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?
The USA must join forces with the USSR in order to destroy a gigantic asteroid heading straight for Earth.
I know, you are thinking that it was made in 1979 so the effects are not up to par with today&#39;s stuff. No, I mean the special effects are bad for then.<br/><br/>The special effects just don&#39;t measure up to movies like Star Wars (the space scenes) or other disaster movies of the time. I like Sean Connery though and the rest of the cast is rather good, so this one is not completely unbearable. It is, however, rather slow moving and when a chunk of meteor falls it is not very impressive at all. The highlight would have to be the tidal wave that hits Japan, it looks okay, but that is only when compared to all the other scenes in the movie when the meteors strike. The ones that burn up over Italy look like brake lights flying through the sky, the mountain top blowing up also looks incredibly bad. Then there is the scene at the end where they have to get through a tunnel, it looks good, but the scene is so short. You are left wishing there was a bit more to it (though I can&#39;t believe they covered Connery with mud like that). This movie needed to be a bit more like other disaster movies in that there is more stuff in the middle of the film other than the two minute scenes depicted meteor damage. Most of the action here took place at the end.
<ul><li>1/5 STARS -</li></ul><br/><br/>A group of astronauts are killed when they witness the collision of two gigantic asteroids near the outreaches of our solar system. A chunk two miles wide breaks off and speeds towards earth, forcing both the American and the Russian governments to link their top-secret missile systems to destroy the meteor. As it approaches, meteorite fragments from the collision reach the earth before the big rock does, and they precipitate several smaller disasters while the scientists race to destroy the `planet killer.&#39;<br/><br/>Meteor has an above-average cast for a movie of this type. Sean Connery plays the lead scientist, and Karl Malden is his boss. Natalie Wood plays the Russian interpreter who helps finesse the very tricky negotiations between American and Russian forces. Henry Fonda is the calm but determined American President, and Martin Landau is the paranoid and protective officer in charge of the American missile system. But even with all of this talent, Meteor manages to squander it.<br/><br/>Very little space will be spent here discussing the plot and dialogue of Meteor. Suffice it to say that the basic plot is acceptable but ignores a number of opportunities to generate more significant emotional payoffs for the audience. It doesn&#39;t seem like Hollywood executives had the opportunity to rearrange the plot elements to create the big-screen feel that a movie should have.<br/><br/>The dialogue is likewise weak and begs the question: why did these stars agree to do this movie in the first place? Perhaps they were sold on the concept, but the script punch-up never occurred. However, neither the plot nor the script matters much because the movie is so visually unsatisfying..<br/><br/>Set design is startlingly atrocious. All of the sets are ugly, even for 1979. You won&#39;t be truly mortified until you see the Hercules missile control center. The massive rear-projection screens you are accustomed to seeing at NASA (and in all Hollywood spacecraft command centers) have been replaced by large painted panels with occasional flashing lights pushed through from behind.<br/><br/>Any suspension of disbelief which might occur in the first 30 seconds of the movie is obliterated as soon as the first special effects hit the screen. With Martin Landau on board, it&#39;s conceivable that he was chosen in the hopes of cutting a deal with the FX crew from Space: 1999. However, the special effects in Meteor would be considered marginal even for a television show of that era. The rockets shine of polystyrene, and multiple decal lines are visible. The meteor itself is a rock from the director&#39;s backyard (by his own admission!) and the earthly explosions, for the most part, appear to be represented by a maroon gel placed across part of the camera lens.<br/><br/>The plot conveniently arranges for various meteor `splinters&#39; to strike the earth before the big rock will arrive. As with Earthquake, this creates many opportunities for expensive FX such as an avalanche in Switzerland, a tidal wave in Japan, and the devastation of New York City. Unfortunately, only the latter disaster is integrated into the plot, while only the avalanche and the tidal wave are remotely convincing. The blurry, smoking remains of New York City are so poorly depicted as to be disruptive. And the special effects in space are so incredibly bad that the poor depiction of the NYC meteor strike actually looks good in comparison.<br/><br/>This is an even greater shame because the final live sequence, involving a collapsing underground bunker, is fairly well done and possibly even Earthquake quality. Meteor was originally intended to capitalize on the Earthquake formula for success: a wide variety of big disasters coupled with a big name cast. In this case, however, the survivors end up coated in gelatinous mud as they escape through flooding subway tunnels. All the flailing and dragging looks more like celebrity mud wrestling than anything else.<br/><br/>Meteor is not sure if it wants to be a disaster film, a sci-fi film, or an espionage thriller. It ends up being spread too thinly in every direction, and just there isn&#39;t enough plot or dialogue here to sustain the movie in any direction. It&#39;s a moot point, however, because the miserable special effects torpedo the picture within the first five minutes, and recovery simply isn&#39;t possible after that. Coupled with a premature script and a talented but disempowered cast, Meteor is a truly disastrous film in every sense of the word.

As the title implies, Meteor is a disaster movie about a meteor about to hit the Earth in seven days. The only way the American experts can think of to stop the meteor is by hitting it with their orbital nuclear missiles, dubbed Hercules, which are currently pointed at the USSR. The problem is that the combined power of the Hercules missiles is not powerful enough to stop the meteor, so the US wants to unite their Hercules missiles with the missiles from the USSR&#39;s secret Peter the Great project, which are currently pointed at the United States. An additional problem is that neither government wants the other government to know that they even have such missiles. Meteor is based on a screenplay by screenwriters Edmund H North and Stanley Mann. However, it was inspired by Project Icarus, a report written by students at the Massachusetts Institute of Technology for a hypothetical systems project. The report focused on the concept of using missiles to deflect an asteroid that might become threatening to Earth. The project was described in the June 1967 issue of Time magazine and published as a book, Project Icarus: an MIT Student Project in Systems Engineering, in 1968. The chain of events started when a never-seen-before comet appeared from the other side of the sun and passed through the asteroid belt, hitting a large asteroid known as Orpheus. Orpheus broke into chunks. Several of those chunks started on a trajectory course with the Earth. Most of the pieces were small, but one particular chunk was five miles wide and could do serious damage to the Earth if it hits. This chunk, now known as the Orpheus meteor is projected to hit the Earth in six days. The Russian missiles are launched. While waiting for the 20 minutes to pass until they can launch the American missiles, Dr Bradley (<a href="/name/nm0000125/">Sean Connery</a>) receives a message from Sir Michael Hughes (<a href="/name/nm0002145/">Trevor Howard</a>) in England informing him that another chunk of Orpheus has been spotted heading for New York. Moments after the American missiles are fired, the chunk hits New York, causing massive destruction and destroying the World Trade Center. Because the control center is located in an old subway shaft under the Bell System building, it is not completely destroyed, but the rubble traps the survivors underground. Bradley leads out the survivors through the subway tunnels, enduring muddy water from the East River and breaking through blocked tunnels. When they get almost to the top, they are able to listen to a news broadcast saying that the missiles were successful in breaking up the meteor, just as someone breaks through the last pile of rubble from the outside, freeing them all. In the final scene, Bradley and Harry Sherman (<a href="/name/nm0001500/">Karl Malden</a>) are at the airport, seeing off Tatiana (<a href="/name/nm0000081/">Natalie Wood</a>) and Dubov (<a href="/name/nm0001417/">Brian Keith</a>). Tatiana kisses Bradley. As she boards the plane, Dubov says to her in Russian, &quot;I think you&#39;ll come back one day.&quot; Tatiana replies in Russian, &quot;Perhaps.&quot; Yes. Natalie Wood (born Natalia Nikolaevna Zahkarenko to Russian immigrant parents) spoke fluent Russian, as did Brian Keith.
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