Story by Duncan Jones
Screenplay Written by Nathan Parker
Directed by Duncan Jones
*** (three stars)
“And I think it’s gonna be a long, long time…”
-Elton John
“Rocket Man”
The genres of science fiction and fantasy are ones that have always been a source of artistic satisfaction for me. I love the idea of finding myself caught up within someone else’s imagination and then, merging it with my own as I ponder the mysteries of what lies beyond this planet and even this galaxy. Now, despite my love for the genres, I have to say that I tend not to read or see terribly much in those areas. With books and films, once I have experienced the pinnacle of some particular arena of the fantastic (in my opinion), there’s just no point in me attempting to find the equivalent of the transformative experience I had undergone. Besides, for me, literary science fiction is akin to learning a new language due to the barrage of phonetically challenging names of characters and locales, in addition to dealing with all manner of expositions, rules and new mythologies. I just become frustrated and cannot stick with it, despite knowing that some material may have immense artistic merit.
With cinematic science fiction, there’s the element of quality, as frankly, most science-fiction and fantasy films just aren’t any good! The wonderment that can be created visually doesn’t always translate to something that resonates emotionally (i.e. James Cameron’s “Avatar”). It is certainly a testament to how extremely difficult films of this genre are to pull off successfully and the lack of respect they tend to receive is disconcerting. Nonetheless, for every “Star Trek,” or “Star Wars” you will more than likely see a myriad of time-wasters like…”Jumper.” The cinematic gifts of a “Blade Runner” or “The Matrix” are ones rarely found. Ever since George Lucas and Steven Spielberg’s revolutionary re-inventions of the genre in 1977 (the original "Star Wars" and "Close Encounters Of The Third Kind," respectively), Hollywood has become over-reliant upon the spectacle. The increasing lack of discipline for the art of storytelling or even creating a film that possesses ideas at all is disturbing. Now that we are unfortunately within the vice-grip throes of a “Transformers” world, it seems as if there’s not any room at all for a science fiction film that does not resort to blowing every inch of the frame to kingdom come. What makes the arrival of “Moon,” Director Duncan Jones’ debut feature so refreshing and gratifying during this sad time in current cinema, is the reliance not on $300 million dollars worth of special effects but on strong performances, special effects that enhance the story and provocative ideas, which are conveyed through pure storytelling.
As with several science fiction movies and stories that exist in a setting of dystopia, the security of Earth’s environment and energy resources are in extreme jeopardy. After discovering the source of Helium-3 on our moon, the massive corporation of Lunar Industries has single-handedly saved the world through the harvesting of this mineral source which replenishes the planet’s energy through pollution-free power. The edgy, jittery and excellent Sam Rockwell stars in a role specifically written for him as Sam Bell, an astronaut stationed on Lunar Industries’ small, solitary base on the far side of the moon for a three-year duration, with only the computer GERTY (voiced by Kevin Spacey with feelings expressed through emoticons) as his sole companion. With only two-weeks remaining, Bell, whose mind is beginning to splinter via headaches and hallucinations, is anxious to return to Earth, and most specifically, his wife and young daughter. One day, while on a routine moon surface check of the base’s mechanical harvesters, Bell is injured, rendered unconscious and wakes up some time later, under GERTY’s care in the infirmary.
I am reluctant divulge any more information so as not to ruin any of the plot developments for you. Yet, I think that I can safely inform you that what begins as a potential tale of madness induced by extreme isolation, ultimately becomes a thoughtful mood piece. Through Sam Bell’s peculiar and poignant journey of self-discovery, “Moon” wisely explores the dark side of our over-reliance on technology combined with corporate driven greed as well as pondering if the greater good of saving humanity can be accomplished by extinguishing humanity on a seemingly smaller scale.
What I am comfortable sharing with you is the excellence found within the performance of Sam Rockwell, an actor I have looked forward to seeing ever since his starring turn in George Clooney’s 2003 pitch black adaptation of Chuck Barris’ memoir, “Confessions Of A Dangerous Mind.” He carries a visage that suggests a duplicitous shadiness that somehow intrigues and attracts rather than repels. He always appears to be holding a knowledge that is three steps ahead of everyone else. Without really breaking any of the film’s surprises, Rockwell utilizes that unique skill to perfection, as he is required to remain several steps ahead while simultaneously becoming unbalanced. The psychological undertaking of this very tricky performance must have been grueling to execute, but to his talent and our enjoyment, Rockwell subtly amazes.
As for Duncan Jones, he has made a film that is quite reminiscent of the science fiction films of the early 1970s, like “Silent Running,” (1972) and “Soylent Green” (1973) or even Steven Soderbergh’s 2002 remake of “Solaris.” Stanley Kubrick’s 1968 landmark classic “2001: A Space Odyssey” is a definite source of inspiration for Jones as he illustrates his film with its own atmospheric and chilly setting, deliberate pacing, meticulous presentation, and of course, the unnervingly calm voice of GERTY, which clearly echoes the tone of the immortal HAL. However, Jones’ “Moon” does not exist solely as an homage but with a clear directorial vision that honors films’ past while also looking ahead.
As I continue to ponder “Moon,” its concepts and some of its “throwback” compositions, I cannot help but to wonder if there just might be something in the air cinematically. Perhaps some sort of an underground movement slowly arising. While the box-office behemoths have nothing to fear presently, a few years down the road may prove something of significance. Within several of my recent reviews, I had made comparisons of modern films, including “Up In The Air,” “The Lovely Bones,” “Whip It” and “Crazy Heart” to works from the 1970’s, a time which has arguably been deemed as Hollywood’s last Golden Age. It was an era when films contained a personality, an agenda, and a vision that represented filmmakers’ sometimes self-indulgent explorations of their passions and whimsies. We now exist in a cinematic era where very few major league Hollywood filmmakers are allowed to exhort a personal vision and the ones that do, (M. Night Shyamalan and surprisingly, Cameron Crowe for his extremely undervalued "Elizabethtown") tend to be critically hazed for their efforts.
I must inform you right away that I have nothing against big-budget box office as a personal rule, especially as “Star Wars” was indeed the first film that made me understand the power of cinema. But, as I stated at the start of this review, I have to question when did the tenor of the science fiction genre shift from ideas to numbing, thoughtless spectacle? Why are the science fiction films with real ideas relegated to smaller budgeted films with a fraction of the distribution that Michael Bay can command? With 2008's mammoth success of Christopher Nolan's "The Dark Knight," I am hoping that filmmakers committed to stories, characters and ideas will ultimately overthrow the hacks who callously appeal to our basest visual instincts by creating films you know very well they do not believe in. Only time will tell...
For now, we do have "Moon." While it is not a landmark film, or revolutionary and it will probably not blow your mind, the head games quietly set into motion and the overall humanity expressed within and throughout, makes this film worthy to seek out at your local video store.
And I have a gut feeling that Duncan Jones is a Director worth keeping an eye on.
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