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‘Moonfall’ review

For acolytes of the natural and sidereal catastrophes of the prophet Emmerich.

Direction: Roland Emmerich Distribution: Halle Berry, Patrick Wilson, John Bradley, Charlie Plummer, Donald Sutherland, Stephen Bogaert, Eme Ikwuakor, Michael Peña, Wenwen Yu, Carolina Bartczak, Maxim Roy, Hazel Nugent Original title: moon fall Country: United States, China, United Kingdom Year: 2022 Release date: 4–02-2022 Gender: Science fiction Script: Spenser Cohen, Roland Emmerich, Harald Kloser Photography: Robby Baumgartner Synopsis: A mysterious force knocks the Moon out of its orbit, sending it hurtling toward Earth at full speed. A few weeks before impact, and with the world on the brink of annihilation, NASA executive and former astronaut Jo Fowler is convinced she holds the key to saving our planet. But only astronaut Brian Harper and conspiracy theorist KC Houseman believe it. These heroes will organize an impossible space mission, leaving everyone they love behind, to land on the lunar surface and try to save humanity, facing a mystery of cosmic proportions.

The best: summing up ‘Gravity’ in five minutes to the sound of Toto’s ‘Africa’.

The worst: the terrestrial ‘survival’ plot of the relatives.

inside of this greatest hits of the Raphael of Disaster, Roland Emmerichwith its floods, lethal meteorites, a new ice age and earthquakes, there is an exciting, very sober journey through time towards that enlightened German science fiction singer-songwriter who debuted with the environmentalist, conspiracy theorist and Luddite ‘The Beginning of the Ark of Noah’ (1984).

‘Moonfall’ pleasantly surprises with its Kubrickian (‘2001’, of course) descent into the interior of the Moon, a contained and filmed with almost Soviet austerity, a philosophical and spiritual adventure with echoes (the incorporeal entity) of ‘Forbidden Planet’ (1956) and ‘El abyss black’ (1979). There are no politicians in this fight with the end of the world, but there are soldiers, professionals and three losers, one of them (John Bradley’s character) who seems to be the cross between the DiCaprio of ‘Don’t look up’ –Emmerich’s film is its right-wing reverse– and Ibai Llanos. If Lars von Trier’s ‘Melancholia’ was for intellectuals, ‘Moonfall’ is for groupies of ‘Fourth Millennium’.

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Source: Fotogramas

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