By Abby Garnett
By Amy Nicholson
By Alan Scherstuhl
By Inkoo Kang
By Alan Scherstuhl
By Amy Nicholson
By Mood Indigo, reviewed
By Stephanie Zacharek
It's the year 3028, and man...is an endangered species!(Haven't we heard that before -- like, just last month?) This time around, though, the threat is a little more intimidating than those effeminate, Xenu-worshiping Conehead psychologists in platform boots. The villains in Fox's new animated spectacular Titan A.E. are the Drej (pronounced "dredge," as in "dredge up all the good sci-fi movie ideas that have been used already, and recycle them"), a neon-blue race of energy beings halfway between the Independence Day invaders and Tron's video-game warriors, who speak in digital Surround-Sound bass and have their own portable Death Star, er, mothership that destroys whole planets in a single blast. The level of computer effects employed here is superior to that of many live-action movies, and it's never more evident than during the apocalypse sequence that kicks things off (A.E. stands for After Earth). There's been much speculation that U.S. animation has finally evolved beyond the kiddie stage and that Titan A.E. might well be the film that makes animation safe for adults and shatters our homegrown stereotypes. And it's a good start. But it bears mentioning that the film's co-director/producer is Don Bluth.
Remember him? Former Disney employee, the man who brought us such NutraSweet overloads as An American Tail and All Dogs Go to Heaven. Bluth is a man who thinks classic Disney animation is the pinnacle of the genre; did you really believe he'd take it to the cutting edge? Sorry, folks. Whatever your opinion may be of the Japanese anime look of stylized, triangular-faced humans, it's certainly no worse or more generic than the wide-eyed, cutesy, Disney-wannabe style employed by Bluth. Bluth has actually done sci-fi once before, for the interactive laser-disc game Space Ace, and if you've seen that, you know what to expect here: Every alien in the film looks like a classic Disney talking animal, from Janeane Garofalo's gun-toting kangaroo (shades of Tank Girl) to the turtle with glasses straight out of Robin Hood, here named Gune (pronounced, appropriately, "goon") and voiced by John Leguizamo. At least they don't say "Meesa your humble servant."
Still, the designs aren't quite congruent with the more teen-oriented story line. For instance, a wisecracking giant bug is introduced early on, only to be splatted into goo by a Drej trooper. Lead hero Cale (Matt Damon), meanwhile, envisions himself sustaining a gaping, bloody hole in his stomach at the hands of his enemies. Yet another character gets his neck aggressively broken. The fact that everyone looks like a Disney character makes these acts of violence seem doubly perverse.
The film's plot is classic hero's journey -- reluctant warrior seeks mysterious object that will save his people -- embellished with story elements previously seen in Superman, Raiders of the Lost Ark, Star Wars, the Star Trek films and even Battlefield Earth (coincidentally, one assumes). A key development calls for a spaceship that's been derelict for years -- and used as a house -- to function perfectly, explained away by this ludicrously expository line: "She's still got her ionic vacuum drive; those things never drain!" Cale is a layabout with abandonment issues because his father never came back to find him after Earth was destroyed; recruited by the mysterious renegade captain Korso (Bill Pullman), he discovers that his genetic code activates a map that will lead them to the Titan, a spaceship containing some kind of highly advanced secret that scared the Drej enough to provoke their preemptive attack on Earth. And thus the journey begins. Korso's ship, as is the norm in these animated movies, is crewed by a team of lovable misfits, all of them wacky aliens except for one who just happens to be the perfect love interest: a goth-punk chick named Akima, voiced by Drew Barrymore and wholeheartedly ripped off from the character Freefall from the comic book Gen13. Since primary Titan A.E.scripter Ben Edlund is a big name in the comic world, it's unlikely he missed the resemblance.
Such misgivings aside, Titan A.E. delivers some of the most well-thought-out and executed action sequences to hit the screen in years, at least since Michael Bay's The Rock back in 1996. It's rare to find an action movie with one solid, memorable sequence these days, and Titan A.E. has at least four, all of which are truly impressive and should keep audiences sufficiently distracted from such minor details as character and script. And Graeme Revell's score, with its co-opting of world music, electronica and Also Sprach Zarathustra, is near-perfect; it's unfortunate that the producers couldn't leave well enough alone. Sensing marketing bucks, no doubt, someone had the bright idea to hire überproducer Glen Ballard (who's known for his work with such mainstream acts as George Benson and Alanis Morissette) to collect a "cutting-edge" song soundtrack. Thus, many of the scenes are underscored with that hip music all the kids are listening to (in corporate executives' minds, anyway): Lit, Powerman 5000 and others that sound like overproduced, big studio copies of the Sub Pop catalogue circa 1991. It may beat Elton John-penned show tunes, but not by much.
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