Showing posts with label 1999. Show all posts
Showing posts with label 1999. Show all posts

Saturday, June 6, 2026

Second Look - Toy Story 2

Note: This review contains spoilers for Toy Story 1 and 2.

Following the success of the original Toy Story film, Disney desired to capitalize on it with a sequel, developing one themselves for the direct-to-video market. When the project, Toy Story 2, was upgraded to a theatrical release, Pixar were unsatisfied with what had been made and were given permission to overhaul it themselves, but they only had nine months to do the whole thing due to Disney not wanting to budge on the 1999 release date. While I was too young to see the original Toy Story when it first came out in a theater, I was old enough to see Toy Story 2 this way, and many of its themes and contributions to Toy Story canon stuck with me well into adulthood. Looking back on it, where the original Toy Story has held up as a timeless classic, Toy Story 2 has managed to solidify itself as another classic in its own right thanks to its strong writing and well-handled themes.

Monday, October 3, 2022

Silent Hill (Game)


After I had played Silent Hill 2, I found myself interested in playing the other Silent Hill games, starting with the original Team Silent entries. For the original Silent Hill, often considered one of the greatest PS1 games ever made, I considered buying a digital copy off the PlayStation Store during the time Sony had announced legacy store closures. However, I came across a complete physical PlayStation copy for only $50, which put me in the unique position to experience it as someone who would have bought it at launch in 1999. While many aspects of the game have aged surprisingly well, I can confidently say it’s nowhere near worth the inflated aftermarket values.

Wednesday, March 9, 2022

Spyro 2: Ripto's Rage


With the success of Spyro the Dragon, Insomniac attempted something more ambitious with Spyro 2: Ripto’s Rage, which included missions and a bigger story, while addressing some of the issues with the original game. This entry released to critical acclaim one year after the original Spyro the Dragon and has stood the test of time. Looking back on it now, however, I feel I have a more mixed opinion on the more drastic changes to the original formula.

Wednesday, November 17, 2021

Crazy Taxi (PS2)


The year 1999 saw the release of an arcade game from Sega known as Crazy Taxi, with its popularity and success leading to a port for the Sega Dreamcast in 2000. Not long after the Dreamcast was discontinued in 2001, ports of Crazy Taxi for PS2 and GameCube were released later that same year and has since been ported to other systems over the years. Of these ports, I happen to own the PS2 version that I found at a GameStop when they still sold PS2 games. I picked up this port since I had some experience with the arcade game, and only learned later that it retains all of the music and product placement found in both the original arcade version and the Dreamcast port. After deciding to give the game a closer look, I would agree with the idea that it encapsulates the time in which it was made, though found the port a little rough around the edges.

Tuesday, May 4, 2021

Star Wars Episode I: Racer (PS4)


Around the release of Star Wars: Episode I - The Phantom Menace came a cavalcade of licensed games to cash in on the hype, many of them aimed at children, with varying levels of quality. Arguably the one that best stands the test of time is Star Wars Episode I: Racer, a racing game inspired by the Podracing sequence seen in the film proper. Though this game originally released on the Nintendo 64 system, I have fond memories of playing the PC port as a kid, for which I still have my original copy, and so I was excited when a modern re-release of the game was announced, later picking up a physical copy of the PC reissue and the PS4 port from Limited Run games along with the PS4 port of its sequel, Star Wars Racer Revenge. After finally receiving my copy of Episode I: Racer in the mail, I decided to revisit the game through the PS4 version and found myself having a blast with it despite some technical hiccups with the port.

Monday, May 3, 2021

Star Wars: Episode I - The Phantom Menace


Note: This review contains spoilers for Star Wars Episode I: The Phantom Menace. 

For at least a decade, the Star Wars Prequel Trilogy maintained a mostly negative reception from fans and critics due to a perceived lack of quality compared to the Original Trilogy. We also held this viewpoint once the Prequel Trilogy ended in 2005 with Revenge of the Sith, at least until we saw the truly disastrous results of the Sequel Trilogy. After The Rise of Skywalker failed to address many of the Sequel Trilogy’s mounting flaws and exposed its lack of any solid direction, we decided that although we had skipped the Prequel Trilogy in our initial buildup to The Force Awakens, it might be worth looking back and re-evaluating our opinion.

Naturally, we begin with Episode I: The Phantom Menace. Though this entry is the most infamous due to the hype surrounding its initial release and pretty much everything that could be said about its low quality has already been said, lack of input from anyone but George Lucas notwithstanding, this won’t stop us from voicing our opinion anyway. As for my own personal history with this film, I distinctly remember watching it in the theater when I was six and liking it, though admittedly I didn’t pay close attention to the plot and a subsequent viewing lowered my opinion. Now, as an adult viewing it with essentially fresh eyes through the 2001 DVD release, which features very minimal changes from the original theatrical cut, I have to agree that the film is indeed bad, but I didn’t find it quite as bad as I had thought.

Monday, August 31, 2020

Tony Hawk's Pro Skater (PS1)


Our personal experience with the Tony Hawk’s Pro Skater series began with Tony Hawk’s Underground 2 for the PS2, however it did get us interested in the idea of owning a skateboard. Years later when we acted upon this, we gained a sudden impulse to play every game in the series that we could get our hands on, in order of release, starting from the original Tony Hawk’s Pro Skater for the PS1. With the announcement of a remaster of the first two Pro Skater games for modern platforms, entitled Tony Hawk’s Pro Skater 1 + 2, I decided to try and revisit those two games for comparison, and possibly beyond. Going back to the original Pro Skater game was a fun experience, though it wasn’t without issue.

Saturday, May 2, 2020

Scooby-Doo and the Witch's Ghost


Note: The following review contains spoilers for Scooby-Doo and The Witch's Ghost.

Following the success of Scooby-Doo on Zombie Island in 1998, which reinvigorated the Scooby-Doo brand, a follow-up film was released the following year, Scooby-Doo and the Witch’s Ghost, beginning the trend of annual DTV Scooby-Doo films of varying quality. I will admit I wasn’t too aware of this movie when it first came out, however, I decided I had to see it since it seemed to form a set as one of the first four DTV movies based on Scooby-Doo. After finally getting to see it, I found it to be a worthy successor to Zombie Island, though it overall falls just short of the preceding movie’s quality.

