Seen this now, i don't know why, I have been avoiding this one over the year. I was expecting it to be really dull and boring movie..

It was not as boring as I thought it was going to be, well start of slow like all the other found footage movies then gets going before the half hour mark.

I found really enjoyable for most of part of the movie, there was decent amount of Jumps scene in this movie. some jumps scene worked and some missed the mark a little.

The acting was really good from small cast crew, the ending was really predicable.

As I had low expectation of this movie, I found it much better then thought it was going be, not one of best Found footage movies, Decent movie for this genre 5 out of 10

OK but not great. The overall concept isn't that original - sort of The Blair Witch Project on the Moon. The plot itself is original, but relatively predictable.

While the direction gives the movie a realistic feel, it can be a bit irritating at times. The jagged, broken photography is jarring on occasion.

Performances are OK.

Watching Spanish director Gonzalo López-Gallego's conspiracy theory science fiction thriller "Apollo 18" reminded me of director Peter Hyams' 1978 sci-fi melodrama "Capricorn One" starring Elliot Gould, James Brolin, Sam Waterston, and O.J. Simpson. In "Capricorn One," when NASA had to scrub the first Mars landing, the space agency decided to fake it. Things grow complicated when the astronauts refuse to participate in the cover-up, and they are hunted down and killed. In "Apollo 18," the Pentagon dictates policy for the next mission to the Moon, but they keep everything shrouded in complete secrecy. "Apollo 18" resembles low-budget horror epics like "The Blair Witch Project" and the "Paranormal Activity" trilogy where the chills were captured on camera as they occur whether the characters are present or not. Apparently, everything that the "Apollo 18" crew shot with their video cameras got transmitted back to Mission Control because none of the spacecraft survived. According to the premise, not only did some anonymous individuals obtain access to these classified videos but they also edited the footage and then uploaded it to the Internet. The outcome of "Apollo 18" purports to be the reason that NASA never launched another Moon mission. Between the brooding opening and closing graphics about the Apollo program and the discovery of the footage, the action is suspensefully staged by López-Gallego, with realistic production values, atmospheric stock footage, and convincing performances. Warren Christie, Lloyd Owen, and Ryan Robbins play the doomed astronauts and register believably in their roles, especially Owen as the infected space man. Freshman scenarist Brian Miller and uncredited scribe Cory Goodman of "Priest" evoke genuine paranoia along the lines of the "Open Water" movies as our protagonists find themselves trapped literally between a rock and a hard place in this 86-minute, PG-13 rated opus.

Basically, the U.S. Department of the Defense blasts Lieutenant Colonel John Grey (Ryan Robbins of "Sanctuary"), Commander Nathan Walker (Lloyd Owen of "Miss Potter," and Captain Benjamin Anderson (Warren Christie of "Battlestar Galactica") into space to set-up several sophisticated detection devices on the Moon. Ostensibly, these detectors are designed to furnish the military with the most up-to-date, accurate intelligence about Soviet missile launches. Lieutenant Colonel Grey remains in the lunar orbiter nicknamed 'Freedom," while Commander Walker and Captain Anderson land the lunar module and establish a base camp with a rover. They do all the usual stuff, such like planting Old Glory and collecting Moon rocks. Later, inside the lunar module, they discover that somehow one of the rocks has gotten out of the sample collection bags. Meanwhile, something mysteriously interrupts their transmissions when they discuss their mission and later their predicament with NASA and then with the shady officials at the Pentagon. Indeed, our heroes encounter deadly aliens. These deadly aliens are not the variety that Hollywood usually serves up. They are unobtrusive and sneak up on the astronauts as they carry out their everyday chores. Nevertheless, what they lack in terms of a wicked appearance like the monsters in the "Alien" franchise, the "Predator" franchise, the "Species" trilogy, and the arachnoids in "Starship Troopers," these aliens make up for with sheer numbers and pugnacity. These are some nasty dastards, and they proliferate at the South Pole of the Moon. One of the aliens infiltrates Walker's suit and enters his torso. Anderson removes it and is puzzled by it. It appears to be a solid object without arms, legs, or a head. Our heroes go out for a ride and stumble onto the last thing that they could imagine that isn't either an alien or a monolith. The discovery that they make shakes the very foundation of their trust in both NASA and the Pentagon. Meanwhile, after the aliens attack, our heroes are told to remain where they are and perish as heroes because the Pentagon refuses to help them.

"Apollo 18" emerges as the kind of movie that you cannot reveal a lot about without spoiling the surprises. López-Gallego adopts the look and the feel of a documentary, and some of the footage appears to have been lensed as if it were designed for publicity news clips. The three man crew shoots most of the footage with NASA equipment while the on board NASA cameras and out-board Pentagon motion sensitive cameras record everything else. Indeed, despite the few opening moments during a family cook out, "Apollo 18" confines itself to three men. The action consists of astronauts performing their routine scientific chores in orbit around the Moon as well as on it. As far as they know, they are not expendable, but they learn later that they are not cleared to know everything important about the mission. The guys create a genuine sense of camaraderie. Their performances bristle with verve and nuance, particularly when Owen's Commander Walker goes bonkers. If you enjoy having the living daylights scared out of you by the sudden appearance of objects, aliens, and individuals, López-Gallego provides at least three solid examples, abetted in part by editor Patrick Lussier's shrewd cuts. The "Apollo 18" predators are not ostentatious, but they are nevertheless lethal. Mind you, Lionsgate Studio and López-Gallego are imitating the mockumentary marketing strategy of "The Blair Witch Project" to hype the film as the real McCoy. You would have to be hopelessly naïve to believe in such a premise. "The Los Angeles Times" has reported that NASA had nothing to do with "Apollo 18." Aside from the contrived circumstances under which the decades old footage eventually materializes, "Apollo 18" qualifies as a wonderfully creepy exercise in suspense and tension without a happy ending.