A woman transformed into a giant after she is struck by a meteorite on her wedding day becomes part of a team of monsters sent in by the U.S. government to defeat an alien mastermind trying to take over Earth.
Lewis is a brilliant inventor who meets mysterious stranger named Wilbur Robinson, whisking Lewis away in a time machine and together they team up to track down Bowler Hat Guy in a showdown that ends with an unexpected twist of fate.
Stephen J. Anderson
After super-villain Megamind (Ferrell) kills his good-guy nemesis, Metro Man (Pitt), he becomes bored since there is no one left to fight. He creates a new foe, Titan (Hill), who, instead of using his powers for good, sets out to destroy the world, positioning Megamind to save the day for the first time in his life. Written by
The film was originally titled "Master Mind". However, the name had already been trademarked by the makers of the 1970s board game and TV show Mastermind (1972), so it could not be used. It was then going to be titled "Oobermind", which was a misspelling of the term "über-mind." The word "über" refers to something that is large or great; in this case, the title character's over-swollen skull/brain. But it didn't sound right, so it was revised to become "Megamind". See more »
When Megamind transforms into different forms, his voice changes to match the character. However, when Megamind transforms into Bernard, his voice remains that of Megamind's. This is explained though as we see the watch recording the warden's voice during Megamind's escape from prison. He didn't get the chance to record Bernard's voice in the rush to replace him in the museum and had to use his own voice. See more »
Here's my day so far: went to jail, lost the girl of my dreams and got my butt kicked pretty good. Still, things could be a lot worse. Oh, that's right... I'm falling to my death. Guess they can't. How did it all come to this? Well, my end starts at the beginning... The very beginning!
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The opening title, and part of the closing credits, is composed out of a gallery of newspaper clippings and documents. See more »
Let me begin this review by saying that I was very pleasantly surprised with 'Megamind.' I was not expecting much beyond what we've all seen in the trailers: cheeky laughs, slapstick humor, and the like. While it is certainly all there and accounted for, I was very surprised by the level of humanity and realism underneath the misleading facade of colorful, CG images which might have implied this would be a kid's movie and nothing more. Some of the great parts of the movie are present in the first few minutes of the film, where we see how Megamind came to be a villain. We see a baby Megamind being carried by his parents, who tell him that he was destined to become something, though he doesn't remember what. He is sent to Earth at the same time as Metro Man, his opposite and future rival. As fate has it, the baby Metro Man crash lands in a rich family's house while baby Megamind crash lands in a prison. They are raised in their new homes, causing them to become what their environments expect them to become. This bit in which the babies are seemingly thrown into a place where they seemingly 'belong' sets the stage for a great exploration of the theme of identity and destiny, and begs the question of whether we have roles to play or whether we directly choose our own paths.
Not much later, we see an older Megamind dealing with another problem that we should all be able relate to--the desire to be accepted by society. It is especially difficult for Megamind, being a the only blue alien among his many peers at school, while his rival, Metro Man, seems to always be the object of favor. As we get to understand Megamind's reasons for being a villain, there's an excellent example of role reversal--we perceive the 'bad guy,' Megamind, as the good guy, because we can relate to his problems and understand the motivation behind his actions. We also see the 'good guy', Metro Man, as the bad guy, because he is, ironically, less human than Megamind--Metro Man is without flaw, and is without any understanding or sympathy for Megamind. A good example is one of the earlier scenes, where Megamind accidentally starts a fire when he attempts to use a ray gun to pop corn for his classmates. Metro Man saves the class by extinguishing the fire, and he is praised while everyone shuns Megamind. Metro man and the class look past Megamind's intentions to be good, and only at the fact that a fire has been started from his attempt. They see Megamind in an unfortunately prejudiced way, and they don't consider the motivation for his actions, but only results of the actions themselves.
At that moment, Megamind feels that he and Metro man are destined to have specific roles as the bad guy and the good guy. The whole beginning sequence on the earlier years of Megamind works for well, packing a lot of humanity into first the few minutes. This is great for several reasons--we are immediately to connect to and root for our main character, Megamind, and none of it feels rushed. We immediately understand his jealousy and his desire to be accepted and have his own role--he decides that if he can't be perfect like Metro man, he will try to be what he is 'good' at--being bad. It also enables the rest of the film to explore the development of Megamind's established character and whether he is really stuck with the 'role' he's been given--and it all plays out very well as he discovers the path to one's destiny and identity with his rival Metro Man and his love interest, Roxanne. The film is also legitimately funny on multiple occasions! In short, I believe Megamind is a mega-masterpiece, and that it is also very thoughtful, putting the 'mind' in MEGAMIND.
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