Saturday, April 25, 2020

JoJo's Bizarre Adventure (Dreamcast)



Note: This review contains spoilers for JoJo’s Bizarre Adventure Part 3: Stardust Crusaders

JoJo’s Bizarre Adventure by Hirohiko Araki may be more well-known now than ever before, but the earliest attempts to bring the series over to the US generally flew under the radar. The first of these attempts was the US release of the JoJo’s Bizarre Adventure fighting game, based on Stardust Crusaders, on PlayStation and Dreamcast in 1999. It released to fairly good reviews, but didn’t seem to sell that well, considering secondhand copies go for at least $90. We had missed the opportunity to get the 2012 PS3 port, JoJo’s Bizarre Adventure HD Ver., before it was delisted in 2014 and even though emulated versions of the game exist, we bought a physical Dreamcast copy when we actually saw it so that we could have the most authentic experience. Now that we’ve finally had the chance to play such an expensive game, I can say that it’s very fun, but I wish it didn’t have to cost as much as it does.

Saturday, November 23, 2019

Tarzan (1999)


In the midst of the Walt Disney Company’s countless releases, a number of them have fallen off the radar for one reason or another, even those once popular enough to spawn their own successful franchises. We’ve covered some of them on this blog before, but the one we’re looking at here is Tarzan (1999), released at the very end of what is known as the Disney Renaissance, a decade where the studio had been a critical and box office powerhouse. I remembered watching Disney’s Tarzan when it originally released in theaters, but was motivated to watch it again when I noticed we owned a sealed 2005 DVD copy, meaning it had been 14-20 years since we had last seen it. After finally re-watching the film, I can confidently say that it not only held up well after 20 years, it’s also an underrated Disney classic that deserves renewed recognition.

Wednesday, August 7, 2019

Spy Fox 2: "Some Assembly Required"


Following the success of Spy Fox in: “Dry Cereal”, Humongous Entertainment began releasing follow-up games on a mostly-annual basis, as they have done with some of their other popular titles. After a spin-off arcade-style game called Spy Fox in: ”Cheese Chase”, the next true follow-up to the original Spy Fox would come two years later in the form of Spy Fox 2: “Some Assembly Required”. Though I wasn’t sure what to expect from Spy Fox’s second outing, I overall found it had greatly improved on some things over the previous main game and still made for an enjoyable experience.

Saturday, January 23, 2016

Stubs - Galaxy Quest


Galaxy Quest (1999) Starring: Tim Allen, Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, Daryl Mitchell, Justin Long. Directed by Dean Parisot. Screenplay by David Howard and Robert Gordon. Produced by Mark Johnson, Charles Newirth. Color. 102 minutes. U.S. Comedy, Science Fiction

Galaxy Quest is to Star Trek as the Rutles are to the Beatles; a comedic spoof done with love and appreciation of the original. And like the Rutles, you don’t have to be familiar with the original product to enjoy it, though it certainly does help.

What started out as a spec script by David Howard found a home at Paramount Pictures, then the home of both the Star Trek TV series and the film franchise. While much of his original idea was thrown out by Robert Gordon, who was asked to do a re-write without reading Howard’s script, the concept remained. What happens when the actors of a sci-fi TV series are mistaken for their fictional characters?

It may come as a surprise to some, but in the days before cable, satellite and the internet, TV shows were actually broadcast through the air. They still are, but having an antenna was the only way to receive them. But broadcasting means that rather than pinpointing a receiver, the show went in all directions, including up and into outer space.

Galaxy Quest is a weekly TV space adventure show following the crew aboard the spaceship, the Protector, as they travel through space and interface with alien races and civilizations. Commander Peter Quincy Taggart (Jason Nesmith) is in charge, with a penchant for losing his shirt during their voyages. His first mate, Dr. Lazarus of Tev'Meck (Alexander Dane) is an alien species renowned for their intelligence. Communications are handled by Lt. Tawny Madison (Gwen DeMarco). The engine room is run by Tech Sgt. Chen (Fred Kwan). The master pilot of the Protector is a child prodigy, Lt. Laredo (Tommy Webber).

Actors get type-cast and TV shows get cancelled. But the show lives on in re-runs and Galaxy Quest becomes a cult-favorite, spawning conventions in which fans dress in their favorite hero and villain costumes. While Jason (Tim Allen) has remained popular, the others, for the most part, are drafting in his popularity. Oh, there are some devoted fans of Dr. Lazarus (Alan Rickman) who can’t wait to repeat to him the catchphrase he’s long grown tired of, "By Grabthar's hammer, by the suns of Warvan, you shall be avenged!".

The film opens at one such convention in Los Angeles. The cast is waiting in the green room to be introduced, all except Jason, who is, as usual, running late. Waiting to announce them is Guy Fleegman (Sam Rockwell), a part-time actor who actually appeared in one episode of the series. By the time Jason arrives, Dane has had second thoughts and doesn’t want to go through with it. A Shakespearean actor, he hates that he can’t shake his Dr. Lazarus alter-ego. But Jason talks him down and they all go out for their roll call and the signing that follows.

Jason Nesmith (Tim Allen) must convince Alexander Dane (Alan Rickman) that the show must go on.

As with any fan interactions, they ask the actors detailed questions about episodes, relationships and the Protector as if the show had been real. Dane especially shows his disdain for hearing his catchphrase repeated to him by a line of Dr. Lazarus-attired fans. Jason, however, uses the opportunity to hold court with his fans, indulging them until one, Brandon (Justin Long), a devotee with an encyclopedic knowledge, goes too deep with his questioning.

Brandon (Justin Long) is a fan with an encyclopedic knowledge of all things Galaxy Quest.

But there are no more devoted fans than the Thermians led by Mathesar (Enrico Colantoni). The Thermians are a race of octopoids who, using a device, can take human form. The Thermians have seen the Galaxy Quest TV show, but rather than enjoying the stories as fictions, believe them to be historical documents of the crew's real adventures. They have come to ask for Taggart’s help.

The Thermians are being victimized by a warlike humanoid insectoid-reptilian race led by Gen. Roth'h'ar Sarris (Robin Sachs) and have come to plead for Taggart to help negotiate with Sarris. Thinking it is another fan-made show, he agrees to come as long as they supply him with a limousine.

The Thermians pick up Taggart in a limo as promised. 

The next morning, Jason wakes up on his floor with the Thermians standing outside his house, knocking on the sliding glass doors to get his attention. Hungover, Jason barely remembers accepting their offer, but, thinking there is money involved, he puts on his pants and gets into the limo.

But rather than driving to some home-made set, the limo takes off into space. Jason passes out, but awakes to find himself onboard a Thermian-made version of the Protector, retro-fitted from what they had seen on the show. Not believing it’s all real and in a hurry for another engagement, Jason handles the negotiations in a flip-manner, instructing the Thermians to fire all the ship’s weapons at Sarris.

