Featured Audience Ratings

• Sophie B

  
  A decent science fiction that makes you wonder what these industries get up to when things don't go their way, however it's not well executed and ends up running far too long with far too many 'coincidences'.

• Daniel M

  
  The 1970s were the golden age of the conspiracy thriller. Cold War paranoia, the OPEC crisis and the long-term fallout from Watergate created a heightened public interest in the workings of government and big corporations, which filtered through into a series of classic films. But… More
  The 1970s were the golden age of the conspiracy thriller. Cold War paranoia, the OPEC crisis and the long-term fallout from Watergate created a heightened public interest in the workings of government and big corporations, which filtered through into a series of classic films. But although conspiracy theories will always enjoy a certain amount of popularity, there is no guarantee that the films which entertain such theories will stand the test of time. Some of them, like All The President's Men, still hold up after more than 30 years; others, such as Capricorn One, do not. Despite the shared presence of Hal Holbrook, Capricorn One is structurally much closer to The Fog than to All The President's Men. Like John Carpenter's film it starts very well, with an intriguing and spooky premise; Holbrook's briefing of the astronauts is like the campfire scene where John Houseman tells the dark tale of the Elizabeth Dane. Then there is a long middle section full of boring soap opera dialogue and people wandering around in the desert, akin to the scenes in Antonio Bay before the fog comes in. Finally, the film picks up with the plane chase, which ends things on a high without quite making us forget our disappointment. Capricorn One does have an interesting idea at the heart of it - namely that, in the near future, the US government would fake landing on Mars to maintain public interest in the space programme. Holbrook talks about needing to recapture the imagination of the American public, who have become disengaged and cynical. He remarks that when Apollo 17 landed on the Moon, more people complained about re-runs of I Love Lucy being cancelled than actually watching the landing. These discussions precede similar ones included in Apollo 13, although it must be said that Ron Howard's film handles the subject in a way which is more dramatically engaging (in other words, by not having it all come out in big speeches). The story of Capricorn One is a classic conspiracy theory premise which taps into many big issues in 1970s culture. Although it was made six years after the last Apollo mission, theories that the Moon landings were faked were still hot currency. The Flat Earth Society went so far as to claim that the landings were shot on a Disney soundstage by Stanley Kubrick, with Neil Armstrong's dialogue being written by Arthur C. Clarke. The US was still reeling from both Watergate and the back end of the Vietnam War, two events which made blaming or being suspicious of the government both very easy and very popular. The icing on the cake is the casting of Holbrook; having played Deep Throat in All The President's Men, we instinctively know that he's up to no good. Not only is the plot a conspiracy theorist's wet dream, but whole sections of Capricorn One's dialogue feels like it was written by such theorists. There are a lot of frankly anal conversations about readouts between the technicians - conversations which labour the points and go round and round in circles, restating the same arguments without really engaging us. Proof of this lack of dramatic engagement is found in our attitude to Robert Waldon, who first notices a problem with the telemetry. Even while we are on his side, agreeing with everything he says, the main thing that interests us is his more-than-passing resemblance to Roman Polanski. This middle section is where the film slowly but surely starts to droop. Because it takes longer to get to Mars than to the Moon (obviously), there is a lot more time to be filled in before we get towards the money shot of them landing - time that cannot just be filled with routine checks and news broadcasts. But for whatever reason, Peter Hyams' script can't come up with anything interesting or relevant to justify taking so long. The central question is this: considering they have so much time to play with, why isn't Caulfield or anyone else doing more to follow up the strange goings-on, including the sudden disappearance of his friend? Comparing this film to All The President's Men makes its issues with narrative all the more apparent. All The President's Men had a clear objective and endpoint, but it kept feeding us information so that we could build up a picture of the Watergate scandal with the added tension of the short timescale. It's like watching a guy going to visit his girlfriend, but stopping on every street corner to buy her a present; we know where he's going, but when he gets there the reward will be greater. Capricorn One is like a guy blowing all his money on one big present, but having to walk to her house because he has no change left for the bus. We have to watch him trudge along the same route at a slower pace, almost begging him to get on with it. The various attempts to grab our attention through character development fail to make any kind of lasting impression. Elliott Gould spends most of his time wandering around looking glum or grumpy, moaning about how hard is it being a journalist to the point at which we just want to slap him. The romantic banter with his female colleague, played by Karen Black, is entertaining in passing but never really goes anywhere. And Gould's conversations with his assignment editor (David Doyle, who looks like Bob Hope) have their moments, but equally feel like we have wandered into an episode of Abbott and Costello. The film has the same dramatic problem as a great many whodunnits. Like an episode of Columbo, in which we know from the start who the killer is, we already know that the American government is behind what has happened. There is no immediate tension in the events involving the astronauts, because regardless of what happens to them we know who was responsible. Like The Paradine Case, the characters are so clearly drawn that there is precious little dramatic irony to be had, and therefore little reason to stick around. In terms of its direction, Capricorn One has moments of accomplishment. The Martian scenes themselves are well thought-out; we are introduced to the film set with a long rising shot of the craft, and when Caulfield stumbles upon the warehouse he is first seen as a speck in the background compared to the swathes of dusty red sand on the floor. Hyams adds a nice touch of showing the producers deliberately use slow-motion at certain key points, to simulate the effect of there being less gravity. This is all well and good, but there are an equal number of scenes in Capricorn One which fail to make the grade. Some of these are a case of the film dating poorly: the model shots of Sam Waterston climbing up the mountain side do feel a little bit Thunderbirds, as do some of the closer shots of the helicopters. But others are utterly silly and have no place being in the film. The silliest comes when Caulfield's car is tampered with: while driving along, his brakes stop working and he starts rapidly accelerating. Hyams then cuts to a camera mounting on the front of his car which spools forward in fast motion, as if we have suddenly wandered into the beginning of Naked Gun. The performances in Capricorn One are also a mixed bag. Gould is a decent actor but he's not a leading man by nature, having neither the charisma nor the likeability to carry the film in its quieter moments. OJ Simpson (who was later in Naked Gun) is very wooden and stilted, only becoming convincing when he's delirious. And Sam Waterston, who later starred in The Killing Fields, feels underdeveloped. Out of the three astronauts only James Brolin gets the development he needs, who kind of gives away that he will survive. In its final section, Capricorn One does pick up a little bit, delivering on spectacle where it cannot excel on substance. When Gould uncovers the conspiracy, the plot begins to move up through the gears, culminating in a very good plane and helicopter chase. Telly Savalas provides great comic relief as the crop-dusting pilot, who calls everyone he distrusts a "pervert" and keeps telling Gould to "put your goddamn head down!". The distant shots of the helicopters have a creepy quality, and the film gets away with the cheesy use of slow-motion at the end. Capricorn One is a watchable but disappointing conspiracy thriller. It has an interesting idea at its heart, but this idea is executed in a jobbing fashion, without the sense of imagination or creativity needed to bring its substance to the fore. In its end its multiple flaws are fairly easy to overlook, insofar as you never feel offended or incensed enough to make it worth holding a grudge. But considering that the conspiracy thriller is meant to provoke debate, perhaps being forgetting is a worse crime to commit.

