Fireball: Visitors from Darker Worlds review – this is somehow a snooze fest The impact of meteors and comets on Earth.



It is astounding how this documentary managed to sag as low as it did.

Apple TV+ documentary Fireball: Visitors from Darker Worlds was released on the streaming service on November 13, 2020.

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Storming on the Apple TV+ service in November is a documentary that explores meteors and comets and the impact they have had on our planet; it analyses the influence on religion and the cultural and physical impacts that they’ve had on Earth.

For comet meteor enthusiasts, Fireball: Visitors from Darker Worlds is a joy to watch, as it manoeuvres through various research, timelines and theories to articulate their importance. Werner Herzog takes the reigns, narrating the feature while behind the camera. It’s a double role effort that should, in theory, bring a significant documentary on the streaming service.

And while the facts are interesting, and the subject matter has the juice to expand our imagination, somehow, this documentary feature manages to make the science behind meteors and comets feel insufferably boring. At one point, the narrator tells us that they will not pain the audience with the detail. Still, at this stage, it’s too late — Fireball: Visitors from Darker Worlds has already fudged as much information as possible in a slow, laborious and uninteresting way.

One of the positives to gain from the documentary is that we have science teams looking at the night sky, to see if we have a likely catastrophic event coming our way, to prevent what happened in the demise of the dinosaurs. But that was probably the only part of the documentary that felt remotely entertaining.

And I can imagine readers already berating my review, claiming that documentaries should be about the facts, not the sensationalism. Well, my response is, there is no point presenting facts if I fall asleep. It is astounding how this documentary managed to sag as low as it did.

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Daniel Hart

Daniel Hart is the Co-Founder of Ready Steady Cut and has operated as Editor-in-Chief since 2017.

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