When the last act splits focus between the three moon-headed heroes and their earthbound children, who are racing through an America quickly descending into violence and ferocious territorialism, it's pretty hard to care. These terrestrial scenes feel like a clumsy rehashing of the Casse family thread from Independence Day, where the wild card hillbilly dad (Randy Quaid) went into space while his scrappy kids clung together and looked hopefully to the skies. But Moonfall has no character as gleefully bonkers as Russell. There's no moment as kick-ass as Will Smith punching an alien in the face and shouting, "Welcome to Earth!" There's no cross-section of life on Earth explored as thoroughly, showing how we all come together in a crisis. Instead, as soon as the moonfalling news hits, the film's focus is chiefly on rich, privileged people fleeing to the resort towns in middle America. This makes the requisite scenes of coastal cities getting annihilated grim in a way that Emmerich doesn't seem to recognize. He doesn't tie us to anyone who can't afford to run. The characters who don't have ski dens or government bunkers to flee to are forgotten in a flooded hotel, because moonfalling waits for no one.