Mjeteconer Just perfect...

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Sam Panico Meteor was a BIG deal when released — tie-in toys, a pinball machine, a Marvel comic book — everything that a major 70s blockbuster needed. Some blame American-International Pictures name being on this as a reason for its failure, as people instantly expected cheese from AIP. Some blame the completely boring script. Others just think that everyone was sick of disaster films, as the 70s themselves were pretty much a disaster.Nevertheless, Meteor is competently directed by Ronald Neame, who also helmed The Poseidon Adventure. But the characters never get much to do other than have a few minutes of development and then try and survive.Read more at bandsaboutmovies.com/2017/06/30/meteor-1979/

boocwirm-1 You have to think that if Irwin Allen and his partners had any idea what a revolution was coming in terms of computers and graphics they might have waited a decade or so before attempting Meteor. As it was, they did the best they could with what they had and the result is an excellent disaster picture, far superior in story and character development to the multitude of "meteor aiming for Earth" movies that came afterwards. I've downgraded the picture to a "7" (if I was writing this in 1980 I would have given it an 8) because of the dated special effects, which include avalanches and tidal waves (before we started calling them by other names)but it is precisely the graphics or lack thereof that makes this a superior film. More recent attempts on the same subject get bogged down in the fabulous special effects, but Meteor had to flesh out its political and practical story lines to reach its full feature length. At times it seems like the movie is about to forget the looming disaster and lose itself in the relationship between Connery (an American scientist) and Wood (his Soviet counterpart), like so many mediocre films, but it never crosses that line and that story line is redeemed when Natalie heads back to Moscow after everything is finished, despite Sean's not-so-subtle hints she should defect. I should add the semi-obligatory homage to Natalie Wood in one of her last roles: she looks good and clearly fulfilled her early promise as an artist.

Leofwine_draca It looks like they blew the budget on the actors and were forced to compromise with some shoddy, low-budget effects work in this tacky disaster movie which serves as a precursor to DEEP IMPACT which arrived some twenty years later. Sadly, it's a rather dull affair which only picks up in the last half an hour and consists of endless talk and discussions before then. The actors and actresses do their best with the unbelievable dialogue but even they come off looking stilted and bored.It's a shame that this movie is so poor, as the cast is one of those ensemble ones to die for. A fifty year old Sean Connery takes the male lead, and plays his typical character: charming, attractive to the women, and always in command. Yeah, right. Thankfully, the ever-great Karl Malden is around and elevates the film a notch or two, showing Connery the real way to do things. Natalie Wood is the attractive female Russian, but in retrospect her presence is dominated by the viewer's recollection of her tragic death a couple of years later. Brian Keith is amusing as a Russian diplomat, while Martin Landau has the showy role of a stuffy US general forced to disagree with everybody's plans. In smaller roles, Henry Fonda pops up pointlessly as the US president, Trevor Howard is a British contact, and eagle-eyed viewers will spot Eurotrash legend Sybil Danning in a cameo as a skier in Zurich who gets buried under an avalanche.The special effects are amateurish in nature and really have to be seen to be believed. The space effects are obvious matte work and were nothing for George Lucas to worry about. Simple red lights stand in for various shards of meteorite which hit Earth beforehand and cause some minor damage. Whenever there's an explosion, the screen just fills with white so you can't see anything. One effect I did like was of a huge tidal wave coming around a street corner in Hong Kong, but that's the single impressive effort in the entire movie.If the first hour and a quarter is mere small talk and general chit-chat about what to do, then the final half-hour becomes typical disaster fare when events take a different direction, although by then it's too little, too late. The various actors and actresses suffer a shard hitting their complex and are forced to escape through a flooding subway. It's a chance for the guys and girls to get really muddy and actually take part in some action before the ending. As this is a mainstream title, the actual outcome is never once in doubt which makes any tension-building scenes relatively pointless. Worth watching for disaster movie fans; a gigantic bore for just about everyone else.

Woodyanders A giant meteor races through space on a collision course with Earth. It's up to a team of scientists led by the crabby Dr. Paul Bradley (Sean Connery at his most gruff and cranky) to figure out a way to stop it before it's too late.Director Ronald Neame treats the pretty silly premise with utmost seriousness and relates the engrossing story at a brisk pace. The compact script by Stanley Mann and Edmund H. North keeps the soapy subplots to a refreshing bare minimum. The big name cast adds immensely to this film's overall entertainment value: Karl Malden does well as no-nonsense project leader Howard Sherwood, Natalie Wood looks positively ravishing as fetching Russian interpreter Tatiana, Brian Keith contributes an engaging performance as the amiable Dr. Dubov, and Martin Landau provides gut-busting unintentional comic relief by screaming almost all of his lines as the irate General Adlon, plus there's sturdy work from Trevor Howard as British boffin Sir Michael Hughes, Henry Fonda as an aged president, Richard Dysart as the Secretary of Defense, Joseph Campenella as the stalwart General Easton, and Bo Brundin as hearty chief technician Rolf Manheim. Sybil Danning pops up in a small role as an ill-fated Swiss skier. The shoddy (not so) special effects possess a certain endearingly tacky charm, with a set piece involving a bunch of folks getting soaked with what appears to be chocolate milk rating as an absolute sidesplitting hoot. Paul Lohmann's crisp cinematography makes neat use of the widescreen format. Laurence Rosenthal's robust bombastic score hits the rousing spot. A fun flick.