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
A 12-year-old boy searches for the one thing that will enable him to win the affection of the girl of his dreams. To find it he must discover the story of the Lorax, the grumpy yet charming creature who fights to protect his world.
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.
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 Mom with love and discipline. The Martians come to Earth and abduct Mom, to use her brain to instruct the robots about how to raise children. However, Milo sneaks 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 Mom 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
The title of the film is a twist on the title of American International Pictures' 1967 film Mars Needs Women (1967). See more »
Milo's weight was less on Mars than Earth, which would be correct. However, when Gribble and Ki are on Earth, their weight should be higher than on Mars - by a factor of approximately three. This would have made it impossible for them to walk or really move around much at all. 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.
See more »
The Walt Disney Pictures logo is tinted red for the final eight seconds to make it seem like the logo takes place on Mars (the sunset sky behind the castle morphs into reddish browns). 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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