IT doesn't matter that in this apocalyptic story there happens to be bunkers in Greenland built by the US government and it looks like it took years for these to be completed. You see, if the surprise comet in the narrative was only recently seen, then those bunkers' having been built a decade ago doesn't make sense. Unless, of course, the US government actually already knew about the comet years before the media got wind of it, which would then figure. Or were the bunkers built for a possible nuclear missile attack by North Korea, Russia or Iran? If so, is that why they're in Greenland? But, wow, man; how could China's and Russia's satellites not have espied on the construction of the airport when it would need to be as big as the Beijing Daxing IA to accommodate, say, 300 landings and takeoffs each hour during the transfer of select Americans within the year or month of the expected arrival of that planet-killing fragment of the comet in question?
    It doesn't matter, really, as we said, because this thriller and action film, written by Chris Sparling and realized for the screen by Ric Roman Waugh, has the Garrities (Gerard Butler, Morena Baccarin and Roger Dale Floyd) encountering the worst and the best in humanity on their heart-stopping journey to the Canadian border to find that indie flight to the Greenland sanctuary. This is on the eve of Earth's meeting with the aforementioned fragment of that comet, named Clarke, which, unlike Clark Kent, is not coming to save humanity but to annihilate a biblically large fraction of it. So, in a sense you could say that the point of all this is almost predictably Noah-esque.
    Barry Hertz of The Globe and Mail: "The new movie Greenland will make you sick. And I cannot recommend it highly enough."

    Roger Moore of rogersmovienation.com: "Doesn't often surprise, but it never disappoints."

    Peter Canavese of Celluloid Dreams (the movie reviews show): "If you can ignore the at-times-laughable script this is a skilled, very dark and surprisingly effective disaster movie."

    Dan Scully of phindie.com: "It's a silly script, but it's most definitely not stupid. Respect."

    Heather Wixson of dailydead.com: "Sure, there are plenty of explosions and breathtakingly horrifying sequences involving cities being annihilated by fragments of the comet, but the panic-fueled tension at the center of Greenland comes from the real human stakes driving its narrative."
    Chris Hewitt of empireonline.com: "Butler's best star vehicle in years, what could have been a bombastic bunch of boulders is, instead, a refreshingly clear-eyed and compelling affair. One of the best disaster movies in years."

    Jaredmobarak.com: "Knowing the carnage still to come, it was refreshing to meet the Garrity family as a group of regular people that will simply have to try and survive."

    Kevin Maher of The Times: "It's as if the film knows what we know, or what we've learnt in lockdown. That even in the face of chaos and disaster on a worldwide scale, it's the personal stuff that counts."
    Mark Kermode of The Observer: "The result is a first-rate B-picture, and a timely reminder of the delights of well-crafted popcorn thrills."
    Linda Marrick of New Scientist: "Far bleaker and more downbeat than you would expect. The film manages something truly unique by showing that you don't need astronomical budgets to make a decent disaster movie."

    Paul Byrnes of Sydney Morning Herald: "If you love disaster movies because they're a guilty pleasure, this one might offer some challenges. Greenland is actually unsettling, if you care to read its darker meanings." . . .
    So there you go. This disaster movie is decent because it is carved out from a regular-people characterization ramped up by a bevy of emotional situations, and then from an awareness of everything that could go wrong (and right) in a given culture faced with an undeniable threat. Yes, an undeniable threat, this one being a quick-as-a-surprise comet that won't allow a Republican president much time to deny anything, unlike a pandemic virus or an even more slow-burn planet killer like climate change.
    A hidden message here is that infrastructures could actually be prepared by a government for occurrences such as an encounter with a comet, or for highest-level climate change occurrences (even by the hypocrite deniers of the Right for their concept of privilege), if these governments―like Noahs of either the left or the right―would only seriously choose to. Then there are the other hidden dark meanings that you can squeeze out of the varied situations in the story via a wide array of approaches, if you'd care to look for them instead of denying that there are those things here that could pass for a grim contemporary allegory.