How many times have you heard the phrase, ‘they don’t make
them like that anymore’? Well, next time some smart arse film fanatic bangs on
about the golden age of science fiction cinema, point them in the direction of
Moon. Not the actual moon, you understand, that would be taking things a little
too far. I’m talking about Sam Rockwell’s (Frost/Nixon) latest movie, an
engrossing journey directed by Duncan Jones. You can forget the smash, bang,
wallop of Star Trek, this is an altogether different kind of cinematic beast, more
at home with genre classics 2001: A Space Odyssey and Silent Running.
Sam Bell (Sam Rockwell) is nearing the completion of his
3-year contract with Lunar Industries, mining Earth’s primary source of energy
on the dark side of the moon. The only company he has is a vigilant computer
called, wait for it, Gerty (voiced by Kevin Spacey). The only contact he has
with the outside world comes via satellite messages from his wife and young
daughter. He can’t wait to get home, but a freak accident changes everything he
thought he knew about his world, leading to paranoia, altered fates and
shocking revelations.
Sam Rockwell is a one man band in Moon, as he’s pretty much
the only actor in the entire movie. Duncan Jones (son of David Bowie no less)
wanted to work with him on another project but they couldn’t agree on a
character, so Duncan wrote a movie around his shooting star instead, and the
end result is cosmic. Make no mistake about it, Sam Rockwell is a revelation in
Moon. I’ve always been a fan of his.
Matchstick Men and Frost/Nixon were signs of things to come, but it’s his interpretation
of a man on the edge that finally seals the deal.
Rockwell is mesmerising here, especially considering the
plot developments that hinder his quest later on. It’s award worthy stuff, and
I was truly captivated throughout. Even Kevin Spacey is able to inject warmth
and doubt into a thankless role as the base’s computer, with the relationship that
forms between the two characters proving understated, yet crucial, come the heartfelt
conclusion.
Events unfold slowly, throwing us in at the deep end with
Sam’s sense of detachment from the rest of the world. Brief video messages from
his wife and daughter break the monotony of a tiresome existence, but we’re
clearly spending time with a man who wants to go home. The second act brings
with it plot twists and revelations that dig far deeper than your typical run
of the mill sci-fi spectacle. Moon was shot on a low budget that adds, rather
than subtracts, from the overall experience.
It’s an old school sci-fi offering in mind, body and soul.
Special effects are used sparingly, but give the movie a quality that’s so much
more rewarding than the cartoon sheen of modern day monstrosities. For all its
70s/80s styling, Moon feels surprisingly fresh and original. It’s a rare
thing these days, especially in the world of modern sci-fi where CGI takes
precedence, to witness a movie that actually makes you think. A film that
rattles around inside your brain for the next few days and refuses to go away. Moon is one such experience.
It’s incredible to think that films like Transformers
continue to make millions (not that I’m opposed to robots in disguise), while intelligent movies like this are left on the dark side of
the shelf. It might not be to everyone’s taste; anyone anticipating big bangs
and action pizzazz will most likely rip off their own pointy ears. But if
you’re looking for something that engages your mind as well as your matter,
Moon might be the small step you’re after.
Original and gripping, sombre yet uplifting, Moon
brings with it a standout lead performance from Rockwell and a welcome sense of
worth. It might even make you question your own humanity. I guess they really
do still make them like they used to, after all. AW
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