Taggart doesn't take Sarris (Robin Sachs) seriously and, instead of negotiating, fires all the ship's missiles at him.

It is not until he’s sent back to Earth, via a gelatin-like suit travelling through space, does the enormity of what had happened sink in.

The trip back to Earth is scarier than the ride up.

The rest of the Protector’s crew has had to go on without Taggart at a store-opening and signing. When he shows up late, as usual, but with a wild tale, none of the others believe him. But the Thermians return soon afterwards. They tell Jason that Sarris survived and is angrier than ever. Jason tries to get the others to go with him, but they’re tired of dealing with him. It is only when they think there might be a paying job involved do they insist on coming along. Even Fleegman wants to get in on the action this time.

The crew of the TV Protector arrive on the bridge of the actual ship. Guy (Sam Rockwell),
 Dr. Lazarus, Tawny (Sigourney Weaver) with Mathesar (Enrico Colantoni).

Like Jason, they can’t believe that they are actually in space. They are greeted like heroes by the Thermians, who have prepared the favorite dishes from the crewman’s fictional homelands. Dane finds that his might eat him back. They feel compelled by the trust the Thermians have in them to continue the pretense and pretend to be their fictional characters.

The Thermians reveal their true form without their device working.

But they are actors, not spacemen, and are incompetent at their jobs. As an example, Tommy Webber (Daryl Mitchell) has no idea how to actually fly the Protector and even scrapes the sides on the docking bay the ship is harbored in. Things get worse when they encounter Sarris, a trained tactician. They are forced to retreat into a minefield. But though they manage to temporarily escape Sarris, the beryllium sphere, which powers the ship, is damaged as a result.

Tommy Webber flies the Protector into the side of its space dock.

In order to get a new sphere, they take a space shuttle to a nearby planet. The miners seem like happy child-like creatures, but the crew sees their vicious side as they turn mercilessly on a fellow creature that gets injured. While most of the crew manages to escape via the shuttle, Jason is left behind. He is forced to fight an enormous rock creature to which he is powerless to defeat. His only hope is that Fred Kwan (Tony Shalhoub) can master the transportation beam. When his first attempt ends up with the subject turned inside out, he loses all of his nerve, but with the strength of the admiration of Laliari (Missi Pyle), one of the Thermians, he manages to regain his nerve just in time to save Jason from the rock creature and bring him back onboard.


The cute little miners on the planet turn on one of their own.

But even though the new beryllium sphere is in place, things go from bad to worse, as Sarris and his men board the Protector. In order to save Mathesar, Sarris questions Jason about the secret weapon he believes is onboard, the Omega 13. This forces Jason to come clean and admit that he doesn’t know what it is and that he is only an actor. Sarris makes him explain this to Mathesar, who doesn’t seem to quite understand.

Sarris decides to have the actors thrown out into space, but on the way, Jason and Dane re-enact one of the scenes from the show and manage to overpower the guards, who get ejected into space. Sarris orders the Protector destroyed and has his men set off the self-destruct sequence. He also has the 
Thermians locked in an airtight room, where they will slowly suffocate from lack of air.

Jason assumes command and gives out orders. Guy, Fred and Laliari will try to reverse the airflow to the Thermians, Dane will try to free them, and Webber will practice flying the ship while he and Gwen will try to override the self-destruct.

Guy, Fred and Laliari find the controls for the air vent are in the same room as several of Sarris’ armed guards. Rather than take them on directly, Fred gets the idea to transport the rock monster onboard into the room with the guards.

While they’re doing that, Dane gets help from one of the Thermians, Quellek (Patrick Breen), who has avoided capture. Together, they manage to pry open the door to the chamber. But it takes Fred opening the oxygen valve to save the Thermians inside. Even when Dane enters the room, the inhabitants cheer for Commander Taggart delivering their salvation.


Dr. Lazarus frees the Thermians, who chant their thanks to Commander Taggart instead.

Meanwhile, Tommy watches the historical documents to learn how to fly the ship, mimicking his own hand movements from nearly 20 years before.

Tommy Webber (Daryl Mitchell) learns to fly from watching historical documents of his younger self.

When Sarris learns that the cast has managed to escape, he sends his men back onboard the ship and they attack the Thermians, mortally wounding Quellek. As if to grant his last request, Dane repeats his catchphrase about avenging his death to Quellek and then goes about doing it, attacking the beast that shot Quellek with his bare hands and subduing him.

Quellek (Patrick Breen) dies knowing that "By Grabthat's hammer, by the suns of Warvan, you shall be avenged!"

To help him and Gwen maneuver through the ship, Jason contacts Brandon using an intergalactic communication device he accidentally swapped with him at the convention. Brandon initially apologizes for being over anxious with his questions until Jason informs him that it is all real.


Brandon rallies his friends, via the internet, to help Cmndr. Taggart.

Using the combined knowledge of his friends on the internet, Brandon, when he’s not having to take out the trash, guides Jason and Gwen through the bowels of the ship, which includes, as all such scenes require, them to crawl through air vents. Stuck in a universe based on the series, Jason and Gwen find themselves dealing with the shortcomings of the show’s writing. To start with there is the Omega 13, which even Brandon and his friends don’t know for sure what it does, as it was never really pinned down in the show. He says some people think the device is a bomb what will destroy all matter in 13 seconds, while others think it might allow time travel into the past for 13 seconds. Towards the end of their trek, Brandon leads them into something call the Chompers, a nonsensical room with horizontal and vertical smashers which they have to maneuver through. After that there is a burst of fire which they’ll have to leap over.

The Chompers, a bad writer's idea.

Gwen sums up her thoughts when she sees the obstacles when she mutters, "Well, screw that!" which is obviously dubbed from its original line. Once they make it through, she exclaims, “Whoever wrote this episode should die!”

Gwen expresses her feelings after running the gauntlet and jumping over fire.

Turning off the self-destruct mechanism is as simple as pushing a button, but when they do, Jason and Gwen watch in horror as the countdown clock continues. Jason and Gwen almost admit to each other their real feelings, but in television tradition, the clock finally stops with 1 second on the countdown.

In a final showdown with Sarris, Jason has Tommy go back through the minefield and then head directly for Sarris’ ship. Sarris thinks he’s daft until he learns, too late, that the Protector is dragging behind it enough mines to blow up Sarris’ ship.

Thinking they are rid of their nemesis, Jason directs Tommy to set a course for Earth, when Fred comes up to the command deck. But it turns out not to be Fred, but rather Sarris in disguise who starts shooting, killing several crew members before Jason has Mathesar set off the Omega 13, still not sure what it will do. Luckily, the theory that it enables time travel proves correct. This allows 
Jason to stop Sarris’ attack.

