Unsurprisingly life has been pretty busy recently, so busy that going out to the cinema was out of the question. Hence finding a new release I could see from home was difficult. Even though it came out seven months ago, I like to think that the fact it came out this year gives me enough wriggle room to call it a new release.

A few months ago I watched The Day After Tomorrow. A few weeks ago I watched 2012. Both were directed by Roland Emmerich and having heard a variety of sarcastic praise and complimentary reprovals about his latest disaster epic Moonfall, I knew at some point I would have to see it.

Well, a couple of days ago I did and I was not disappointed.

Moonfall kicks off with an amateur researcher (John Bradley) discovering that the moon is veering off its orbit and heading towards earth. As floods, Tsunamis and earthquakes tear the world apart, two former astronauts (Halle Berry, Patrick Wilson) return to space to correct the moon’s orbit.

The Characters

If you haven’t been told, Moonfall is terrible. Is it so bad it’s good? Is it aware that it’s awful? Impossible to tell but there’s one thing it is and it’s what makes it so enjoyable and at times charming even; unapologetic.

The characters in Moonfall are no more three dimensional than those in Independence Day or The Day After Tomorrow. They are classic Emmerich archetypes, in that they’re exactly the same as those from his previous films and all feel like they were written in the 90s’.

You have the male ex (Jeff Goldblum in Independence Day, Matthew Broderick in Godzilla, John Cusack in 2012, Patrick Wilson here), the female ex he reunites with (Margaret Colin in Independence Day, Maria Pitillo in Godzilla, Amanda Peet in 2012, Carolina Bartczak here), the one who discovers the impending disaster (Dennis Quaid in The Day After Tomorrow, Chiwetel Ejiofor in 2012, John Bradley here) and the comic relief (Harvey Fierstein in Independence Day, Hank Azaria in Godzilla, Woody Harrelson in 2012, John Bradley here again).

The film is oblivious to the fact that no one finds these characters interesting or empathetic, regardless of their witty banter and dramatic one-liners, but runs with them anyway. Moonfall’s pride in these dated characters is both wonderfully nostalgic and hilariously idiotic.

The Plot (It’s Bonkers)

If you know nothing about Moonfall’s story beyond its basic premise then you’re lucky because you’re in for a joyous surprise.

The first hour plays like any Emmerich 90s’, 2000s’ disaster flick. A threat is discovered, the discovery spreads, politicians are briefed, scientists explain, the threat begins and escalates. If you’ve seen most of Emmerich’s disaster films then you’ll know these are pretty standard story beats, the only difference is that they’re in a film that came out this year and not in 1999. Only when someone takes out an iPhone or goes on social media are you reminded that this is supposed to be a contemporary flick.

Then you approach the second hour. You begin to learn the reasons behind the moon’s descent and at that point, like a moulting caterpillar, Moonfall sheds its disaster film cocoon and emerges as a butterfly from a completely different genre. The film still maintains its serious demeanour, acting as if its bizarre second half is a logical development from its first, and it is brilliant.

Moonfall is of a genre and a style that’s long dead and it’s proud of that. It’s not a Transformers in that it’s silly and offensive. It’s just silly and in a quite innocent way. If you’re like me and you grew up with Emmerich’s films exploding in the background then I highly recommend Moonfall. If you didn’t grow up with Emmerich’s films, then still I urge you to check it out purely for the incredible 360 turn that happens in the middle.

My brain gives Moonfall an awful 3 out of 10 but my heart gives it an outstanding 10 out of 10.

It is what it is and it’s beautiful.