Moonfall (2022)

dir. Roland Emmerich

Roland Emmerich, king of unhinged disaster movies like The Day After Tomorrow and 2012, has inexplicably managed to outdo even himself with Moonfall. The plot is centred around the moon going off orbit and falling towards the Earth, causing all manner of disasters like tsunamis, comets – and a gravitational aberration which is especially hilariously manifest by characters skipping around like they’re playing a nursery game. This premise alone would have been ridiculous enough, but Moonfall is accompanied by such delightful inclusions as: an irritating conspiracy theorist who waxes lyrical about the moon being an artificial construct; sentient nanotechnology which operates on bizarre rules of only being able to identify organic life if it is near certain types of technology; and of course, the standard simpering “left behind” civilians who struggle through snow and flame to achieve very little until they’re reunited with the heroes journeying to the moon. The icing on the cake is when the supposedly deluded conspiracy theorist is revealed to have been more right all along than anyone could have thought. Whether Emmerich is trying to say that he believes the moon is fake, or that we’re simply in constant danger from superior life-forms lightyears away (who incidentally were able to eradicate all war, but not control their own computers), Moonfall fundamentally doesn’t really say anything coherent at all.

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