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With “Moonfall,” Roland Emmerich destroys the world once more, but this time his heart isn’t in it. With films like “Independence Day” and his own global warming epic, “The Day After Tomorrow,” the German nihilist blockbuster filmmaker, who has rarely met a conspiracy theory he didn’t like, has become the “master of disaster.” But, whereas his film “2012” was overwhelming in its passion for turning mass death into a roller coaster thrill ride with two kids in the backseat, here is “Moonfall,” which proves that a boring apocalypse movie is worse than one that is fixated on how we are all doomed.
“Moonfall” depicts the horror that would occur if the moon fell out of orbit and collided with the Earth. Prior to that big bump, Earth’s gravity would be progressively thrown off, while the moon would dump debris as it approached. Emmerich adds a “Transformers”-style edge to the hare-brained science about why this could be happening for good measure, but it comes with a bland imagination and execution as well. Don’t be misled: this film is more valuable as a comparison to Lars von Trier’s “Melancholia,” about a massive planet colliding with Earth, than as a good piece of entertainment. Also, you must try to play this Moonfall Quiz.
Moonfall Quiz
When the United States military decides to nuke the moon, they have no choice but to do so. But there’s something else going on with the moon—something inside it—and it’s ultimately up to three smart people to stop the moon from destroying Earth, including a disgraced astronaut named Brian Harper (Patrick Wilson), a courageous NASA head, and Brian’s fellow astronaut partner Jocinda Fowl (Halle Berry), and a conspiracy theorist named KC (John Bradley), who has long suspected the moon was a megastructure. KC learns of the change in course and informs the media, with NASA estimating that there are only about three weeks left. They take off in a shuttle with no crew on board, and it doesn’t feel triumphant so much as the film attempting to minimize its cast numbers. Also, you will find out which character are you in this quiz.
Brian and his troubled son Sonny (Charlie Plummer) and his ex-wife and their two daughters; Jocinda and her son and her ex-husband and the foreign exchange student she makes babysit her child (Kelly Yu); and KC and his mother and his cat, Fuzz Aldrin (given an amazing close-up).
“Moonfall,” co-written with Harald Kloser and Spencer Cohen, is a lumbering, long locomotive of one cliche attached to another, making time pass slowly despite the juggling of these various one-dimensional relationships. Instead of involving us, the human stories are gratuitous, as telegraphed in the drama of their characters. Midway through the film, a stepfather and his angsty son reconcile: “I don’t hate you.” “Wait a minute. “Sure, I’ll take it.”
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“Moonfall” suffers from other more deliberate cuts, implying a budget that could only allow for so much destruction (his previous film, “Midway,” was more successful at looking less phony with similar constructs). It’s clear that the film’s version of Colorado is a sound stage with one tiny snowy road for numerous shots; you can see how cramped the actors are, and you can hear the contempt in Charlie Plummer’s line-reading. Working with fewer resources than his previous blockbusters, “Moonfall” appears to be constantly constrained by its overt reliance on green screens and the enormous labor of its visual effects crews. Emmerich’s blockbuster vision has come full circle: he may have inspired countless direct-to-video disaster films with titles like “2012: Doomsday,” but now he’s made a film that’s just as visually junky and lacks the ambition to be more.
Emmerich’s sense of humanity can be found in who gives the spirited performances and who does not. He is a transparent and self-aware filmmaker. Only KC gets the exclamation points in this case, to scream about how the moon is a megastructure, and eventually his awe at being proven correct. (KC gets to say “I love Elon” in a movie set in the era of Elon Musk and Space X flights.) Everyone else, on the other hand, deals with times when their experience is an exclamation point: you’ve never heard someone minimize “Oh shit, the moon is rising” until you’ve seen “Moonfall.” It was strange how much Emmerich’s nihilism wanted to show destruction, but now he is bored with humanity. Even dependable forces like Wilson and Berry are unable to sell the story’s scant drama.
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