Sam Rockwell is, in general, fun to watch. The retro effects and costuming combine with the binary scenery (in the base or in the rover outside the base) and "British" filming to give the film a "walking with dinosaurs" style documentary kind of look into a time we can't see photographic evidence of. "Moon" is like a dramatization of the future, a recreation of what happens years from now, when the line between valuable life and expendable life rests in a different place than it does now (currently, corporations allow oil rig employees to blow up because safety hampers production. in the future that kind of abuse might be a little more flagrant). yea, the story wasn't air-tight. if it had been weightier, more emotionally demanding, i would have taken issue with the glaring moments of "nah-ah, no way". but the film was mostly sweet or funny or thoughtful rather than epic or conscience-shaking or heart-rending. its axe grinding was more akin to the main character's whittling (versus the extreme display of corporate greed in, say, "District 9"): it's not all that detailed, it simply beats sitting on your ass and forgetting about life's finer print (that is, what actually makes it matter, which people profess to care about, though not enough to read into it too deeply). what i mean is, Jones and Parker sort of indict LUNAR inc., but the story is more about being a human- and the "sarang" (the name of the base which i learned from wikipedia means "love" in Korean) that defines us, whether clones from a common source or simply fellow members of the species- than fighting "the man", or even picking out an "evil" "the man" to fight. "Moon" doesn't point fingers or seek violent comeuppance, it quietly asks us to consider the question of the opening credits: "where are we now ?" on the timeline that leads to the future depicted here.
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