With the ship hurtling towards Earth, the command deck with the Galaxy Quest crew and Laliari, who has fallen in love with Fred, onboard, Brandon and his friends try their best to help guide the ship down, but they can’t prevent it from crashing into the convention center where the event is in its final day. Despite the damage they do, the crew is still cheered as they come off the ship. But Sarris is not dead and he gets off the ship as well. Jason moves and shoots him, disintegrating the villain in front of the cheering crowd.

Fast forward and Galaxy Quest, the series, is back on the air, with the original cast and two additional cast members, Guy and Laliari, who is credited as Jane Doe. Everyone seems to be happy now with their roles.


The show returns to the air with a new crew member played by
Jane Doe (Missi Pyle) working closely with Kwan (Tony Shaloub).

Comparisons to Star Trek are unavoidable. There are some elements which actually seem to play out like an episode of that show. Taggart’s battle with the rock monster feels a lot like Kirk fighting the Gorn in the 1967 episode, Arena. To drive the point home, Guy even asks the Commander if there is anything down on the planet that he can use to make a weapon, as Kirk did in that episode.

If you’re a big fan of Star Trek and are worried that Galaxy Quest is poking fun at your favorite franchise, fear not. Galaxy Quest is a spoof which is laughing along with Star Trek and not at it. No one or nothing is held up for too much ridicule. Even William Shatner’s overacting is not overdone by Tim Allen as the Commander. In effect, Galaxy Quest is sort of an alternative universe to Star Trek, trotting much of the same ground, but not exactly in its footsteps.

Tim Allen has an uneven track record as a film actor, for every Toy Story (1995) and Santa Clause (1994), there is a Jungle 2 Jungle (1997), but he certainly makes for a good Commander Taggart. Being the leader of a star ship crew takes a certain amount of ego and vanity, just like being an actor in a leading role in a movie or on TV. But there is also Nesmith’s own realization that he is living on past glories and that he is not happy with himself. But he rises to the occasion when called upon and leads his ragtag band of actors as if he is the real Taggart.

Like Allen, all of the characters seem perfectly cast. Alan Rickman comes into the film with enough gravitas as a serious actor that you certainly believe his bemoaning Dane about being typecast as an alien sidekick. Even though he obviously hates this character, he never takes off the headdress he’s wearing. He is obviously channeling Leonard Nimoy, who had a love/hate relationship with Spock.

Sigourney Weaver is surprisingly sexy as Gwen, an actress with more on the ball than the character she plays on the series. She is a composite of several characters from Star Trek, from Nichelle Nichols’ Uhura, the communications officer in the original series, to the babe-of-the-week that Kirk seemed to bed.

Tony Shaloub’s Kwan is the only character that doesn’t seem to have an equivalent in the Star Trek universe. Scotty was no womanizer nor as laid back as Kwan, but it’s better that there is not a one-to-one correlation between the movie and the show.

The young pilot Tommy Webber seems more like a spoof of the juvenile genius Wesley Crusher (Will Wheaton) from Gene Roddenberry’s follow up series, Star Trek: The Next Generation. Still, it works.

Sam Rockwell’s Guy is every red-shirt in the show that was killed off right away. Having been on the show already, Guy is always aware that it is his expected fate. It’s not until Kwan tells him he could be comedic relief, does he change his tune.

But this goes beyond the characters and some set pieces previously used on Star Trek, the film throws its rope lovingly over Trekkers as well; fans who know more than any cast member, but who still have to ask detailed questions of anyone related to the show they might meet. While actors merely play a role, these fans live the show and invest their time in understanding everything about it. But few are as fortunate as Brandon and friends, to actually get an opportunity to use that knowledge in the real world.

Galaxy Quest was a fairly successful film when it was released on Christmas Day, 1999, earning a little less than $72 million in the U.S. and about $91 million worldwide. Ratings have a lot to do with box-office as a film rated R will most likely not do as well as one rated PG-13 and Galaxy Quest was nearly rated R, due to one line Gwen says in the film. When she and Taggart first come to the Chompers, she says, “Well, screw that!". Originally her line contained, and if you look closely you can see her still mouth it, an expletive that starts with an “F”. Small changes like that no doubt allowed Galaxy Quest to be seen by a wider age range and thus helped its box-office.

You might hear "Well, screw that!" but you see she actually says something else.

Now, the question is should you see it? If you like your sci-fi with humor, then you should see Galaxy Quest. If you’re a fan of Star Trek, then you should see it. If you like to laugh, you should see it. And the list goes on and on. In short, Galaxy Quest is definitely a film you should see.

Saturday, August 8, 2015

Stubs – Office Space


Office Space (1999) Starring: Ron Livingston, Jennifer Aniston, Stephen Root, Gary Cole. Directed by Mike Judge. Produced by Daniel Rappaport, Michael Rotenberg. Screenplay by Mike Judge. Based on the animated Milton shorts by Mike Judge.  Run Time: 89 minutes. U.S. Color. Comedy

If you were ever wondering what a cult film looks like, you need to look no further than Office Space (1999), the second film and first live action movie directed by Mike Judge, the comedian/animator behind the Beavis and Butt-head series that originally ran on MTV from 1993 to 1997 and King of the Hill which ran on Fox from 1997 to 2007. The MTV series would be turned into a movie Beavis and Butt-head Do America (1996). But before all that, Judge had produced a series of animated shorts that aired on Saturday Night Live, starring a character named Milton.

It would be these shorts that would supply the premise for Office Space. No doubt after the success of Beavis and Butt-head, the movie had the biggest weekend opening until Titanic opened a year later, it’s hard to imagine any studio that didn’t want to work with Judge. Since he was already working with them on King of the Hill, Fox would be a likely choice.

Ron Livingston stars as Peter Gibbons in Mike Judge's Office Space.

Based on his own work experiences in the 1980’s, Office Space deals with issues that hit home for a lot of Americans. Initech is any company USA, a cube field of workers with too many chefs. As an example, Peter Gibbons (Ron Livingston) has eight bosses. Gibbons, a programmer at Initech, working on fixing the Y2K bug in the company’s software, spends most of his days staring at his desk. Every day, he feels, is the worst day of his life. He has a dead end job, an off-again on-again relationship with Anne (Alexandra Wentworth) and he lusts for the waitress, Joanne (Jennifer Aniston), at a nearby theme-restaurant.

Jennifer Aniston is Joanne, the girl of Peter's dreams in Office Space.

