American astronaut Captain Charles "Chuck" Baker lands on Planet 51 thinking he's the first person to step foot on it. To his surprise, he finds that this planet is inhabited by little green people who are happily living in a white picket fence world, and whose only fear is that it will be overrun by alien invaders...like Chuck!
Flint Lockwood now works at The Live Corp Company for his idol Chester V. But he's forced to leave his post when he learns that his most infamous machine is still operational and is churning out menacing food-animal hybrids.
Star race car Lightning McQueen and his pal Mater head overseas to compete in the World Grand Prix race. But the road to the championship becomes rocky as Mater gets caught up in an intriguing adventure of his own: international espionage.
Larry the Cable Guy,
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
On Mars, the female babies are nursed by robots while the male babies are dumped in the junkyard under the command of Supervisor. They research Earth and finds that the boy Milo is raised by his Mon with love and discipline. The Martians come to Earth and abduct Mon, to use her brain to instruct the robots about how to raise children. However, Milo slinks into the spaceship and comes to Mars. He meets Gribble, a young man that behaves like a child and together with the hippie Martian Ki and Gribble's friend Wingnut, they try to rescue Mon and bring her back to Earth. But Supervisor will give her best efforts to stop Milo and his friends. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
At around 54 minutes, Gribble breathlessly exclaims "My Sharona" when he sees Ki in the underworld after he and Milo escape from the citadel. This is probably a reference to the 1979 gold record song "My Sharona" by The Knack. See more »
NASA scientists are excited over recent findings by the Mars Rover of fossilized organic compounds on the surface that indicate at some time in the past there may have been life on the red planet.
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At the end credits, there is a behind the scenes making of the film done at 4 different camera angles. See more »
The first few minutes of this i was genuinely quite impressed. I've never seen such fluid, believable movement in digitally animated characters before, it's got to be at least as good as Avatar in that department. It's pretty cool people can make such an authentic looking world with computers.
The problem is, what kind of world is it?
Mars is a world which badly needs mothers, it turns out. It's a female-run planet (shouldn't that be Venus then?) where babies simply pop out of the ground in a kind of immaculate test-tube conception. We don't see any male martians, they are referred to once in the film then forgotten about. "The boys are sent below, where they are raised by the hairy tribe guys". There are no fathers. They don't need fathers. No one needs fathers.
There's a section in the film where family is discussed & the writers go to some quite tortuous lengths to not mention the words 'man' or 'father' anywhere. Keep an eye out for it if you end up watching it. When Milo is asked by a martian what parents are, he replies 'you know, people like my mom, who look after kids like me'.
What kind of message is this for little boys, like the one in this film, & the ones watching this film, who after all must grow up to BE fathers? Here's the message:
You are not needed. A father's role is sperm donor & ATM machine. The miracle of life is a exclusively female domain.
This is a misandric movie because there are no normal, ordinary men in it, only Gribble, a fat, creepy overgrown child (subtext: what little boys will grow up to be if they don't change their ways & get with the feminist program) & Milo's unreliable, absent father, on screen for literally seconds. Milo's future is laid out for us along these two roads.
The female characters, on the other hand, are kick-ass & cooooool... with Ki, the strong, independent, heroic graffiti artist rebel who rescues Milo & saves the day. There are practically no other speaking roles except for her & the mother, who is wholly good. Flawless, in fact. She doesn't have to learn or change or grow, there is no lesson for her. I guess mothers are the target audience for children's films, after all they're the ones that are going to be choosing which films their children see. So i suppose it makes good business sense to pander to their egos.
Awful belaboured dead-horse beating dialogue aside ("I'm looking for my mom. She washes my clothes. She vacuums the house") this isn't actually a badly made film, it's just a bit needless & empty, with shiny technology being used in service of some disturbing & hateful politics.
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