Mars Needs Moms

Posted on March 10, 2011 at 6:00 pm

There is one perfectly charming moment in “Mars Needs Moms,” but it does not come until the closing credits, when we get some live action glimpses of the voice actors. Their faces are covered with reference dots and they are strapped into contraptions so that computers can turn them into computerized 3D animation. We get to see them perform some scenes we have just watched with much more energy and life than anything in the movie. Important note: if you are going to make a film whose moral is that mechanical objects can never replace people (or Martians), you should try not to make exactly that mistake.

Based on the illustrated book by “Bloom County’s” Berkeley Breathed, it is the story of Milo (voice of Seth Dusky, movements of Seth Green), who must rescue his mother (voice of Joan Cusack) when she is captured by Martians.

Milo’s mother makes him take out the garbage and sends him to bed after dinner for lying about eating his broccoli. He angrily tells her, “My life would be so much better if I didn’t have a mom at all!” Feeling guilty when he can’t sleep, he gets up to apologize only to see her being carried off in a space ship.

He manages to stow away. All of the females on Mars are busy imposing order and marching around in armor, so the children have to be raised by super-strict “nannybots.” They want to use Milo’s mom and her memories to program the nannybots because their reconnaissance revealed that she did not spoil her son the way some of the other Earth mothers do.

On Mars, Milo meets up with another human, Gribble (voice of Dan Fogler), a pudgy tech-whiz who has been hiding out from the Martians for 25 years and is given to enthusiastic exclamations like “Gribble-tastic!” Milo wants to rescue his mother before sunrise, when the emptying out of her brain will destroy her. At first Gribble wants Milo to stay so he can have a companion beyond the hairy underground creatures who have been the only living beings he has seen. But both Gribble and Milo learn something about the responsibility and joy of taking care of someone else. So the rescue gets underway with help from Gribble’s nuts-and-bolts pet and a rebel solider who intercepted some US transmissions of a silly 60’s sitcom. She thinks being a hippie chick is groovy (Elisabeth Harnois as Ki) and wants to know more about that “crazy love thing.”

This is decidedly second-tier Disney with third-tier visuals. It makes sense to give the Martians a drab color palette to evoke their oppressive environment, but it makes the experience of watching dull as well. The rows of marching female soldiers in armor evoke many other, wittier, images from “Monsters vs. Aliens” to “Metropolis” and Janet Jackson’s “Rhythm Nation” video. And there’s something just creepy about imagining a world in which the females are all domineering and robotic and the males are all incompetent and ignorant. The vertiginous 3D effects work all right unless you move your head, causing the edges of the images to splinter. And the script is weak and predictable, even for children.

The biggest problem is what animators refer to as the “uncanny valley,” the feeling of disorientation and unease we get when we see a depiction of a human face that is close but not quite right.

Our brains are naturally wired to recognize and empathize with faces with the merest suggestion of eyes, nose, and mouth. As Pixar and Disney have shown us, we can happily feel affectionate toward fish, cars, mice, dogs sharing spaghetti, and even bugs as well as simplified human-ish faces that are intended to look like plastic, as with Buzz and Woody in the “Toy Story” movies.

“Mars Needs Moms” would have worked much better if the faces of Milo, his mother, and Gribble were more stylized and caricatured. Instead, based on reference dots and computer algorithms, they are at the same time too close and not close enough to make us feel that we are watching our own species. The Martians appear more familiar than the humans, as we are powerfully reminded with the live action shots at the end when it literally comes to life. That makes this movie only Gribble-so-so.

Take Me Home Tonight

Posted on March 3, 2011 at 5:44 pm

This is the movie John Cusack never made, a loving tribute to the 1980’s and especially to the music and movies of the era from “Say Anything” to “Fast Times at Ridgemont High.” “Take Me Home Tonight” doesn’t go for cheap “had we but known” or “how could we be so cheesy/wear that/like them?” jokes (I’m talking to you, Hot Tub Time Machine) but instead relies on our nostalgia for the 80’s and for what we did to muddle through them. It takes us home to “I Love the 80’s” land with the opening shot: “Video Killed the Radio Star” played on an enormous boom box.

Twins Matt (Topher Grace) and Wendy (Anna Faris) Franklin have recently graduated from college and are still living at home. Wendy is on the brink of the next step, with a serious boyfriend (her real-life husband Chris Pratt) and applications to graduate school. But Matt seems stuck. He has a job behind the counter at Suncoast Video. And he is still dreaming of the girl he had a crush on in high school, golden girl Tori Frederking (Teresa Palmer). If only, Matt tells Wendy and his best friend Barry (Dan Fogler) so often that they recite it along with him — if only there had been an opening for him to pursue her back at Shermer High School (yes, the name comes from “The Breakfast Club”). And then, Tori walks into the store.

In a spasm of fear, desperation, and longing, Matt impulsively tries to act like the kind of person he thinks would impress Tori. He pretends not to remember her. And, when he finds out she’s working for the (now-defunct) financial firm Drexel Burnham, he pretends to be working at Goldman Sachs. They agree to meet up at a big party, cuing up all of the ingredients for a very wild night.