• AJ V

  
  I believe this was the first film to question the moon landing, and there have been other since this one, but I think this is probably the best of them. I know I really liked it.

• familiar s

  
  Watched it quite a while back. It works more as a comedy than as a sci-fi or a thriller or an adventure movie. Guess that was intentional. Elliot Gloud is incredible. His sequences with his boss are awfully funny. A fun ride worth undertaking once.

• Ken S

  
  A little uneven, but mostly awesome. It's a great 70's conspiracy thriller with Elliot Gould and Halholbrook. What's not to love?

• Stuart B

  
  Decent conspiracy movie that seems terribly dated now.

• Anthony L

  
  An excellent conspiracy thriller with a brilliant cast. Classic!

• xGary X

  
  James Brolin heads a team of astronauts who're pulled from their capsule seconds before the launch and told they must help fake a Mars landing in order to save the space program. Meanwhile Elliot Gould is a reporter whose friend that works in the Houston command centre tells him… More
  James Brolin heads a team of astronauts who're pulled from their capsule seconds before the launch and told they must help fake a Mars landing in order to save the space program. Meanwhile Elliot Gould is a reporter whose friend that works in the Houston command centre tells him of a discrepancy in the telemetry. This friend promptly vanishes and he finds someone else living in his apartment, so he sets about discovering the truth. This hugely entertaining conspiracy theory thriller from Peter Hyams delivers an interesting premise told with boy's own panache. Elliot Gould does what he does best as the smart mouthed reporter and gets all the best lines in some witty quickfire banter with his editor and love interest, and the action is provided in the astronaut's escape from the NASA compound. Hyams makes great use of the desert locations and there's an exciting finale in the form of an aerial chase through it's canyons between two black ops helicopters (cleverly given a kind of faceless, malevolent personality through formation flying) and a barnstorming crop duster played by Telly "Kojak" Savalas. Occasionally a little far fetched, but it's funny, intriguing and exciting, and great fun.

