Mira (2022)

Mira earns its place among the better modern disaster films by marrying big-sky spectacle to something rarer: an intimate, aching bond between a teenage girl on the ground and a father stranded in orbit, reduced to a voice and whatever signals he can push through. Dmitry Kiselev stages Vladivostok’s destruction with muscular, high-end visual effects and crisp cinematography, but the movie’s real propulsion is the tense, tender ingenuity of two people trying to find each other through collapsing streets, hacked-together devices, and sheer will. The vibe is equal parts edge-of-your-seat survival adventure and family drama, with a clean, forward-leaning pace that keeps the emotion from turning syrupy. If you’re sensitive to frightening disaster imagery and moderate violence, it can be intense—but if you want a crowd-pleasing sci-fi thriller with a human heartbeat, Mira delivers.

Mira is clearly aiming for a heartfelt, family-friendly disaster thriller where a distant father and his teenage daughter reconnect under impossible circumstances, and the setup has a solid emotional hook. The problem is it leans hard on familiar catastrophe-movie beats, with logic that often feels more convenient than convincing and dialogue that can drift into cheese when it should be tense. If you’re picky about realism, character depth, or surprises, the predictability and shaky final stretch may test your patience. Still, if you can accept some corniness in exchange for earnest sentiment, big-scale destruction, and a straightforward “never give up” message, it can work as a one-night popcorn watch.