Peter’s cube neighbor is Milton Waddams (Stephen Root) a mumbling disgruntled worker, who has a thing for his red Swingline stapler. Milton is unhappy with his treatment at Initech, even threatening under his breath to burn the place down. We later learn that Milton had been laid off five years ago, but never told and a payroll glitch had kept the checks coming so Milton would continue to show up. Lumbergh seemed to take a certain delight in making Milton’s worklife miserable, constantly moving him to less and less desirable cubes. Bob and Bob fix the payroll glitch, but still don’t tell Milton he’s been fired.

Milton (Stephen Root) and his beloved red stapler.

Peter’s friends at work, Samir Nagheenajar (Ajay Naidu) and Michael Bolton (David Herman), no relation to the pop singer, feel the same way. (Michael is shown to be into gangsta rap throughout the movie.) Their boss, Bill Lumbergh (Gary Cole), who wears a belt and suspenders, doesn’t seem to do much more than drink coffee and make their lives miserable. Peter lives in fear that Lumbergh is going to ask him to work on Saturday. Peter takes advice from his blue-collar neighbor, Lawrence (Diedrich Bader), who suggests he just avoid Lumbergh at the end of the day Friday, when he is most likely to ask him to come in on Saturday. But due to the slow saving of his computer at shut down, Peter gets caught before he can escape and is asked to not only work Saturday, but Sunday as well.

Lumbergh (Gary Cole) catches Peter on his way out on Friday.

That Friday night, at Anne’s insistence, Peter goes to see Dr. Swanson (Mike McShane), an occupational hypnotist. After hearing his state of mind, Dr. Swanson hypnotizes Peter into relaxing and not caring so much, but before he can bring him out of his trance, Dr. Swanson suffers a massive coronary and dies during their session.

When Peter’s alarm goes off at eight the next morning, he rolls over and sleeps. Even seventeen phone calls from Lumbergh cannot rouse him. After he finally rises, at 3:30 in the afternoon, Anne calls to chew him out for not showing up at the office. But the new Peter, who has lost his inhibitions, hangs up on her and goes back to bed. She calls back and on the answering machine breaks up with him and admits to cheating on him, which all his friends have suspected.

Unfazed, Peter shows up late to work on Monday, but instead of going into the office, asks Joanne out for lunch. She is surprised, but obviously intrigued enough to join him at a nearby restaurant, still in the uniform of the restaurant she works at, complete the minimum fifteen flairs, buttons, on her uniform. Joanne shares Peter’s hatred of work and agrees to go out with him that night for dinner, which he promises will end with watching the TV show Kung Fu, which she also loves.

Peter's friends at work Samir Nagheenajar (Ajay Naidu) and Michael Bolton (David Herman).

Everyone at Initech is worried about pending lay-offs, including 30-year veteran worker Tom Smykowski (Richard Riehle), upon the arrival of two “consultants” Bob Slydell (John C. McGinley) and Bob Porter (Paul Wilson), who make everyone reapply for their own job. The consultants are surprisingly intrigued by Peter’s attitude and admission that he probably only really works for 15 minutes a week. Feeling that he’s not being challenged, they suggest that he be moved up to management, while Samir and Michael are to lose their jobs.

The Bobs; Slydell (John C. McGinley) and Porter (Paul Wilson)

When Peter learns about the pending unjust treatment of Samir and Michael, he plots with them to get even with Initech. Michael had mentioned a program (virus) he’d written that could take the fractional cents from interest payments and transfer them to an account they could set up at the credit union, which Intitech also uses. The film admits that the plot is taken right out of Superman III (1983). They need Samir’s help to determine the best place to plant the virus and Peter actually executes the upload. They figure no one would miss the small amounts, which they calculated would amount to several hundred thousand dollars after years and years. They agree to tell no one; even Lawrence, who can hear through the paper thin apartment walls, agrees not to disclose their plan to anyone.

But Peter quickly gives up the plot to Joanne on their way to a party being thrown by Tom, who is celebrating the windfall he’s going to receive as part of a settlement for an accident that happened right outside his home. Depressed, Tom had tried to kill himself by running the car in the garage. But when his wife, Laura (Linda Wakeman) came home unexpectedly, he changed his mind and decided to live. No sooner, though than he had pulled out of the garage, then a drunk truck driver t-bones him.

At the party, co-worker Drew (Greg Pitts) gossips about Joanne to Peter, telling him that she sleeps around. One of her sexual partners he mentions is Lumbergh, which sends Peter into a rage. On the way back from the party, Peter breaks up with her over the liaison.

On Monday, things get even worse when Peter checks the balance of the boys' joint credit union account. Expecting to see a few hundred dollars at most, just to make sure the virus is working properly, he discovers $305,326.13. This is serious money, which the company will surely notice is missing and they do.

With everyone facing time and fearing anal rape in prison, Peter decides to step forward and take responsibility for the plot. On his way to work to leave the money and his confession, he stops by the restaurant Joanne is working at. Fed up with her manager insisting on her wearing more flair than the minimum, she had snapped and shot him, some customers and a line chef, the finger. Now she works at Flingers next door. Peter apologies for his behavior. Having learned it was a different Lumbergh she slept with, not his boss, he tells her that he wants to spend his life with her.

Joanne finally has had enough. She gives her boss the finger and goes to work at Flingers.
No sooner has he placed the envelope under Lumbergh’s door, Peter regrets it. But when he can’t reach it under the door he gives up. On Monday morning, he packs a bag, expecting to be arrested as soon as he gets to Initech.

But the work gods are smiling down on him. Earlier that morning, Milton, who has since been moved to the basement, comes to Lumbergh’s office to inquire about his missing paychecks and to retrieve the red stapler Lumbergh had taken from him. Even though Lumbergh’s secretary, Peggy (Barbara George-Reiss), tries to chase him away, Milton returns to get his stapler back, walking into the unlocked office and passing the envelope with the confession and traveler’s checks in it.

By the time Peter gets to work, Initech is on fire. While it is never stated in the movie, the firebug is Milton, who disappears into the crowd while everyone is watching the office burn to the ground. Peter is relieved that the evidence of his crime has burned up with the building. Content, Peter takes a job helping to clean up the site, working side by side with Lawrence.

Samir and Michael have gotten jobs at a rival company and Joanne and Peter’s relationship, we’re told, is going strong. But life is best for Milton, who we see at the end of the film, lying on the beach at a Mexican resort. He is mumbling his dissatisfaction with the service he is getting and threatening to burn the place down. Again the film doesn’t come out and say so, but apparently Milton found the checks in Lumbergh’s office and is living high on the hog from his new found fortune.


