Old School Reviews: Titan A.E. (2000)

It’s funny, there’s a lot of bad things I can say about Titan A.E. Part of that can be blamed on the time it was made and who it was meant to appeal to. Part of it is a feeling of shoddiness that the film never seems to get past.

The tone is caught in a strange space between child-friendly animation and that gritty, grimy place we usually call “young adult” in a rather obvious attempt at pandering to adolescents with disposable income and a desire to be treated like a grown-up. There’s no swearing and the sexual innuendo is no worse than Monsters Inc. but the violence is surprising. We see one alien get comically blasted into goo, eyes and teeth, a number of sentient bat-bird things blown out of the sky, a few bloody wounds, and, at the end someone getting his fucking neck snapped. At the same time the sense of humour, when it occasionally appears, is as childish as a straight-to-DVD Disney movie. Throw in a high-concept sci-fi plot and moral that’ll fly over the heads of most “young adults” and you end up with a tone that, while not messy as such, is too far one way and not far enough another to have the kind of emotional weight that the movie seems to want. Add in the music, safe post-grunge rock that I’m honest to god surprised didn’t include Pearl Jam, and you end up with some late-nineties/early-aughts executive committee’s definition of cool.

The animation is a similar hodgepodge of traditional (and probably budget friendly) 2D and what was not-even-really-cutting-edge-anymore 3D computer generations. It’s a mix that swings wildly between tolerable and jarring. A few of the 3D models, the individual Drej drones for example, fit into the environments and move about smoothly enough, but more often than not it’s that ugly, undetailed rendering typical of much low budget fare. This get’s even worse when you consider some of the films that were coming out at the same time (the above mentioned Monsters Inc.Shrek, even Fox’s own Ice Age). Meanwhile Titan A.E. can’t even seem to render a pretty cliff. What makes it worse is that the 2D animation, which still makes up a majority of the film’s visuals, is similarly lacking in quality. Movement and outlines are often choppy, sloppy and overall just lacking in a layer of polish. All in all, not as pretty as a film with a 75 million dollar budget should have been. You can’t help but wonder if they had used 2D animation for the whole thing it would have been a much better looking film, and more fondly remembered as a result. But 3D rendering had become the fashion by that point, and so this is what we got.

So yeah, there are problems with this film. But there’s also a lot of good things to say as well. The character designs are excellent, both human and alien, with little details and consistencies that add to each. The alien character Preed for example is voiced by the charming, extravagant and educated Nathan Lane, but his character is ugly badly dressed and battle-worn (one of his ears is missing, replaced by cybernetics in his scalp), showing him to merely a thug pretending at being a gentleman. The alien designs are familiar enough (Stith looks like a kangaroo, Gune looks like turtle) for us to identify them and identify with them while still looking sufficiently unreal, and their voice actors commit to the roles and personalities beautifully. Would have been nice if the asian character Akima had been voiced by an asian actress, but this is the world we live and at least the crew allowed for some multiculturalism. The character development feels as natural and unforced as is possible in 94 minutes, the plot develops quickly enough. The use of lighting and colour is excellent and the script and dialogue is snappy and a pleasure to listen to.

But it is that high-concept sci-fi that I really love about this film. The message about humanity that it is trying to push. Y’see the film starts with the alien antagonists, the Drej, deciding that the human race has become to much of a threat to be allowed to continue to exist, so they come over and blow up Earth. Now, a thousand books, movies and video games that have come before usually fall within the grim’n’gritty themes of humanity probably deserving it a little bit, claiming that our propensity for violence and destruction would shake up any galactic order. But the Titan that the Drej fear so much is not a tool of destruction, it is in fact a tool of unparalleled creation damn near close to magic. To the contrary, it is the Drej who are only capable of destroying, who are incapable of creating, and terrified at what those creators are capable of.

And it is so fucking refreshing for a science fiction plot that’s not “human beings could have such potential if they just stopped killing each other and everything they meet”, and is instead “human beings reached their potential ages ago, it was fucking amazing and now we need to protect it.”

There’s something very hopeful about that. Something very encouraging. And a great lesson to be remembered as science moves forward. It is not the destroyers who wield true power, but the creators. And those that build will ultimately triumph over those that tear down.