• Antony S

  
  Engaging conspiracy film. Capricorn One concerns a US cover-up of a mission to Mars, attempting to claim the astonauts' journey resulted in a accident costing them their lives. Regretting their decision to lie for 'the sake of the nation', the actor/astronauts try to… More
  Engaging conspiracy film. Capricorn One concerns a US cover-up of a mission to Mars, attempting to claim the astonauts' journey resulted in a accident costing them their lives. Regretting their decision to lie for 'the sake of the nation', the actor/astronauts try to escape the government's clutches by trekking home through the desert. A reporter meanwhile, suspects something is afoot and makes an investigation, one that nearly gets him killed on several occaisions. An intruiging and entertaining thriller, Capricorn One is bolstered by fine work from Gould and soem dazzling camerwork, most notably the crane shot illustrating the astronauts parting ways and the POV shots when Gould's car develops a mind of it's own. Unfortunately, the second half of the film descends into typical adventure territory, with a daft dogfight, and a silly deus ex machina involving a snake. These factors stretch the believablity of the film, and of course affect its prescience (recent investigation into disproving the 1969 moon landing).

• Alec B

  
  The first half is solid. I like how Hyams tells most of what occurs from the perspective of the conspirators. Hal Holbrook is given some pretty fantastic speeches, and generally they are the kind of stuff we usually hear towards the end of most films of this genre. I was hoping that… More
  The first half is solid. I like how Hyams tells most of what occurs from the perspective of the conspirators. Hal Holbrook is given some pretty fantastic speeches, and generally they are the kind of stuff we usually hear towards the end of most films of this genre. I was hoping that this was a sign that Hyams was interested in the complex moral situation regarding media manipulation that he presents in the beginning and was trying to get past the obligatory conspiracy setup in favor of more interesting themes. Unfortunately, it turns into a sub-standard chase movie for the final hour that's not even remotely engaging.

• Sam E

  
  Capricorn One had a cool plot and was quite well-done. The mystery and suspense behind the entire conspiracy was accurately captured as well. The film, however,fell short on Bru Baker's co-astronauts; both men lacked any real character development and their roles ended abruptly.… More
  Capricorn One had a cool plot and was quite well-done. The mystery and suspense behind the entire conspiracy was accurately captured as well. The film, however,fell short on Bru Baker's co-astronauts; both men lacked any real character development and their roles ended abruptly. It would have been better to see more teamwork in their inevitable escape.

• Marcus W

  
  The idea is perfect and I love it. The execution is a mess: the script constantly veers into "wit" when it needs to play it straight. There are countless plot holes, such as the other two astronauts completely disappearing. There's little tension because the audience… More
  The idea is perfect and I love it. The execution is a mess: the script constantly veers into "wit" when it needs to play it straight. There are countless plot holes, such as the other two astronauts completely disappearing. There's little tension because the audience knows what's going on, and the ending doesn't give nearly enough resolution for something this big. Call Tony Scott and get it remade.

• Grifty G

  
  The first manned mission to Mars is scrapped at the last minute and filmed on a sound stage. But astronauts James Brolin and OJ Simpson might not want to go along with the plan. Elliot Gould plays a reporter who's trying to get the bottom of it all. This is one of those movies… More
  The first manned mission to Mars is scrapped at the last minute and filmed on a sound stage. But astronauts James Brolin and OJ Simpson might not want to go along with the plan. Elliot Gould plays a reporter who's trying to get the bottom of it all. This is one of those movies for conspiracy nuts, where the government is willing to kill anyone who gets in its way. Its a decent enough film, but I've noticed that any movie with OJ in it (pre Naked Gun) seems to have a slight made for TV quality to it.

• RJ M

  
  Moments before the launch of NASA's first manned mission to Mars, the astronauts of Capricorn One are secretly taken out of their spacecraft, and whisked away to a secret airfield in the middle of nowhere. Once there, they are told that their life support system on the ship was… More
  Moments before the launch of NASA's first manned mission to Mars, the astronauts of Capricorn One are secretly taken out of their spacecraft, and whisked away to a secret airfield in the middle of nowhere. Once there, they are told that their life support system on the ship was defective, and they would've died within 3 weeks. Instead of scrubbing the costly, and high profile mission, the decision is made to fake the entire thing. The astronauts are forced to go along with it, under threats against their families. When a catastrophic accenident destroys the spacecraft on its return to Earth, it's decided the astronauts must die before they can reveal the truth. What follows is a tense cat and mouse game where the astronauts attempt to get back to civilization before it's too late. James Brolin, Sam Waterston, and...gasp...OJ Simpson are the astronauts, Hal Holbrook is the dangerous head of NASA's space program, and Elliot Gould is an investgative reporter who suspects that things are not what they seem with this "historic" mission. Great performances all around, and a tense script by writer/director Peter Hyams make for an exiciting trip that is obviously based on the legendary conspiracy theory that man never really landed on the moon.

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