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Richard C. Sarafian
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After a collision with a comet, a nearly 8km wide piece of the asteroid "Orpheus" is heading toward Earth. If it hits, it will cause an incredible catastrophe which will probably extinguish mankind. To stop the meteor, NASA wants to use the illegal nuclear weapon satellite "Hercules," but soon discovers that it doesn't have enough firepower. Their only chance to save the world is to join forces with the USSR, which has also launched such an illegal satellite. But will both governments agree? Written by
The missiles are traveling in far too close a formation to be effective. The first missile to detonate would destroy all the others nearby before they could deploy. Even if the timers inside the other missiles were perfectly synced, the slightest variation in the bomb materials would cause only the first device to explode properly (and be ineffective). In military terminology this is known as "fratricide". See more »
The splinter that hits New York City does not appear to be going very fast (no more than sixty miles an hour) when it hits; it glides lazily past the Statue of Liberty in one shot. An object traveling at that speed would do damage, but it wouldn't cause anywhere near the amount of devastation shown. See more »
I've read the negative reviews in here and am perplexed at the vitriol directed at this film. "Meteor" is, admittedly, a flawed movie, but still one with many strengths that deserve attention.
Firstly, it was made in 1979, so the effects are not going to be as stellar as they were in the 80's and 90's. And even then, some of those effects still hold up quite well to movies produced today. The modeling work, especially of the orbiting Hercules and Peter the Great nuclear missile platforms, is extremely impressive. The meteor itself is a big, ugly, and rather scary chunk of scarred rock, reminiscent of the Texas-sized shard in "Armageddon". Yes, some of the effects DO look cheesy (the avalanche being the most frequently cited example), but others are quite striking. At worst, "Meteor"'s effects are extremely uneven, but certainly not completely junkable.
Secondly, unlike "Deep Impact" and "Armageddon", the film focuses on the multitude of hurdles that have to be overcome in order to combat the threat. Personal, politicial, and scientific obstacles are given due screentime, which serves to advance the story rather than bogging it down.
Thirdly, "Meteor" is a far more globalized film, as it pulls together Russian, English, and even Chinese characters into the story. The attempt to track the rock and derive a viable solution to knock it out of its Earth-based trajectory is not solely an American one, but instead a closely coordinated international effort. Indeed, even the U.N. is (briefly) featured.
Fourthly, the film doesn't get mired in the 'human element' (as what happened in "Deep Impact" and "Pearl Harbor"). "Meteor" is non-tangential in that it STICKS TO THE STORY, which is the main interest of the viewer (at least, for me). Yes, there is the attraction between Connery and Wood's characters, but it's generally unobtrusive and the screentime limited.
Fifth, Laurence Rosenthal's score is great! Its boldness reminds me of Poledouris' legendary score for "Conan: The Barbarian". It effectively captures both the 'feel' of space and the direness and immediacy of the situations portrayed.
Finally, I emjoyed the acting. Connery, Keith, Malden, and Fonda turn in sincere performances (especially Malden). "Meteor" is an ensemble production in the tradition of Irwin Allen's best disaster productions.
Don't let the naysayers in here turn you off from this underrated gem. If "Deep Impact" and "Armageddon" left you wanting, give "Meteor" a try. Sure, it may not be as polished as those two productions, but it has more going for it than you might think.
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