The slow methodical pace of Moon harkens back to old school hard sci-fi where the science is really only a tool to a deeper understanding of human nature.  While we have moments of action, most of the film is about interaction.  Even when we venture to the surface of the moon, CGI is replaced with models that look more real than any computer generated futuristic rover.  The intent was not to wow the audience with glitz and glam, but wow them with substance.  Although this methodology works for the most part, it does take some time to introduce the core of the story.  By the time we get to the heart of the film, many viewers may have already predicted the twist.  While I will not discuss the twist here, I will warn you that the rest of the review has to reveal the twists so that the review makes sense.  So stop reading if you do not want to know the entire story.

The highlight of this film is certainly Sam Rockwell as Sam Bell, HE3 miner on the surface of the moon.  He has a three year contract before he can go home.  Rockwell’s initial performance in the film is reminiscent of Tom Hanks in Castaway.  He is faced with no other human interaction and only has GERTY (Kevin Spacey), the stations artificial intelligence machine, to keep him company.  Volleyball compared to a self aware machine?  Perhaps Rockwell does have it a bit easier than Hanks, but the perfomance is still stellar.  All this changes when we meet Sam Bell (Sam Rockwell).  You heard me.  After a mining accident, we are suddenly thrust back to the station and see a more gung-ho Sam in a much cleaner space suit.  In a short while, the audience is rewarded with a rescue of Sam, by Sam.  Honestly, this is where Rockwell’s performance hits its stride.  He plays clones of Sam Bell that are reflections of the original Sam Bell (who may have never gone to the moon or may have died landing there) but at different points of their 3 year contract.  One who freshly sees the reasoning for clones and sets out to break free from the Sam cycle and one who has reached the end of his three year life cycle, finally facing the end and finding out the real story behind Sam.  The back and forth between the two Sams is humorous and serious, demonstrating that Rockwell is certainly an unsung talent.

The film works because we are essentially forced to reflect on what it is to be human.  By forcing the viewer into a relationship with Sam, we need to face the idea of our own mortality and the ethics of not only cloning, but human life.  Once you add the self aware and human-like GERTY, the question becomes what makes us human?  While one could point out other films that deal with clones (The Island and Parts: The Clonus Horror), Moon moves beyond the basic ethics of clone creation to a deeper layer of questioning of the basic principles of humanity.  When Sam is faced with the information that his wife has been dead, the clone reacts with sadness and grief one would expect of the real Sam.  Yet, these feelings come from implanted memories and not reality.  Moon works more on the level of Blade Runner.  The viewer is given the viewpoint of the clone (or possible replicant), which muddies the water of reality.  Are we human because of our memories?  Or are we human because of our actions?

Moon is a truly thoughtful film from a first time director.  Jones has realized that all the money in Hollywood only helps make a film pretty, it does not help the story.  While there may be some issues with the film with pacing and editing, they are easy to ignore.  However, much is left in the air.  Is the film good due to Rockwell’s performance or Jones’ directing?  There is certainly space for a sequel, once which I wouldn’t mind seeing.

I was like so totally enthralled by the cool tricks and magic! (The special effects were very interesting. They seemed to play on the old feel of the film itself. The Tesla machine was a very nifty machine, but the credibility of the film goes out the window when we see the duplicates.)

Scarlett Johansson was hot! (The acting was a bit daft at times. Olivia Wenscombe (Scarlett Johansson) was very dry and really lacked the screen time to make me care about her character. That seems to be the general feel for all of the acting. The two rival magicians, Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman), were so involved in their rivalry that no common sense prevailed. Each actor really pushed that aspect, creating characters that were single minded. However, that approach left me with two very wooden performances. By the end of the film, I felt nothing for either character. I must mention that Tesla (David Bowie…yes I said David Bowie) was a very interesting figure. Bowie does pull off the reclusive mad scientist with knowledge well beyond his years. Perhaps the best performance comes from Cutter (Michael Caine). It may just be the British hard nosed but lovable character, but Caine raises the acting bar for the rest of the cast. A bar which many of the actors run over rather than jump.)

What a great twist! (I was sitting on the edge of my seat waiting for the prestige, but I really was not rewarded in the manner I expected. I had a real problem with the reality of the film and the dramatic reveal that follows. Angier’s machine had a deus ex machina feel. How are we going to fill the plot holes, let’s bring in a machine of the gods to wrap up the loose ends. Because of the twist, I have no real desire to watch this again.)

I really enjoyed watching this film! (Once.)

They should make all films like this. (They, meaning Hollywood. All, meaning films seeking box office payout.)

So there you see the difference in criticism and enjoyability (perhaps not a real word). It was a fun film, but not all fun films can be elevated to the level of phenomenal filmmaking. But, the critical side to my brain does like to be turned off every now and then. Sometimes watching a film is the escape from reality that we all need. So put your critical mind up and grab a beer (or glass of wine, or whiskey, or coffee, or water, or whatever), The Prestige delivers on fun!