MOON isn't anything anyone has seen before. It's a sci-fi movie, but it relies more on dialogue than action to build up its suspense. And it succeeds. There have been a handful of other films that have relied on a more talkative, dramatic atmosphere. None of those others… More
MOON isn't anything anyone has seen before. It's a sci-fi movie, but it relies more on dialogue than action to build up its suspense. And it succeeds. There have been a handful of other films that have relied on a more talkative, dramatic atmosphere. None of those others seem to work as well as this one does. Take Steven Soderbergh's 2002 remake SOLARIS as an example. That film had a neat premise, especially with the gentle blend of lust and space, but even at a mere ninety minutes of length, it would be a cinematic lullaby to anyone who just doesn't care all too much for science fiction. MOON is different. Like SOLARIS, it clearly shies away from any special effects or action sequences that have become popular in today's sci-fi movies (the $5 million budget, which was seemingly devoted to making the film look incredibly futuristic, seems to agree with me on that one); contrarily, it runs close to ten minutes longer than Soderbergh's film, yet an audience would have to absolutely abhor sci-fi to have the nerve to miss an entire minute of it.
The script provided most of the intrigue for MOON. This was written by Duncan Jones and Nathan Parker, two names that aren't really the most recognizable, though the former we could possibly point to for his work on last year's sci-fi flick SOURCE CODE. The two provide some of the most interesting characters in recent science fiction history (behind Jar-Jar Binks, for whom I would always reserve a spot, just because he-sa makes me-sa laugh at he-sa's utter stupidity). Honestly, the list of characters is quite small. There is only one real main character, unless you count GERTY, and every other character appears for no more than a minute. I could watch Sam Bell for hours, not because he shares a name with the actor who portrays him (though that does make it a bit more authentic, I'd say), but because his split personality is so unsettling. I honestly haven't seen a split personality done so profoundly well since Nicolas Cage's character(s) in ADAPTATION. GERTY is even better. He starts off as a bit of a comic relief to the story, and continues that way, but sometimes he seems to give us the effect that clowns do to young children. (Well, on a slightly lesser level.) His voice barely has any emotion to it, and it's really the screen covering his motherboard that provides a smile. He uses "emoticons" to convey his feelings: When he greets Sam, he gives off a giant smiley. When he is angry, he furrows his pixel-brows. When he wants to commiserate, he squeezes his eyes shut tight, puts on a forlorn face, and drips tears. You get the picture.
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