This looks like a typical B-movie sci-fi horror shocker. The all-women moon society might be interesting, and I’m looking forward to seeing how good or bad the monster is, but the most interesting angle is the fact that the ship is stolen in the first place. So that element probably won’t go anywhere.
Much like Invasion of the Body Snatchers, this is about people getting replaced by alien replicas. But with the added horror factor of following a 50s housewife’s discovery that her husband has changed.
It looks like the main thing that was notable about this movie is that it was released in a double feature with The Blob.
It seems like the 80s were fascinated with the idea of genius kids getting mixed up with top-secret government projects, but maybe it was just the inevitable collision between teenaged geniuses and mistrust of the government that both have plenty of independent examples. This time it’s lasers and remote assassination plots.
I didn’t even know this was a Roger Corman movie when I selected it, but as a B-movie that looks a fair bit exploitative, it’s not terribly surprising. I’ve been drawn lately toward b-movies as it becomes harder to find suitable major releases through the channels I’m accustomed to.
It’s even confusing just what the threat is. The poster depicts an insectlike creature, the tagline refers to a human-alien hybrid, and the summary in front of me talks about “Subject 20” having been created with an eye toward preventing a food crisis. I’m not sure any of the promotional materials are all that concerned with the movie they’re promoting.
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.
The Seven Samurai has been remade and recontextualized and homaged many, many times. Its best known remake is of course the Western The Magnificent Seven, but pretty much every “go put together a group of mercenaries to save the hometown” story is probably based on Seven Samurai. However, I don’t think I’ve ever seen a movie do it so blatantly that the tagline itself invokes Magnificent Seven. Apparently Roger Corman wanted to do something like Star Wars and decided to do a sci-fi interpretation of Seven Samurai. So he did.
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.)