But...the title is "Moon". :lol
Moon, Discussion/Spoiler Thread
- Thread starter 0neiros
- Start date
But...the title is "Moon". :lol
Goonie
Sr Member
Should've called it Space Oddity and the follow-up The Spiders From Mars and get his dad to provide the music for it.
oldzey
Sr Member
Prop photos here if you are interested: http://www.box.net/shared/cxg5eml5jg
Colin Droidmilk
Sr Member
This film is a long overdue breath of fresh air. I agree with a few of the niggles mentioned above, but I can pretty much sweep them aside in view of the air of decorum and good taste exuded by Jones' effort. Jones revives the austerity of early 70s SF, with obvious nods to 2001, Solaris and Dark Star (beard) - perhaps a little too self-consciously at times, but again it can be overlooked in view of the rejection of modern Hollywood on display here.
Also, the film is graced by one or two exterior FX shots which have a quality of pathos I've not seen in an FX shot since Silent Running. I'm thinking of the shot after Sam breaks down after speaking with 'his' daughter, which is an exterior shot of his rover, with the camera tracking round it to bring the Earth into frame. The cool buggy suddenly feels like a pathetic perambulator or wheelchair, expressing the horrific ridiculousness of the character's grotesque fate. It's a shot which contains great feeling, rather than empty spectacle, the standard component of today's Hollywood FX.
The FX shots generally, with their stark lighting and - what joy - restrained camera movement, recapture something of the terror and void of space as it was depicted in the 2001 to Space 1999 period of space visualization.
The film could have used less music, though. Jones should have followed his hero Kubrick more closely here, and made much more use of silence. The main theme at the beginning and the end were terrific, but a lot of the other stuff was too intent on guiding the emotions - the cliche of bleak synth notes falling away into the abyss etc.
Anyway, minor niggles. Jones deserves our profound thanks for making this heartfelt attempt to restore some refinement and eloquence to Hollywood SF.
Also, the film is graced by one or two exterior FX shots which have a quality of pathos I've not seen in an FX shot since Silent Running. I'm thinking of the shot after Sam breaks down after speaking with 'his' daughter, which is an exterior shot of his rover, with the camera tracking round it to bring the Earth into frame. The cool buggy suddenly feels like a pathetic perambulator or wheelchair, expressing the horrific ridiculousness of the character's grotesque fate. It's a shot which contains great feeling, rather than empty spectacle, the standard component of today's Hollywood FX.
The FX shots generally, with their stark lighting and - what joy - restrained camera movement, recapture something of the terror and void of space as it was depicted in the 2001 to Space 1999 period of space visualization.
The film could have used less music, though. Jones should have followed his hero Kubrick more closely here, and made much more use of silence. The main theme at the beginning and the end were terrific, but a lot of the other stuff was too intent on guiding the emotions - the cliche of bleak synth notes falling away into the abyss etc.
Anyway, minor niggles. Jones deserves our profound thanks for making this heartfelt attempt to restore some refinement and eloquence to Hollywood SF.
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