Gandahar is a 1987 French animated science fantasy film. The original version was directed by René Laloux, was based on Jean-Pierre Andrevon's novel Les Hommes-machines contre Gandahar; the peaceful people of Gandahar are attacked by an army of automatons known as the Men of Metal, that march through the villages and kidnap their victims by turning them to stone. The resulting statues are collected and transferred to their base. At the capital city of Jasper, the Council of Women orders Sylvain to investigate. On his journey, he encounters the Deformed, a race of mutant beings who were accidentally created via genetic experimentation by Gandahar’s scientists. Despite their resentment, they are threatened by the Men of Metal and offer to help Sylvain. Sylvain saves Airelle, a Gandaharian woman. Together they discover the Men of Metal’s base, where the frozen Gandaharians are taken through a large portal and are assimilated into more Men of Metal; the two stow away on a nearby boat which heads towards the middle of the ocean where they encounter Metamorphis, a giant brain.
Sylvain and Airelle are captured and confronted by Metamorphis, who tells them that although the Men of Metal believe that he is their leader, he did not create them nor order their attack. He states that he does not want to see Gandahar fall, that he needs time to figure out the connection between him and the Men of Metal, he returns Sylvain and Airelle to Jasper where they learn that Metamorphis, like the Deformed, was an experiment by Gandaharian scientists. Due to his rapid growth and violent behavior, he was abandoned in the ocean. Sylvain is ordered to kill Metamorphis with a special syringe. Sylvain returns to Metamorphis, who maintains his innocence but reveals that the Men of Metal come from the future via the portal Sylvain saw earlier, he urges Sylvain to kill him in a thousand years, as the syringe would have no effect on him now. A skeptical Sylvain agrees and Metamorphis puts him into stasis. A thousand years Sylvain awakens just as they had agreed, he comes across the Deformed, who explain the true nature behind the Men of Metal: Due to Metamorphis’s now advanced age, his cells can no longer regenerate, which drove him to create the Men of Metal and order them to go back in time to capture the Gandaharians so he could absorb their cells to continue living, killing the Gandaharians in the process.
The Deformed, were abandoned as they were considered undesirable. Sylvain and the Deformed agree to work together; the Deformed fight off the Men of Metal and rescue the remaining Gandaharians while Sylvain goes to face Metamorphis alone. The Deformed destroy the reservoir supplying Metamorphis with new cells, distracting him long enough to let Sylvain inject the syringe into Metamorphis which kills him. Sylvain, along with the Deformed and the Gandaharians escape through the portal back to their time. Voice actors for the original French version included Pierre-Marie Escourrou, Catherine Chevallier, Georges Wilson, Anny Duperey, Jean-Pierre Ducos, Jean-Pierre Jorris. Among the actors providing the voices for the English-language version were Glenn Close as Ambisextra, Jennifer Grey as Airelle, Terrence Mann and Teller as Chief of the Deformed and Octum John Shea, Bridget Fonda as the Head/Historian, David Johansen as Shayol, Earle Hyman, Earl Hammond and Christopher Plummer as Metamorphis; the animation ran for 83 minutes.
Production work was done by SEK Animation Studio of North Korea. The film is notable for its strange scenery and exotic flora and bizarre inhabitants; the design was by the French comic book artist Caza. This version was directed by Harvey Weinstein and produced by Bob Weinstein through Miramax Films itself, while noted science-fiction author Isaac Asimov made the revision of the translation; the English title is a translation, not of the original title, but of the original tag line "Les Années lumière" as seen on the French poster. The English version does not contain most of Gabriel Yared's soundtrack for the original version of the film. New music was produced for certain sequences in the English-language version of the film, these new pieces were created by the combined efforts of Jack Maeby, Bob Jewitt and Jim Klein. A certain scene in the English version was edited due to sexuality – the scene where Airelle and Sylvain are in the nest. In the uncut version, Sylvain is shown removing his shirt he and Airelle are shown lying nude in the nest at night after having been intimate with one another.
A European DVD release of Gandahar, in French with English subtitles, was released in October 2007 by Eureka!'s Masters of Cinema label. There are no plans for a Region 1 DVD release. Gandahar on IMDb Gandahar at AllMovie Gandahar at Rotten Tomatoes Gandahar at Le Palais des dessins animés
Akira (1988 film)
Akira is a 1988 Japanese animated post-apocalyptic cyberpunk film directed by Katsuhiro Otomo, produced by Ryōhei Suzuki and Shunzō Katō, written by Otomo and Izo Hashimoto, based on Otomo's manga of the same name. The film had a production budget of ¥1.1 billion, making it the most expensive anime film of its time. Set in a dystopian 2019, Akira tells the story of Shōtarō Kaneda, a leader of a local biker gang whose childhood friend, Tetsuo Shima, acquires incredible telekinetic abilities after a motorcycle accident threatening an entire military complex amidst chaos and rebellion in the sprawling futuristic metropolis of Neo-Tokyo. While most of the character designs and settings were adapted from the manga, the plot differs and removes much of the last half of the manga. Akira premiered in Japan on 16 July 1988 by Toho, was released the following year in the United States by pioneering animation distributor Streamline Pictures, it garnered an international cult following following its theatrical and VHS releases earning over $80 million worldwide from home video sales.