It has shoulder pads for girls and blazer sleeves pushed up to the elbow for guys, “Come on Eileen,” Wang Chung, and “Straight Outta Compton” (sung by Matt and Barry as they steal a car to impress Tori) and a trampoline scene like Tom Hanks and Elizabeth Perkins in “Big.” It’s all with such unabashed affection for the era and its characters that it is hard not to share it.

Grace, who produced the film, is one of Hollywood’s most likable leading men with comic timing unmatched since (while we’re talking about the 80’s) Michael J. Fox. The scene where Matt thinks the worst has happened, only to find that more bad news is ahead, works far better than it has any right to. As Matt’s unconstrained id counterpart, Tony-winner Dan Fogler spends a lot of time out of control (and some of it coked out as well), but he manages to give Barry some sweetness, too, whether competing in an impromptu dance-off or mingling lust and terror at an invitation from what 20 years later would be called a cougar. Faris is underused but a pleasure to watch as always and Palmer brings a pleasant freshness and decency to the underwritten dream girl role. It won’t make anyone want to go back to the 80’s, but it might make them want to see Grace’s next film.

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Comedy Romance

Interview: Topher Grace and Dan Fogler of ‘Take Me Home Tonight’

Posted on March 2, 2011 at 3:24 pm

Topher Grace (“That 70’s Show,” “”) and Dan Fogler (Tony award winner for “The 25th Annual Putnam County Spelling Bee”) co-star in the wild, raunchy, but sweet comedy “Take Me Home Tonight,” a loving tribute to the 80’s and 80’s music and movies. Grace plays a recent college graduate who is a little afraid to get on with his life until he runs into his high school crush (Teresa Palmer) and has one wild night risking everything to try to get her attention. Fogler plays his best friend and Anna Faris plays his twin sister.
This is like the movie John Cusack never made.
TG: That’s exactly what we wanted it to be. That’s a great review! It’s just as much genre travel as time travel. When we started the process, me and my friend said, “What happened to those John Hughes movies where you can do great comedy and great drama and work with great friends like Dan?” There are movies that are all raunchy now, and they’re great for what they are, or all romance. But we missed those movies from John Hughes and Cameron Crowe like “Fast Times at Ridgemont High” and “Say Anything” with actors that weren’t huge movie stars yet.
My producing partner pointed out that “Dazed and Confused” took place in the 70’s and was shot in the 90’s. “American Graffiti” took place in the early 60’s and was shot in the 70’s. I think 20 years are a revolution of time, where the 50’s are like the 70’s and the 60’s are like the 80’s.So if we made this now, we’d be the right distance from the time period. So we married those two themes together and began with the soundtrack.
It’s a great soundtrack! It does feel like a soundtrack with a movie attached — it has such a strong and evocative collection of songs.
DF: There’s a great song for every scene. I love the “Straight Outta Compton” one when we steal the car. I love the “You can Dance” getting into the dance-off.
TG: We wanted it to be like a musical, where the feeling of the character is so much they can’t just talk about it, they have to sing. We wanted the music to be so of what these characters are going through that the soundtrack had to come first.
What is it about 80’s movies that makes them special?
DF: Nostalgia. It was definitely a rabid cocaine-fueled peacock as far as decades go. So even if you weren’t growing up in that era, it’s still a fascinating time because everything is so in your face. I was born in 1976 so a lot of my formative years were in the 80’s and it was a total pleasure to go back and spend some time there again.
TG: We didn’t want to make fun of the time period. We wanted the movie to be about the characters and the decade but not to spoof it. It’s a hard decade not to make fun of. But we wanted it to be more like a time travel back to it. The real trick is that in movies like “American Graffiti” and “Dazed and Confused,” they deal with timeless issues and characters you want to watch, no matter when it takes place.
DF: It’s very relevant today, with economy issues and people getting out of college and not knowing what to do.
TG: I hope years from now, people won’t remember whether this movie came out in the 80’s or later on.
Your father in the movie is an 80’s icon, Michael Biehn of “The Terminator.”
TG: We wanted someone who was of the 80’s but not stuck in the 80’s. He is so talented and so great in the scene where he finds us in the car. And it is funny to think that in real life now we’re past the time when he was supposed to be living in the future.
I really enjoyed those moments that reminded me of details of the era I had forgotten, like Drexel Burnham, the powerhouse financial firm that collapsed after its most important trader, Mike Milken, went to jail).
TG: Yes, we had a couple of Mike Milken jokes in there but didn’t want to gild the lily, as they say.

What are your favorite 80’s movies?
DG: “Bachelor Party,” “Ferris Bueller” is probably my favorite, “Back to the Future,” “Breakfast Club”
TG: Our one wink to John Hughes is the name of the high school in the movie: Shermer. I liked “Fast Times at Ridgemont High” because not everything works out all right. They didn’t pull any punches. There’s stuff coming at you that’s dangerous and sexy and weird. And it has great characters.

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Actors Interview