Beautifully bonkers, Roland Emmerich's latest disaster film Moonfall isn't for everyone, but it rewards audiences who go in with the right expectations.
You have to give Roland Emmerich credit. He never fails to make the end of life as we know not just mildly entertaining, but — dare I say — extremely fun to watch.
Strangely familiar Directed, co-written, and co-produced by Emmerich, Moonfall takes a lesser-known conspiracy theory suggesting that the moon is actually an artificially created structure and builds an entire film around it. It’s a formula that worked for his film 2012 years ago, which gave Mayan end-times prophesies a similar “What if they’re true?” treatment, and had John Cusack, Chiwetel Ejiofor, and Amanda Peet bouncing from one disastrous predicament to the next while audiences cheered.
Whether you find that particular genre of film entertaining now — either nostalgically or otherwise — will likely be the deciding factor in whether Moonfall turns out to be a film you cheer or one you ridicule, because make no mistake: It is a film unabashedly borne from the Hollywood ethos of that era.
To that end, the film does test your ability to turn off your brain and suspend disbelief a bit more than it should on some occasions, and to an extent that will likely vary from person to person. For every dozen-or-so scientifically impossible scenarios that Moonfall asks you to accept, the film slips in a few dozen, even-more-implausible elements that leave you feeling like a sucker. Jumping an SUV from one floating piece of asphalt to the next as gravity waves rip up the highway? Fine.
In one particular sequence midway through the film, a space shuttle launches into the sky amid an onrushing tidal wave caused by the moon’s shifting orbit. It’s the sort of high-stakes scene that could either come off as breathtakingly epic or unbelievably silly, but it’s executed with such audacious sincerity that it ends up becoming one of the most memorably triumphant moments in a film filled with dramatic flourishes.
Eye of the beholder Good disaster films always walk a fine line between thrilling and preposterous, and every audience member draws that line differently. That’s one of the reasons professional film critics and general audiences often differ so widely when it comes to entries in this particular genre.
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