James L. Conway
A trio of astronauts are caught in an accident, when they witness a newly launched satellite collide with a UFO. Back on Earth, they find themselves the scapegoats of a conspiracy to keep the downed craft quiet. A group of politicians plot to hide the discovery of aliens until after a presidential election. Meanwhile, some scientists explore the captured saucer and discover it’s occupants may not have come in peace.
Hangar 18 opens with an unintentionally hilarious spinning decapitated head in space that immediately dissolves the scene of any shock or horror .The film then goes through a series of tension building set-ups, only to bungle them. This happens all the way to a final moment that could have lead to an ironic finale, but instead decides to drag-on with a lengthy voice-over that renders everything you’ve seen up to that point meaningless.
|The dad from Teen Wolf and that guy who was on Love, American Style all the time, together at last.|
While the astronaut’s story serves to deliver the occasional action beat, it’s undermined by a parallel plot concerning the actual investigation of the flying saucer. Initially the exploration of the spaceship is intriguing. The interior seems far larger than the exterior would allow. If this was deliberate, it is never commented on. The interior of the ship feels like something out of Battlestar Galactica, all chrome and black plastic. The aliens themselves are a letdown, although the story justifies their appearance, it fails to make them very interesting.
|Robert Vaughn, shortly after watching the final cut of Hangar 18.|
Hangar 18, is a mess. It constantly falls short of it’s aspirations, but it does have the occasional notable moment. It’s a not a total loss, but I would definitely go in with lowered expectations.