In the end, Milton gets to live the high life.
Office Space has cult classic written all over it. To qualify, the film had a disappointing theatrical release, budgeted at $10 million, the film made less than $13 million at the boxoffice, and have a resurgence in the home entertainment market. The film would sell 2.6 million units (VHS tapes and DVDs), making about $8 million in DVD sales alone. Office Space would also become a standard on Comedy Central which has shown it more than 35 times in two years after its channel debut on August 5, 2001.

The film feels at time like a glorified TV movie, perhaps, since almost everyone in the cast had more success, at least up to that time, on television rather than the movies. The biggest star of the ensemble, Jennifer Aniston, had made her mark as Rachel on the long-running Friends TV show (1994 to 2004). Despite her good looks and appealing personality, Aniston has never found the same success in movies as she did on TV.

Ron Livingston, prior to Office Space, had appeared mostly on television, in guest parts on JAG (1995) and Townies (1996) before getting a starring role in the very short-lived series, That’s Life (1998). He has subsequently appeared in a story arc on Sex in the City (2002-2003) and appeared in such series as Standoff (2006-2007), Defying Gravity (2009) and most recently on Boardwalk Empire (2013). He has meanwhile, continued to make movies, appearing in Fort Bliss (2014).

Before Office Space, Gary Cole was best known for his roles in several made for TV movies, starting with Heart of Steel (1983). The actor had also appeared in several features including The Brady Bunch Movie (1995) and A Very Brady Sequel (1996). He might be best remembered for his role as Reese Bobby in Talladega Nights: The Ballad of Ricky Bobby (2006).

Most supporting cast members are best known for television roles prior to the movie. Stephen Root was radio station owner Jimmy James on NewsRadio (1995-1999); David Herman had gotten his start on MadTV (1995-1997) and was doing voices on Judge’s King of the Hill; Diedrich Bader was Oswald Les Harvey on The Drew Carey Show (1995-2004); Ajay Naidu was on LateLine (1998-1999); and Paul Wilson had been Paul on the long running Cheers (1983-1993). Even John C. McGinley, who had appeared in movies before, most notably Platoon (1986), had gotten his start on TV, playing Ned on Another World (1985-1986).

I think Mike Judge’s humor is an acquired taste. While I never could get into Beavis and Butthead, I did find some of his jokes, mostly jabs about my native Dallas and Texas, funny on King of the Hill. But I lost interest in the show long before it went off the air. That’s a little of how I feel about Office Space, in that it’s a hit and miss.

The film’s strength is that it touches on universal themes for anyone who has worked in an office. One of the funniest scenes for me is when Peter decides to increase his space and better his view by detaching one of the walls on his cube and letting it fall to the ground. What inhabitant of the cube farm hasn’t wished he/she could do just that? And who hasn’t lived through and/or been effected by layoffs, paying for management’s bad decisions and wanted some form of revenge?

In one of the better scenes, Peter betters his view by removing one wall from his cubicle.
The decision not to focus the film on the Milton character was a smart one, at least as how the character is played by Stephen Root at Judge’s direction. This is an example that perhaps Saturday Night Live could learn with its sketches to films, something that might work in a four to five minute sketch may not be right to carry a movie. If Milton and his stapler had been the focus, I don’t think this film would have even risen to cult classic. But because he’s a minor and recurring character, he proves to be a nice touch, but too much Milton (there is almost too much as it is) would have ruined the film.

While this is sometimes laugh out loud funny, Office Space is not a laugh riot. Sometimes it might hit a little close to home, but for anyone who has worked in an office you will no doubt find someone in the film that reminds you of a co-worker, maybe even yourself.

Saturday, September 28, 2013

Stubs – The Iron Giant (1999)



The Iron Giant (1999) Starring the voices of: Eli Marienthal, Jennifer Aniston, Harry Connick, Jr., Vin Diesel, Christopher McDonald, John Mahoney. Directed by Brad Bird. Screenplay by Tim McCanlies. Story by Brad Bird. Based on the novel by The Iron Man by Ted Hughes.Executive Producer Pete Townshend, Produced by Alison Abbate and Des McAnuff. Music by Michael Kamen. Run Time: 86 minutes. U.S. Color, Animated, Science Fiction

Every year there are films that, for whatever reason, don’t catch on at the box office. Now I know money is not the only measure of the worth of a movie, but since filmmaking is a business, films are judged by how much money they make. This is especially true of the films from the major studios, since they have the best distribution and marketing groups in the industry. If Warner Brothers or Disney can’t make you aware of a movie, who can?

Remember Quest for Camelot? You’re not alone. The film opened in 1998 on the same weekend as The Horse Whisperer, with Deep Impact already in the theaters. The following week, this behemoth called Godzilla would open. The net result was that Quest for Camelot lost Warner Bros about $40 million. That sort of return disillusioned the studio on animated films. Problem: there was already one in the pipeline. Gun shy from their last failure, Warner Bros. decided against putting the effort into The Iron Giant’s release. And guess what? It didn’t do well. While I can’t comment on Quest for Camelot, since I, along with the vast unwashed, didn’t see it, I did see The Iron Giant and I can honestly say Warner Bros. blew it on this one.

Remember Quest for Camelot? No? You're not alone.

This movie should have put its director Brad Bird on the map as a director of animated films. Lucky for all of us that would happen, but five years later with the release of Pixar’s The Incredibles (2004). While Iron Giant was a critical success and won several animation awards, those were after the fact. Warner Bros., according to filmmakers Bird and writer Tim McCanlies, didn’t realize what they had on their hands.

1957 was a time of great paranoia in America. This was the height of the Cold War between the U.S. and the then U.S.S.R.  The Soviets had launched Sputnik that year, sending the U.S. into a panic. We were suddenly in the midst of a crisis and everyone felt vulnerable. All eyes were looking skyward, wondering what they might see and fearful of what might come their way.

Into this atmosphere, a large alien crashes off the coast of Rockwell, Maine. The only one to see this happen is Earl Stutz (M. Emmet Walsh), a local fisherman. He even crashes his boat into the robot before getting washed up on shore.

The next morning, Hogarth Hughes (Eli Marienthal) rides his bike to the diner where his mother, Annie (Jennifer Aniston), works. He has found a squirrel that he hopes he can talk his mom into letting him keep. While looking for it, he overhears Earl telling everyone about his close encounter and his call to the government. But everyone believes Earl is off his chum (in keeping with the fishing metaphor). Dean, a local beatnik artist, sticks up for Earl, but that only makes Earl less believable.

