“In space no one can hear you scream,” he quoted Rolling Stone the famous line Alien, from Ridley Scott. “But in huge half-empty IMAX theaters you can hear other people laughing at the unintentional comedy of a really bad movie set in space.”
That beginning of his critique of Moonfall, the long-awaited new movie Roland Emmerich, Director of Independence Day, The day after tomorrow Y Godzilla, was not only in perfect harmony with the title of the story, which wondered if the long-awaited premiere was actually a joke being played on the viewer, but also with the opinions of the rest of the US press.
Variety, a publication specializing in entertainment, titled “Crítica de Moonfall: The latest from Roland Emmerich is a lunar disaster at its finest”, but at the opposite end of interests The Wall Street Journal (WSJ), the New York financial daily, agreed: “Cinema catastrophe lunatic on a cosmic level”.
The CNN chain: “The epic of the catastrophe launched into the orbit of the ridiculous.” The local version of the British newspaper The Guardian: “A bad ascension of the moon…really bad.” IndieWire: “Impressively stupid.”
The expectation was great, given the weight of Emmerich in the industry, especially in the 1990s and the first decade of the 21st century. But the blowing up of the White House in Independence Day and the freezing of the Statue of Liberty in The Day After Tomorrow have a power that seems to have been used up over the years, and decapitate the Chrysler building in Manhattan in Moonfall no longer causes the same effect.
The film recovers the spirit of mixing science fiction, catastrophe cinema and action that has distinguished Emmerich as a personal scent. But instead of astonishing the audience with his disasters, he made them laugh more than the comedy of Adam McKay, with which the vast majority of critics have compared it, but that is not praise for any of them: on the contrary, it implies that Moonfall aspired to seriousness and No mires arriba (Don’t Look Up) It’s less funny than I wanted.
The story goes back to 2021, when something goes wrong on a mission that Jocinda Fowl (Halle Berry, prize Oscar for Monster’s Ball) and his partner in space, Brian Harper (Patrick Wilson, Night of the Demon, Watchmen: The Watchmen), performed to repair a satellite. They are the only two survivors of the encounter with a strange force that seems to advance in the void. Or so Harper said, because Fowl was knocked unconscious by a nanobot beam attack.
That mysterious entity will manifest itself again 11 years later, when Jocinda has risen in the US space agency – she is deputy director of NASA – while Brian has fallen from grace and stumbles for his life. Nobody ever believed his version about the space monster that disappeared as inexplicably as it had appeared.
An amateur astronomer, KC Houseman (John Bradley, Game of Thrones), fed on junk food and convinced of every conspiracy theory circulating in the post-truth universe, discovers that the Moon exhibits strange behaviors, which seem to alter its orbit.
Suddenly every person on Earth with a mobile phone receives an alert: the Moon has indeed moved out of its orbit. It’s going to be bad, because according to the laws of physics—which don’t seem to have applied to Emmerich’s script— Harald Kloser Y Spenser Cohen, as some critics ironized, the Earth’s gravitational field is too powerful for the satellite, and to the extent that the two celestial bodies get closer, it will be the Moon that breaks apart. And fall on Earth, yes.
But what if the Moon isn’t actually what it’s thought to be? What if it was more massive? Its attractive force would affect everything on Earth.
Los Angeles is submerged by rising walls of water; on the other coast of the United States the Chrysler breaks up. A former NASA officer, Holdenfield (Donald Sutherland), talks about “the things that we have not been told” about the Moon, in particular a mysterious event that happened during the apollo 11 mission. Full speed ahead Jocinda, Brian and KC form the task force and space force that will save the planet, setting off on their mission as natural chaos causes social chaos, populations shift and violence reigns.
About what follows, the desperate mission, perhaps the trailers already provided an abundance of information that should have raised suspicions. If a key to the mystery genre is to keep the viewer investigating along with the characters, nothing good can be inferred from the early exposure of some of the plot twists in a production that cost USD 146 million and needs at least to recover them.