This is another movie I’ve been pretty sure would show up here eventually since almost the beginning. Back when Adam Sandler made movies people wanted to watch, I guess.
It’s been quite clear that this is about a guy and his therapist living together and driving each other crazy, but it wasn’t as apparent until I saw what I’m looking at now that the patient isn’t actually all that explosive, except around his eccentric therapist.
The “client and patient shackled together and nearly kill each other” concept is similar to Analyze This and What About Bob?, the former to the point (at least on the surface) that if this movie and Analyze This weren’t five years apart I’d call them duelling movies.
I vaguely remember this movie being around when it came out. I remember being vaguely interested in seeing it, but also having the sense that I probably wouldn’t get to it until it was bloggable. Somehow, I’ve been blogging long enough that even though this came out a year before I started blogging and I avoid reviewing movies less than ten years old, this is now bloggable. That is just completely wrong.
This is a dark comedy about hiding out in an unfamiliar but lovely town after a crime goes sideways. It’s kind of also a travel movie, and I think being a travel comedy in central-ish Europe is what made me associate it with If It’s Tuesday, This Must Be Belgium. Which is an entirely different kind of movie. Also, for the uneducated Americans, and I include myself in that statement, the poster I found helpfully notes that Bruges is in Belgium.
Before watching the movie:
I’ve heard many references to the “Miracle on Ice”, but only ever the broad strokes, that the US men’s hockey team in the 1980 winter olympics was not expected to beat the Soviet team, but they did.
Those broad strokes leave out why anyone would still care about what happened then, and the closest I’ve seen to any explanation past the cold war rivalry has been “it’s an underdog story. The Russians were known for fielding dominant teams.” So here’s an underdog movie.
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From what I’m seeing, this is basically the story of criminals who accidentally go into legitimate business. It also looks like it builds increasing farce until it implodes, and has a focus on letting the actors be zany and possibly improvisational. I always think of Woody Allen as a very script-oriented comedian, but the rest of the cast seem like they could riff.
I remembered this movie as having come out a little earlier. Spring of course, but I didn’t remember that it was my final spring as a high school student. I do remember that spring and summer being significant to me in a lot of ways that made me feel like I was growing up and defining my own tastes. Placing it in that year, I know that I had a car that was mine to use rather than borrowed when I needed it for the first time. It was a good year for listening to songs on the radio, which is something I rarely chose to do. I think I was making occasional trips to bookstores by myself to browse.
However, this was not a movie I found all on my own. I knew it was coming, I was looking forward to seeing it, but soon after its release, my grandfather wanted to take me to a movie. Looking at what was coming out around that time, I can see that this was pretty much the only option for us.
Sometimes I talk about movies coming out at the right time for me. Usually that probably just means they were things I’d have liked anyway reaching me at an age when I was old enough to think about it a little more deeply than a child, but still simply enough to easily generate nostalgia for it later. I suspect that’s the case with Tarzan, though it did introduce me to the music of Phil Collins. But I feel like Meet the Robinsons was perfectly suited for my mindset at the time, and considering that I was about to graduate high school, it’s easy to see how a story about a bright kid dropped into a colorful future that turns out to be of his own making might’ve particularly spoken to me.
Lewis, a 12-year old abandoned at an orphanage as a baby, is already an inventor capable of revolutionizing modern science when he sets his mind to it. Still unable to get adopted at his advanced age, he decides to invent a memory scanning machine to help him find the mother who left him years ago. However, at the science fair, Lewis encounters a teen claiming to be from the future, and a mustache twirling saboteur with a sentient bowler hat. In order to get Lewis back on track, Wilbur Robinson takes him to the future to prove that he is a time traveler, and Lewis gets mixed up with Wilbur’s eccentric family. If meeting his mother doesn’t work out, surely Lewis could find a home with the Robinsons.
I still love the fanciful spin on classic futurist design. Robots, another William Joyce-inspired movie, was made in a similar style, but I like the results here better for some reason. The music doesn’t grab me now like it did at the time, both the neo-swing I was very into back then and the 00s Disney boy band songs that did a lot of the work of opening me to modern pop.
I’m always impressed with how well the non-destructive time travel is set up and paid off. The Cornelius loop as well as the orphanage steps and Bowler Hat Guy’s origins are meticulously detailed and make repeat viewings rewarding. It’s so well done that the rewritten timeline begins to seem like an illusion that Cornelius somehow arranged in order to get Lewis set on the right path. After all, Cornelius did invent the evil hat that started it all.
It’s probably never going to be as good as the first and second time I watched it, but Meet The Robinsons will always hold a special place with me for when it came to me, and as long as I like time travel stories, it will stand among the better ones for me.
This is such a bizarre movie on the face of it. It ostensibly takes its influences from pulp adventure and German Expressionism, but it comes off like it’s part of a franchise that doesn’t exist (which may be part of the artistic intent of imitating pulp serials), and the audacious scope has a hint of Anime plotting to me (as well as the man being called “Sky Captain” sounding like a translation beating out the subtlety of it).
The origins remind me of how Lucas created Star Wars because he wanted to do a Buck Rodgers movie, only this looks more successful at that idea in some ways. This seems like more of an update of the pulp feel than Star Wars achieved. (Perhaps it’s because I’ve always lived in a world where it existed, but that franchise has always seemed more like its own thing of its own time than something that could screen next to Buck Rodgers, but I’ve already digressed too much.)
I’m fairly confident this was the first time I’d heard of Jack Black. I’d heard a lot about Shallow Hal, but since Malcolm in the Middle was such a big presence in my life at the time, my brain kept putting Bryan Cranston in the title role. So with Nacho Libre, Jack Black entered my consciousness as someone new, yet someone I apparently should have already known about. So I was completely lost later when Tenacious D got a movie and was apparently a well-established band already. And this time it was real, unlike my early confusion about Galaxy Quest.
Anyway, here’s a cult movie about a white guy rising to the top in a Mexican cultural institution from the age where taboo topics were permissible, but insensitivity was in fashion. So I’m hoping this will be fun, but it’s got some hurdles to clear.