You can tell it’s a 70s disaster movie by the cast boxes on the poster.
“No, not that Hercules!”
“Sir, you can’t let him in here. He’ll see everything. He’ll see the big board!”
We are interrupted often with shots of Orpheus to remind us there’s an actual threat out there.
Hercules Command Center deep under the Hudson River, New York City.
Sean Connery, friend to women everywhere.
At one point Tatiana chats with Jan Watkins (Katherine De Hetre), one of the Hercules staffers, and their conversation is about getting nice bed linens, good soap and how awfully nice Jan’s scarf is and not about their jobs or the current crisis as one would hope two professionals would do. Later Tatiana finds the scarf she admired cleaned and pressed in her room as a gift. *sigh* If this was supposed to be some kind of character building moment the writers should be taken out and slapped soundly. But it’s okay because Jan is the one they chose to kill off at the end to make the audience realize the horror of it all.
Maybe if she had kept that scarf she would have survived.
We get an impact in the wilds of Siberia.
The total destruction of a Swiss Alps holiday resort town by avalanche.
And a tsunami that wipes out Hong Kong.
“Paul, there is a huge tidal wave on my Blue-Screen!”
Post 9/11 filmmakers lost a favorite target for disasters.
If phallic images soaring through space is your thing than boy is this the movie for you!
New York’s notoriously dirty subway system gets a mud bath.
“Here’s mud in your eye.”
In the largest fireball you will ever see in the vacuum of space.
This film helped crater American International Pictures.
Later films like Michael Bay’s Armageddon and Deep Impact would make serious bank with the killer asteroid sub-genre but even those have serious dubious science moments and cartoon like characters but Meteor gets credit for being first so that’s something…right?
“If I can make it there, I can make it anywhere!”