Moon (2009)
Moon opens with a simple but profound question: where are we now? We see a very brief glimpse of an Earth where we may have finally found a clean fuel source, before we land on the moon where the rest of the movie takes place. This fuel is called helium 3 and it is mined on the dark side of the moon by large dust-spewing machines. The whole operation is manned by a single astronaut on a three-year contract named Sam Bell (Sam Rockwell). Moon is a very introspective film, using this one-man-in-isolation microcosm to represent much larger themes about where our society may be headed. Like all good science-fiction, Moon is really about contemporary issues, even though it is set in the future. By the end of the film the question has shifted from "where are we now?" to "what are we now?"
You will find yourself thinking about 2001: A Space Odyssey (1968) during the first few minutes of Moon, especially after meeting HAL 9000's distant cousin, GERTY (voiced by Kevin Spacey), but the film soon becomes more than an homage, revealing a tantalizingly original plot that will keep you on the edge of your seat right up to the end. The concept is so brilliant that the execution must inevitably suffer. I was entertained and satisfied, but the film set up such a unique scenario that I couldn't help but want and expect something more than what was delivered.
Moon is a film that acknowledges its audience's intelligence. It has many mysteries and although a lesser film might convey these revelations as shocks or surprises, filmmakers trust that you likely see where their story is headed, opting to reveal the answers as eventualities. This gives us more time to think about what these revelations mean in the context of the film's characters and themes, instead of constantly being distracted by secreted red-herrings. I like this format. It is conducive to a slower place, but the contemplation is necessary to fully enjoy the experience. This is hard science-fiction, after all, you are supposed to think.
Since Moon is pretty much a one-man show, its success is predicated upon the talents of the lead actor. Sam Rockwell delivers and then some. He carries just the right emotional weight where necessary, and provides wit and light-heartedness to brighten scenes that could have been plainer. I could say so much more, but I don't want to ruin some of the film's best moments. Simply said: Rockwell gives a tremendously endearing performance and I sincerely hope he is recognized when the time comes.
I must also say something about the music here after having some spiteful criticism of 12 Rounds' score. In a film that undoubtedly had a measly fraction of the budget of 12 Rounds, an underpaid composer delivered a phenomenally better soundtrack that is subtle yet atmospheric. It works. And you know why? Because someone actually cared about this film and man does it feel good to watch a film that filmmakers clearly cared about. It's a rare event these days.
One more element that must be mentioned are the special effects. Yes this is a low-budget film, but the choice to use practical effects was an extremely smart one. Sure, some of the sets look only a few steps above Mystery Science Theatre 3000, but the effect is reliable and effective. Moon was shot during the writer's strike so director Duncan Jones was able to lure top-industry visual effects artists to work on the project because...well...they would take anything they could get.
The final verdict: Moon is a smart and satisfying low-budget science-fiction film that teeters on greatness but falls just short of fulfilling its incredible promise. This is a fantastic film, though, with a brilliant concept and an Oscar-worthy lead performance. Moon is the best sci-fi movie I have seen this year.
Professor P
Moon opens with a simple but profound question: where are we now? We see a very brief glimpse of an Earth where we may have finally found a clean fuel source, before we land on the moon where the rest of the movie takes place. This fuel is called helium 3 and it is mined on the dark side of the moon by large dust-spewing machines. The whole operation is manned by a single astronaut on a three-year contract named Sam Bell (Sam Rockwell). Moon is a very introspective film, using this one-man-in-isolation microcosm to represent much larger themes about where our society may be headed. Like all good science-fiction, Moon is really about contemporary issues, even though it is set in the future. By the end of the film the question has shifted from "where are we now?" to "what are we now?"
You will find yourself thinking about 2001: A Space Odyssey (1968) during the first few minutes of Moon, especially after meeting HAL 9000's distant cousin, GERTY (voiced by Kevin Spacey), but the film soon becomes more than an homage, revealing a tantalizingly original plot that will keep you on the edge of your seat right up to the end. The concept is so brilliant that the execution must inevitably suffer. I was entertained and satisfied, but the film set up such a unique scenario that I couldn't help but want and expect something more than what was delivered.
Moon is a film that acknowledges its audience's intelligence. It has many mysteries and although a lesser film might convey these revelations as shocks or surprises, filmmakers trust that you likely see where their story is headed, opting to reveal the answers as eventualities. This gives us more time to think about what these revelations mean in the context of the film's characters and themes, instead of constantly being distracted by secreted red-herrings. I like this format. It is conducive to a slower place, but the contemplation is necessary to fully enjoy the experience. This is hard science-fiction, after all, you are supposed to think.
Since Moon is pretty much a one-man show, its success is predicated upon the talents of the lead actor. Sam Rockwell delivers and then some. He carries just the right emotional weight where necessary, and provides wit and light-heartedness to brighten scenes that could have been plainer. I could say so much more, but I don't want to ruin some of the film's best moments. Simply said: Rockwell gives a tremendously endearing performance and I sincerely hope he is recognized when the time comes.
I must also say something about the music here after having some spiteful criticism of 12 Rounds' score. In a film that undoubtedly had a measly fraction of the budget of 12 Rounds, an underpaid composer delivered a phenomenally better soundtrack that is subtle yet atmospheric. It works. And you know why? Because someone actually cared about this film and man does it feel good to watch a film that filmmakers clearly cared about. It's a rare event these days.
One more element that must be mentioned are the special effects. Yes this is a low-budget film, but the choice to use practical effects was an extremely smart one. Sure, some of the sets look only a few steps above Mystery Science Theatre 3000, but the effect is reliable and effective. Moon was shot during the writer's strike so director Duncan Jones was able to lure top-industry visual effects artists to work on the project because...well...they would take anything they could get.
The final verdict: Moon is a smart and satisfying low-budget science-fiction film that teeters on greatness but falls just short of fulfilling its incredible promise. This is a fantastic film, though, with a brilliant concept and an Oscar-worthy lead performance. Moon is the best sci-fi movie I have seen this year.
Professor P
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