being the “grizzled veteran” type, but it’s guaranteed fun every time he is on screen. Kevin Bacon as the villain is unremarkable, and Nick’s wife Julia barely leaves a mark. As mentioned, the film lacks and seems to avoid the emotional depth that would have made their relationship and the significance of Nick’s death a solid plot point. Even if it was, it wouldn’t have been any different from the plot of Ghost (again, as mentioned). The film doesn’t seem to know what it wants its audience to be: it doesn’t have the established jokes and wit to be a comedy movie for young adults, the lack of emotional drama for older adults, and is a bit too adult for younger viewers, so the film just rushes straight through the middle with nothing sticking to it.
It’s difficult to find something else to say about the film, because there’s not much content to comment on. The film was blasted for being derivative of other films and a box office bomb, making nowhere near its budget upon release. However, I don’t think it’s all bad: sure, it has no substance, but it’s paced well, and maintains its momentum and energy through to make it a pretty entertaining film with no lulls. R.I.P.D. is the epitome of mindless cinematic entertainment that brings nothing new or significant to the table, but a short bit of fun if you’re in the mood.
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#573 – Moonfall (2022)
Moonfall (2022)
Film review #573
Director: Roland Emmerich
SYNOPSIS: K.C. Houseman, a conspiracy theorist, uses a research telescope to confirm his suspicions that the moon’s orbit is changing and moving closer to Earth, and will eventually collide with it. NASA eventually confirm the findings and mass panic ensues. They send a rocket up to the moon to investigate, but the shuttle is attacked by a mysterious entity. Brian, an astronaut who was fired in disgrace after a space mission he was on was similarly attacked and no one believed him, leaving his reputation destroyed, is now tasked with one more mission to try and stop the moon from destroying the Earth…
THOUGHTS/ANALYSIS: Moonfall is a 2022 sci-fi disaster film. The plot, unsurprisingly, revolves around the moon falling to Earth. Conspiracy theorist K.C. Houseman, who believes that the moon is a artificial superstructure, and its orbit is decaying. It turns out he is right, and when NASA confirms it, mass panic sets in across the world. A shuttle mission to investigate the moon is attacked by a strange entity, and destroyed. It turns out to be the same entity former astronaut Brian Harper claimed attacked his mission ten years before, but as no one believed him, and was sacked and his reputation tarnished. His former crewmate Jocinda Fowler, who is now deputy director of NASA, recruits him to lead one more mission to the moon to try and correct the moon’s orbit before it collides with the Earth. The film is quite simply a combination of the films Armageddon and Independence Day. In fact, the director Roland Emmerich also directed the latter, so I’m pretty sure it was deliberate. The realism of a disaster film just doesn’t work well with the plot about aliens and rogue AI and whatnot, and a lot of stuff is just skimmed over. A lot of the plot points make very little sense, such as why the A.I….thing would just hide in the moon and try to bring it down, rather than attack the planet directly if that it was aiming to do. There doesn’t feel like there’s much of an attempt for the film to carve out its own identity, rather just picking bits from what previous films have done successfully. Then again, the sheer cheesiness of the plot and setups might make for mindless, entertaining viewing, but it’s definitely hard to take it seriously.
The characters are all fairly cookie-cutter with nothing really distinguishable. Brian and Jocinda are just very standard lead roles, and K.C. Houseman provides the comic relief with one-liners that aren’t memorable or really funny. The trailer for the film has him respond with a quip after every scene or serious moment without rest, and while it’s okay to lighten the mood once in a while, doing this constantly really stops the suspense and story dead in its tracks. The characters also have their own families who are trying to get to safety, providing a perspective from “ordinary” people on the disaster that is unfolding: again, just like Independence Day. None of these characters stand out in particular, and their scenes feel like they’re there to pad out the runtime. With the film coming in over two hours and ten minutes, the film definitely feels padded.
When the mission makes it to the inside of the Moon, they discover the inside is a Dyson Sphere: a man made structure with a white dwarf star housed inside to power it. We are also treated to a lengthy exposition about how humans once existed on another planet but were destroyed by a rogue A.I., so these superstructures were sent to potential habitable planets to populate them with the DNA of human life, but the A.I. thing (I don’t really know what it is) has now found Earth and is causing the moon to fall to destroy the humans. It’s nothing you haven’t heard or seen before, and lumping in all this stuff near the end does detract from the disaster theme a little. The ending feels like it’s very much on auto-pilot, as Brian encounters a “good A.I.” or something, and somehow now knows how to pilot around the superstructure to destroy the bad A.I., which ruins any kind of tension in the climax. In terms of effects and CG, it’s actually not too bad: you get a good sense of the scale of destruction in the landscape shots, but the effects of the Moon’s effect on gravity is entirely inconsistent throughout, and it can mostly be explained away as it’s for the purpose of the plot. Anyway, Moonfall is a mash-up of what you’ve seen before, with Roland Emmerich doing exactly what you expect in producing an over-the-top disaster film with a very typical cast of characters. It’s plot is all over the place, and is completely implausible most of the time. It is a brainless, cheesy sci-fi film that may serve as a silly ride that might entertain, but you’re going to struggle to believe anything in the movie is plausible.
