Director: Duncan Jones
review by Max Cairnduff
This is an exceptional piece of science fiction filmmaking by first-time director Duncan Jones. Starring Sam Rockwell (who gives a subtle and
nuanced performance), the voice of Kevin Spacey, and pretty much nobody else save some brief walk-on parts it's a film driven by character and
ideas, not by special effects.
Sam Rockwell plays Sam Bell, a man on a three-year contract to operate a helium-3 mining station on the dark side of the Moon. He's on his own
out there, the communications link with Earth is down and has been for some time, and his only company is a robot named Gerty who takes care of
chores for him. As the film begins, he's dishevelled, with wild hair and beard, with nobody there to notice he's stopped taking care of himself.
He's due to go home soon, though, to his wife and young daughter. His wife's messages (which he can't return because the link is down), and his
dreams of her, are all that keeps him sane.
Sam's duties aren't heavy ones, he oversees equipment, and when an automated He-3 extractor is full he drives out in a rover and picks it up.
Shortly after the film opens we see him, now looking much more groomed, hallucinating from loneliness - seeing images of a young woman he doesn't
recognise. Sam sees her again on the lunar surface while driving his rover, crashes, and when he wakes up back in the lunar base he starts to
realise that everything may not be as it appears.
Plot-wise, it's very hard to discuss Moon without spoilers, but it's quite possible as you read this you already know the basic plot, in
which case all I'll say is that the film still holds up well once you know what's going on. If you don't know what happens, my only reassurance
is that it makes sense; it's solid hard-SF of a sort far too rare in cinema and it avoids any credulity-testing twists or diversions out of genre.
Moon builds on the great science fiction films of the 1960s and 1970s, it clearly draws inspiration from Silent Running,
2001: A Space Odyssey - all of which feature isolated men cut off from
the rest of humanity, adrift in space, facing emptiness, loneliness and the unknown. Gerty, the base's robot, has a barely varying vocal tone
that it supplements by use of a small video monitor on which it displays smiley or sad faces as appropriate. Is Gerty on Sam's side? Can he trust
it? For Freeman Lowell in Silent Running, the robots are the only other good guys left. For Dave Bowman in 2001, Hal is more dangerous
than the monolith. It's a credit to Moon that for much of its length, it's not entirely clear which genre ancestor Gerty is closest to.
Moon is very much a science fiction fan's science fiction film. It's comfortable with exploring ideas, it feels no need to wedge in elements
of other genres (a compromise which badly damaged the otherwise strong Sunshine),
and it's confident that those ideas are enough to maintain the viewer's interest. When all you have is one actor, one voice, a bland lunar habitat
and a rover interior you need a strong story, and it's in that regard that Moon for me really delivered.
I consider Moon a contemporary classic of science fiction, right up there with the films I mentioned earlier (indeed better than Silent
Running). It's measured, thoughtful and a type of filmmaking we just don't see enough of. Coming in at 93 minutes, it's a small scale film
that works well as a DVD viewing, having no need for a large screen to make its points. I'm excited to see what Duncan Jones makes next, as although
science fiction writing is often intelligent, science fiction cinema is rarely so. It's good to see someone redressing that balance.