By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
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-wannabe-Disney style employed by Bluth. Bluth has actually done sci-fi once before, for the interactive laserdisc 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: A wisecracking giant bug, for instance, is introduced early on, only to be splatted into goo by a Drej trooper, leaving just his dentures unscathed. 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. From a technical standpoint, however, it should be noted that the merging of three-dimensional CG animation (spacecraft, planets, etc.) with traditional hand-drawn (all characters other than the Drej) works just fine. The drawn characters are shaded for an effective enough 3D illusion, as in Who Framed Roger Rabbit.
Screenplay by Ben Edlund, John August, and Joss Whedon
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 the ludicrously expository line "She's still got her ionic vacuum drive; those things never drain!" Our hero is Cale, a layabout with abandonment issues because his father never came back to find him after Earth was destroyed. Recruited by the mysterious renegade Capt. Korso (Bill Pullman), Cale 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.
Misgivings aside, Titan A.E. delivers some of the most well-thought-out and -executed action sequences to hit the screen in quite some time, 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 to collect a "cutting edge" song soundtrack (remember, Ballard's known for producing mainstream acts, from George Benson to Alanis Morissette). 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 many others that sound like overproduced big-studio copies of the Sub Pop catalog circa 1991. Song lyrics are also needlessly blatant: When Cale flies a starship for the first time, for instance, a number called "It's My Turn to Drive" cranks itself up. It may beat Elton John-penned show tunes, but not by much.
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