Dean has a squirrel in his pocket.

That night, Hogarth is left alone at home; he indulges in Twinkies and popcorn while watching bad 50’s sci-fi on the television. When the TV picture goes bad, Hogarth goes outside to check on the antenna and finds it’s missing. Seeing a bath of destruction into the woods, Hogarth, with his trusty BB gun and flashlight attached, goes looking for what he suspects and hopes are martians.

Powered by junk food and an overly active imagination and
armed with a BB gun, Hogarth gets ready to hunt for Martians
.

Running towards flashes of light, Hogarth comes across an electric substation just before the Iron Giant sees it. Thinking it’s food, it starts to eat the metal structures, but gets a shock when he gets entangled in the power lines. Hogarth starts to run, but hearing the Giant’s screams of agony, he goes back and turns off the power. The Giant falls down unconscious. Hogarth climbs up to get a closer look when the Giant wakes up. Hogarth runs away into his mother’s arms. While she loves him, she doesn’t believe the wild story he’s spewing. But when they drive away, Hogarth looks back and sees the Giant’s eyes watching after him.

The power station is just what a hungry Iron Giant craves.

The next day at school, Hogarth and his class watch a duck and cover film about nuclear blasts. Meanwhile, a farmer is trying to sell Dean his half eaten tractor. The next morning, government agent Kent Mansley (Christopher McDonald) arrives to investigate the power plant damage. While he’s on the scene, he’s shown the BB gun that Hogarth had dropped and the Giant had crushed. But before he can leave, half of his car is eaten and when he tries to show the damage to Marv Loach (James Gammon), the foreman at the station, the rest of it has been eaten as well.

U.S. government agent Kent Mansley is sent to assess the damage down
to the power station. Here he talks with station foreman, Marv Loach.

That afternoon, Hogarth goes looking for the Giant. He has with him a camera on which he hopes to record the Giant, but he grows bored waiting for him and falls asleep. The Giant’s arrival awakens him and once again, Hogarth runs away. But the Iron Giant remembers what Hogarth had done for him. Hogarth asks him questions, but the Giant doesn’t seem to know where he came from or who he is. Hogarth notices the dent in his head, which he thinks might explain his not knowing.

The Iron Giant finds Hogarth.

Hogarth teaches the robot the difference between a rock and a tree. He’s beside himself with glee, but knows he can’t tell anyone since they might start shooting.

The Iron Giant learns from imitating Hogarth.

Meanwhile, Mansley tells the city council his theory about the sightings and the odd occurrences.
It’s getting dark and Hogarth knows he needs to get home, but the Iron Giant doesn’t seem to understand Hogarth’s command to stay. Like an orphaned dog, the robot follows him home. The Giant is hungry (he’s always hungry) and the railroad tracks they pass over on the way to Hogarth’s house are too tempting to pass up.

But Hogarth is alarmed at the sound of the incoming train and tells the giant to fix the tracks. It isn’t perfect, but the Giant is fascinated about making the rails line up and takes too long, causing the train to collide with his head. The train doesn’t derail, but the Giant has busted up into bits. When the engineers stop the train and call, Hogarth takes the Giant and hides him in the barn behind his house. The Giant, to Hogarth’s amazement, seems to be self-repairing as the various parts follow a radio signal back to the Giant and put themselves in place. All, that is, except the Giant’s left hand.


The Giant takes too long to piece the railroad track back together.

Mansley is at the Mayor’s office when the call about the train wreck comes in. Borrowing the mayor’s car, he drives out to investigate. The engineers tell Mansley that they collided with a giant metal man. Mansley needs to use a phone and is pointed to Hogarth’s house. Meanwhile, inside, Hogarth is saying grace when the Giant’s hand suddenly appears inside the house. Hogarth tries to sneak the hand out, but Mansley shows up at the door to use the phone.

He calls General Rogard (John Mahoney) and reports about the power station and the train wreck, but he gets laughed at. But Rogard tells him to get evidence before he can commit troops. When he’s driving away, Mansley realizes that Hogarth Hughes is the name on the BB gun he recovered and goes back. But the hand has gotten into the bathroom and flushes the toilet and Hogarth runs away to investigate.  He manages to sneak the hand out before anyone sees.

Mansley calls General Rogard about what he's found out.

Annie tells Mansley about the story Hogarth has been telling her. Later that night, Hogarth takes a bunch of comic books with him back to the barn and reads to the Giant. The Iron Giant is most impressed with Superman, but distressed when he finds a comic book about Atomo, an evil robot. But Hogarth tells him that he gets to choose what kind of robot he wants to be.

Hearing the Giant’s stomach growl, Hogarth takes him to look for metal. When they pass Rockwell, the Robot wants to go to town, but Hogarth has to convince him the town isn’t ready. They find an abandoned car for the Giant, but before he can eat it, Dean McCoppin Scrap tows it away. But taking the Giant to the scrap yard, he starts to pig out. He makes such a commotion that Dean comes out to investigate. Hogarth learns that Dean is into scrap so he can make it into art.

Dean makes him coffee, which makes Hogarth hyper. Dean gives Hogarth the same advice about choosing who he wants to be that Hogarth gave the Giant. When the Giant makes more noise, Dean goes out to confront him. Dean balks at putting the Giant up but relents to let him stay the night. Hogarth makes it home just in time to get ready for school. Annie surprises him with news that Mansley has rented the room.

An unhappy surprise. Mansley moves in with the Hughes'.

The next morning, Dean calls Hogarth to come get the Giant, but Hogarth can’t shake Mansley, who keeps peppering him with questions. Meanwhile, Dean tells the Giant to stop eating the art and only eat the scrap metal.

Dean tells the Giant not to eat the art.

To get rid of Mansley, Hogarth feeds him a chocolate laxative, which allows Hogarth to escape. When he finally makes it to the scrap yard he finds Dean has gotten the Giant to help him with his art. But Hogarth would rather play than do arts and crafts. But Dean gets worried that they’re too out in the open. When Hogarth suggests the lake, Dean goes.
Hogarth breaks up a chocolate laxative into Mansley's shake.

Meanwhile, between trips to the restroom, Mansley interviews locals about their encounters with the robot. While out in the woods, Mansley finds Hogarth’s camera.

Mansley uncovers the truth in between trips to the bathroom.

At the lake, Hogarth does a dive and makes a big splash. Ever impersonating his host, the Giant does the same dive, but the splash is so big that it empties the water from the lake and deposits Dean miles away in the middle of the road.

The Iron Giant makes a really big splash.

Mansley develops the photos from the camera and discovers a photo of Hogarth with the Robot behind him.

