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How do you manage child care while doing all the footwork required to plan your wife’s prison break? It sounds ridiculous, and it should be ridiculous up on the screen. But Russell Crowe makes it work in ways that far exceed any expectations we should honestly have for such a preposterous potboiler of a concept.
This isn’t a movie: it’s an FX demo reel. It’s not about anything: it doesn’t reflect any contemporary fears that afflict individual people or anxieties that grip our entire culture. It has nothing to say beyond: “Don’t alien ships in the skies over Los Angeles look sorta interesting, and perhaps you would like to hire us to create the FX for your next sci-fi action film?”
A runaway freight train loaded with dangerous chemicals is heading into a densely populated area! It’s a missile the size of the Chrysler Building! But wait! A reliable old-hand Hollywood star and a hungry new up-and-comer will save us all! Though there will be some explosions for your entertainment!
I like superhero stories that play with the tropes… and if such a story can take us to new places within a genre that seems like it must be totally played out by now, even better still. It turns out that Megamind is, in fact, just that kind of movie.
Once upon a time, a film this epic, this relevant, this emotional would have been celebrated as a great entertainment and important storytelling with something vital to say about the world today.
It’s weird to look back at ‘Genesis of Daleks’ now and know that the first time I saw this — it would have been back in the early 1980s — I had no idea what the hell a Dalek was.
Of all the washed-up washed-out over-the-hill too-old-for-this-shit action-hero movies we’ve had thrown at us this year — The A-Team, The Losers, The Expendables — Red is by far the most amusing, the most clever, the most tongue-in-cheek, the most fun (and I say that as someone who mostly liked those other movies).
I come to you with all honest sincerity and humility to say that I cannot, for the life of me, tell you what the hell this damn movie is about.
Affleck could do for Boston what Martin Scorsese did for New York in the 1970s…
Paul W.S. Anderson loves him some style without style, texture without substance: this is all white noise, visual static to make the movie pop more in 3D.
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