I must have seen the tame version of this film under the title Force of Impact. No gay sex, not that it would have enhanced the film for me. Not my cup of tea. I didn't have any problem with the acting, it was good from seasoned professionals. The dialog seemed average. The storyline was average. The camera work was good. But the editing left way too many dramatic pauses and too much dead air. It was not unusual for the dialog to end and then the film just hangs there while the actor stares at something or shuffles some papers. Not much in the special effects area. There was nothing really bad nor good about the film. It was just kind of there as a pay day for the people involved.

DEADLY SKIES is yet another disaster movie told on a cheap TV budget which means there's little in the way of action or genuinely impressive FX-fuelled incident. Almost all of the story is told via exposition and as usual human foes are pitted against our rogue heroes which saves on the budget considerably. The only thing this has going for it are a lead role for Rae Dawn Chong, of COMMANDO fame; she's rather better and more likeable than the usual stars of such fare. There's also another quirky performance from Michael Moriarty, the cult star who seemed to pop up everywhere in the 1980s.

Dr. Madison Taylor (Rae Dawn Chong) at Near Earth Asteroid Tracking Society has discovered a hidden asteroid on course to destroy the world in a day's time. General Dutton (Michael Moriarty) at the US government's Project Safe Skies dismisses her. Her only hope is former air force Major Richard Donovan (Antonio Sabato Jr.) and an asteroid-destroying laser which might be no more than a government boondoggle.

This is Deep Impact without the explosive CGI or the reasonable characters. I like the idea of a government boondoggle and secret weapon. Everything else is less compelling and less well-written. The miniature budget does limit the production. I got bored with Chong and Sabato in a long back and forth. This is cheap TV with one interesting idea among a sea of weak writing and production.