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Awix (3310 KP) rated Hangar 18 (1980) in Movies
May 20, 2018 (Updated May 20, 2018)
Heroically low-budget, almost entirely inept pseudo-sci-fi from the makers of In Search of Noah's Ark and The Mysterious Monsters. There's less of a docu-drama vibe to this one but a definite proto-X-Files flavour as sinister government types cover up the crash-landing of a flying saucer, while fitting up two heroic, improbably-cast NASA astronauts for the death of a colleague in orbit. The cover-up is stupid and unconvincing; so are the astronaut characters; both are better than the special effects and props, which score highly on the crud-o-meter.
Main points of interest are as follows: Robert Vaughn as the slimy White House operator, who doesn't meet the rest of the main cast while giving a performance best-described as very Robert Vaughny. Darren McGavin comes as close as anyone to rescuing the movie as a sympathetic NASA director leading the investigation of the plastic UFO. (This is one of those movies with an almost wholly white male cast, so I expect it will be burnt at the stake in the not too distant future.)
The original ending, in which nearly everyone dies and the world is (probably) doomed by self-serving politicians, seems to have been lost to history, replaced by the one from the TV version, which is less downbeat but thoroughly pointless (so perhaps more appropriate for the movie). This isn't even fun junk, it's just witless stodge. Possibly of some value to cultural historians as a time capsule of fringe late-70s concerns, a waste of time for everyone else.
Main points of interest are as follows: Robert Vaughn as the slimy White House operator, who doesn't meet the rest of the main cast while giving a performance best-described as very Robert Vaughny. Darren McGavin comes as close as anyone to rescuing the movie as a sympathetic NASA director leading the investigation of the plastic UFO. (This is one of those movies with an almost wholly white male cast, so I expect it will be burnt at the stake in the not too distant future.)
The original ending, in which nearly everyone dies and the world is (probably) doomed by self-serving politicians, seems to have been lost to history, replaced by the one from the TV version, which is less downbeat but thoroughly pointless (so perhaps more appropriate for the movie). This isn't even fun junk, it's just witless stodge. Possibly of some value to cultural historians as a time capsule of fringe late-70s concerns, a waste of time for everyone else.