Meanwhile, out in the woods, Hogarth and the Giant witness a deer being shot and killed by hunters. When they go investigate they chase the hunters away. Hogarth doesn’t notice the Robot’s reaction to the rifle, the sight of which causes changes in him, which Hogarth interrupts. Hogarth has to explain death to the Robot.

When Hogarth makes it home, Mansley is waiting for him. Annie is working late, so Mansley interrogates Hogarth as if being a government agent gives him carte blanche. He threatens to take Hogarth away from his mom. Scared, Hogarth tells him where the Giant is hidden. Mansley chloroforms Hogarth and then calls the General. The army will arrive the next morning and Hogarth knows he has to warn Dean. But Mansley has other ideas and doesn’t let the boy out of his sight. The question is who will fall asleep first.

The next morning, Hogarth’s already up before Mansley wakes up. So by the time the Army arrives at the scrap yard, Dean is ready. He explains to the General that the giant metal man is really a sculpture he’s created and has sold to a wealthy industrialist for the lobby of his company.

The Iron Giant, posing as a piece of sculpture, fools the Army.

The General rips Mansley a new one while Annie flirts with Dean. She seems to take an interest in Dean’s art. After the army departs, the boy and robot play. Hogarth wants play to Atomo, but the Giant wants to be Superman. When Hogarth pretends to attack the robot with a toy gun, he inadvertently causes the robot to activate a weapons system in retaliation and shoots a destructive ray at him. Dean saves Hogarth and angrily commands the robot to leave, but Hogarth, believing the robot never meant to harm him, gives chase. Dean sees the toy gun and realizes that the robot cannot control its self-defense reaction. He catches up with Hogarth on his motorbike and they chase after the robot before it can reach the town.

The Iron Giant wants to be Superman.

After the Giant has run away, Dean realizes the Giant was reacting to the gun and helps Hogarth go after him. In Rockwell, the robot saves two boys who break through a balcony while watching him. The Army convoy sees the Giant in Rockwell and goes back. But before they get there, Hogarth shows up. The Army starts shooting and Hogarth tells the Giant to run away.

Dean tells Mansley the Giant has Hogarth with him, but Mansley lies and tells the General that the Giant has killed the kid. The Army goes to code red and F-86 jets are scrambled. The Giant, with Hogarth in hand, is chased over a cliff and, while falling, discovers he can fly. But when one of the jets shoots him out of the sky, the Army moves into investigate just as the Giant is looking after Hogarth’s unconscious body. He thinks the boy is dead and enraged activates its weapons and attacks the Army, who are no match for the advanced firepower.

The Army is no match for The Iron Giant's firepower.

But Hogarth recovers and succeeds in pacifying the Giant, reminding him that it is bad to kill and that he can choose not to be a gun. The Giant seems to be scared of what he’s become. Even though the General has readied a nuclear ballistic missile from the USS Nautilus, he is about to tell them to stand down when Mansley grabs the walkie talkie and orders the strike. Realizing the deadly mistake, Rogard lambasts Mansley and informs him that not only the robot, but everyone in Rockwell, will be destroyed when the missile hits. Mansley tries to escape Rockwell to save himself, but the robot stops him and he is arrested by the Army.


Hogarth convinces The Iron Giant that he is not a weapon.

With the missile launched, Hogarth explains to the Robot that once it falls, everyone in Rockwell will die. The Giant decides on its own to intercept the missile. Thinking of itself as Superman and with a smile of satisfaction, he intercepts the missile, causing a massive explosion in the atmosphere. He saves the town, but is destroyed in the process. Or is he?

The Iron Giant flies to intercept a polaris missile aimed at Rockwell.

Months have passed. The people of Rockwell recognize the giant as a hero, but everyone, especially Hogarth, is deeply saddened by the robot's sacrifice.

Annie and Dean are now a couple. Dean has erected a statue in honor of the Giant. Hogarth receives a package from General Rogard, a screw from the giant, the only part they recovered. But that night, reacting to the Giant’s radio message, the giant screw starts off in search of the robot. Hogarth realizes the Giant is still alive and lets the screw out of the house. The part starts out on a trek that will take it and other parts of the robot to the Icelandic Langjökull Glacier, where the Robot still lives.

The Iron Giant waits for his parts to find him so he can reassemble.

Having gotten the origin story out of the way, the film seems to be setting up for a potential sequel, say the return of the Giant to Rockwell and reuniting with Hogarth. But alas that’s one that got away. The film, unlike the ballistic missile launched in the movie, was a dud. The film with a budget at between $50 and 70 million earned a very disappointing $32 million worldwide.

Which is a terrible shame as the film may be, as the International Gaming Networks (IGN) once called it, the best non-Disney animated film. Unlike, say the films from Pixar and Dreamworks Animation, the film is a mix of traditional animation and computer generated imagery, which was employed for rendering the Giant.

The movie is very different from the original book, The Iron Man, written by Ted Hughes, a British  Poet Laureate and published in 1968. Not to be confused with Iron Man, the Marvel comic book character (which is why the movie is called The Iron Giant). The book takes place in England and tells the story of a giant metal man. Like our Giant, the metal man devours farm equipment and befriends a local boy. But in the book, the metal man protects Earth from a monster from outer space. In the film, the Giant saves us from our own overworked paranoia.

The book, The Iron Man by Ted Hughes, on which the movie is based.

All the voice acting is good, including Eli Marienthal, a 12-year-old who voiced for Hogarth. But the voice of the Giant is very important. Originally the role was offered to Peter Cullen, best known as the voice of G1 Transformers Optimus Prime, but Cullen was unavailable. This is why they went with a then virtual unknown named Vin Diesel (back when it was okay to like Diesel), who has gone on to star in a series of Fast and Furious films. Diesel’s deep voice works well for the Giant Robot.

The score for the film is good, but it is the soundtrack which really helps to set the mood for the film and help it seem true to the time period. The songs have an easy jazz feel, the sort of music I imagine Dean himself would probably listen to as he drank his espresso.

The film has almost everything you would want in a movie. The characters have depth to them, which is more than you often get with many films. The story has a universal quality to it, telling everyone that you are who you choose to be, a lesson we can all apply to our everyday lives. While there is a real sense of peril at the climax, the film does end on a happy and even hopeful note. Overall, this film has heart and humor.

I cannot recommend a movie more than I would recommend The Iron Giant to anyone who hasn’t seen it. This is an animated film that children should like, but that has enough meat on its bones to appeal to adults as well. It’s only too bad that the film could not take its own advice and decide to be a big hit the first time it was released.