Reviewing the Old School: Ocean’s Eleven (2001)

When I was young, real young, I watched the original Ocean’s 11. The one with Frank Sinatra and Dean Martin and Sammy Davis Jr and a dozen other of the biggest names in film and music at the time. I don’t remember much about the film (I was like fucking eight years old), just that I was a bit of a fan of Sinatra at the time and the guy who put the film on, a former neighbour who was still a close friend of the family, was always more of Dean Martin fan. Or at least he was quicker to sing Dean Martin songs. Love that guy. This anecdote has nothing to do with what I think of the 2001 remake. I just like to mention when I’ve seen the original.

Directed by Steven Soderbergh and starring George Clooney as the titular Danny Ocean, Brad Pitt as his best friend Rusty Ryan, Andy Garcia as the “smart as he is ruthless” Terry Benedict, Julia Roberts as Danny’s estranged wife Tess, and nine other fantastic actors playing fantastic roles, Ocean’s Eleven is a movie about a bunch of professional crooks robbing three casinos. Impossible, we are told at the beginning of the film. A suicide mission. Can’t be done. Danny and Rusty must be nuts. Must be. And yet they seem so delightfully sane.

I wanna take a moment to praise director Soderberg and, just as importantly, editor Stephen Mirrione. This movie is beautifully directed and, just as importantly, expertly cut. The shots are intimate but inclusive of large parts of the cast (without revealing the plot), fast without ever being confusing, with perfectly timed reactions and dialogue from the characters, and it’s all put together masterfully, never breaking flow even as it cuts back and forth between time and perspectives at the end. It’s a slow burn heist film that never feels slow. And it doesn’t treat you like an idiot. When they reveal how the heist works you feel like you’re being let in on a big secret, previous lines of dialogue and focus shots suddenly make sense, like a magician revealing how they pulled off a particularly entertaining trick.

This is one of those movies that occupies a particularly nostalgic piece of my heart, as do the two sequels. It was one of those films that my best mates and I all watched and watched again, not as quoted as movies like Troy or Gladiator but still formative. On the one hand the characters in this film are the epitome of cool. Even the losers in the group – the Malloy brothers (Casey Affleck and Scott Caan), Livingstone (Eddie Jemison) and Linus (Matt Damon) – have their own sense of style and intelligence that they own. For all their quirks and bad accents (I don’t care Don Cheadle, I love Basher anyway) these people are the best at what they do. Proper villains. And you love them for it. Even Terry Benedict, the antagonist of the piece, is fucking awesome. He’s got this soft monotone, constantly cool and calm even when the shit is hitting the fan and he’s obviously seething with rage. Andy Garcia is a bad-arse. Not necessarily a great antagonist – he doesn’t seem to hinder Danny and Rusty’s plans at all – but a great character.

More importantly is the relationship between the characters. There’s a bond between them all that is just a joy to watch. Squad goals and all that. Y’see Danny and Rusty don’t finish each other’s sentences, they answer them. Knowing someone so well you can talk to someone without needing to talk? That’s a friendship right there. As it is with all the others. The Malloy brothers, constantly irritating each other yet still obviously close remind me of two of my other mates. Livingstone is that guy or gal that everyone else is constantly trying to push out of their comfort zone, watching from a distance, knowing they’ll do it but never being quite sure. Same with Linus, though they’re less sure and are planning on telling him everything he did wrong in as loving a way as is possible after their massive fuck-up. Not sure who the Amazing Yen (Shaobo Qin) is in my circle of friends. Wait, yeah I do. Don’t worry, you don’t know him. Someone who’ll occasionally voice an opinion and only one other person will have any idea what he’s saying. Shit, that might actually be me as well. Then there’s Frank C (Bernie Mac), a good guy who’s able to turn a discussion about moisturiser into a threat with a firm handshake. Quietly confident, but also the guy who knows what everyone else is up to.

I love this film.

It’s funny how it’s overtaken the memory of the original, y’know? I mean, this sort of happened at the same time as a couple of other remakes from the sixties like The Italian Job and Get Carter. I actually don’t mind the remakes all that much, genuinely enjoyed The Italian Job, but it doesn’t change the fact that they’re remakes. The originals are still the classics in everyone’s minds, while the remakes were just throwaways. That could be because of Michael Caine. It’s probably because of Michael Caine. Doesn’t change the fact that Ocean’s Eleven surpassed Ocean’s 11 in the cultural mindset. I bet there are kids right now who have no idea that there even was a 1960s original. I bet there are grown-arse adults who have no idea. And I don’t mind. ‘Cause I love this film.