It’s no secret that I have a soft spot for all things science fiction-related, and when it involves robots of any kind (the odd exception being the actual movie Robots, which I avoided like the plague) then I’m in like Flynn. The more non-human looking the robot, the more I’ll love it. (Which is probably why Disney’s own The Black Holehas some of the coolest movie robots in it. V.I.N.C.E.N.T.? Maximillian? Great stuff. Where’s my Blu-ray, Disney?) One of the movies this past year that actually got me into the theaters more than once was Disney/Pixar’s WALL•E, which comes out on DVD today. They’ve added a ton of special features to the film, especially (of course) if you buy the three-disc special edition, which includes a digital copy of the movie that you can toss on your iPhone, laptop, digital watch, toaster oven, or shaving mirror.
Despite the fact that director Andrew Stanton says WALL•E has “no environmental message” whatsoever, it’s a bit ironic that on the commentary track he starts out by explaining that in the development process they wondered what would happen if so much trash piled up that humans had to leave the earth in order to clean it up. Sounds environmental enough to me. Luckily, the fact that Stanton continues to insist there’s no underlying meaning, and that he never made the connection between WALL•E and Johnny 5 from Short Circuit hasn’t detracted from my enjoyment of the film.
Pixar decided to revisit the WALL•E universe by creating a short film using new animation and some recycled footage. The idea was that it would be a nifty little special feature for the DVD, which it is, but it makes me yearn for a sequel to WALL•E — which is a sign of Disney’s marketing magic at work. The short film is BURN•E, and I got the chance to see a little early and to talk with the director of the short, Angus MacLean. The DVD also includes the short magician vs. rabbit film Presto, and these two shorts alone are worth the price you’ll pay for this robotic wonder. Check out our interview with MacLean below the jump.
In the new movie Eagle Eye, three characters participate in a re-creation of the famous crop duster sequence from Hitchcock’s North by Northwest. Only the plane from NbN has been replaced with an electrical tower and power lines, and it takes Shia LaBeouf, Michelle Monaghan and Anthony Azizi to perform Cary Gran’t part (Azizi also substitutes for the pilot and the farmer, I guess).
Such an homage is not surprising coming from director D.J. Caruso, whose last picture, Disturbia, is currently involved in a lawsuit for being an uncredited remake of Hitch’s Rear Window. This time, fortunately, Caruso borrows enough from other films, including Hitch’s second version of The Man Who Knew Too Much, 2001: A Space Odyssey and I, Robot, to keep from being sued by any single party. Eagle Eye will likely also remind audiences of The Dark Knight, if not for the similar cell phone surveillance tactics then for Caruso’s even less capable talent for directing car chases.
While Caruso does a good job at allowing his audience to compare him to better filmmakers (yes, even I, Robot’s Alex Proyas), he doesn’t give us the world’s worst redo of the crop duster bit (that is probably this). But he also doesn’t come anywhere close to giving us the best. And for such a famous scene that is so widely studied and imitated, giving us merely another so-so re-creation is very disappointing. After the jump, you’ll find some of my favorite tributes to North by Northwest, mostly paying homage to that one beloved sequence.
In response to Karina’s post from yesterday about plot songs, I feel it is necessary and timely to pay tribute today to the best plot song writer since Huey Lewis: Will Smith. From the ’80s on, Smith has provided the world with songs serving as storytelling supplements to his TV show, his movies and even other people’s movies. At times he has even prematurely released songs that could later be applied to movies for which he failed to attach an official plot song. Uh huh.
To get us started, here’s one for Hancock. It’s a song released three years ago, but it’s much more relevant now:
The above video is the closest thing I can find to a video for the song, which applies to Smith’s latest movie in three ways. (1) The title is close to the former title of the movie, “Tonight He Comes.” (2) It samples the theme to the Spider-Man TV series, fitting it in with the superhero plot. (3) It works as a big defense against all of the naysayers thinking he’s finally struck out with Hancock.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
filmcouch-114