It is considered by critics to be one of the greatest animated and science fiction films of all time, as well as a landmark in Japanese animation. It is a landmark film in the cyberpunk genre the Japanese cyberpunk subgenre, as well as adult animation; the film had a significant impact on popular culture worldwide, paving the way for the growth of anime and Japanese popular culture in the Western world as well as influencing numerous works in animation, film, music and video games. A singularity destroys Tokyo. Neo-Tokyo is rebuilt but is plagued by corruption, anti-government protests and gang violence. During a large protest, the hot-headed Shōtarō Kaneda leads his vigilante bōsōzoku gang, the Capsules, against their rivals, the Clowns. Kaneda's best friend, Tetsuo Shima, inadvertently crashes his motorcycle into Takashi, an esper who escaped from a government laboratory with the aid of a resistance organization; the accident awakens psychic powers in Tetsuo, attracting the attention of a secret government project directed by Japan Self-Defense Forces Colonel Shikishima.
Assisted by esper Masaru, Shikishima recaptures Takashi, takes Tetsuo with him, arrests Kaneda and his gang. While being interrogated by the police, Kaneda meets Kei, an activist belonging to the resistance movement, tricks the authorities into releasing her and his gang. Shikishima and his head of research, Doctor Ōnishi discover that Tetsuo possesses powerful psychic abilities similar to Akira, the esper responsible for Tokyo's destruction. Takashi and Masaru’s fellow esper, forewarns Shikishima of Neo-Tokyo's impending destruction. Neo-Tokyo's parliament dismisses Shikishima's concerns, so he considers killing Tetsuo to prevent another cataclysm. Tetsuo escapes from the hospital, steals Kaneda's motorcycle, prepares to run away from Neo-Tokyo with his girlfriend Kaori; the Clowns ambush them, the Capsules intervene. While the Capsules are apprehending them, Tetsuo suffers headaches and hallucinations, he is taken back to the hospital. Researching Tetsuo, Kaneda finds Kei and joins her resistance cell after overhearing their plan to rescue Tetsuo and the other espers.
At the hospital, the espers confront Tetsuo and attempt to prevent him from escaping as he aggressively fights back with his burgeoning psychokinetic powers, which make him egomaniacal and unstable. Kaneda and the resistance group infiltrate the hospital and are drawn into Shikishima and the espers' attempt to stop Tetsuo, he overpowers them all and leaves the hospital after learning from Kiyoko that he can gain help from Akira, located in cryonic storage beneath the Olympic Stadium's construction site. Using Kei as a medium and Kaneda escape military custody, hoping to stop Tetsuo. Shikishima stages a coup d'état against the Neo-Tokyo government and directs all of its military forces to destroy Tetsuo. Returning to the Capsules' former hangout to obtain drugs to control his powers, Tetsuo murders a gang member. Tetsuo rampages through Neo-Tokyo. Kiyoko has Kei fight Tetsuo, he defeats her and exhumes Akira's remains. Using a laser rifle, Kaneda fights Tetsuo in a duel. Shikishima and Kaori approach the stadium.
Shikishima offers to return Tetsuo to the hospital, heal his injuries, help control his abilities, while Kaori attempts to restrain Tetsuo. However, Kaneda duels with Tetsuo once again. Losing control of his powers, Tetsuo mutates into a gigantic mass consuming all matter, engulfing Kaneda and killing Kaori; as the mass grows, the espers awaken Akira to stop it. After reuniting with his friends, Akira creates a singularity that draws Tetsuo and Kaneda into another dimension; the espers teleport Shikishima to a safe distance as the singularity destroys Neo-Tokyo in a mirror of Tokyo's previous destruction, they agree to rescue Kaneda, knowing that they will not be able to return to this dimension. In the singularity, Kaneda experiences Tetsuo's and the espers' childhood, including Tetsuo's dependence on Kaneda during their childhood, how the children were trained and altered before Tokyo's destruction; the espers return Kaneda to his world, informing him that Akira will take Tetsuo to safety and that Kei is developing psychic powers.
The singularity disappears and water floods the city. Kaneda discovers that Kei and Kai have survived, they driv
Beavis and Butt-Head Do America
Beavis and Butt-Head Do America is a 1996 American adult animated road comedy film based on the MTV animated television series Beavis and Butt-Head. Co-written and directed by series creator Mike Judge, the film stars the regular television cast of Judge with guest performances by Demi Moore, Bruce Willis, Robert Stack and Cloris Leachman; the film centers on Beavis and Butt-Head as they travel across the country in search of their stolen television set. Previous offers by MTV to create a film version of Beavis and Butt-Head were rejected by Judge, but he accepted one in 1994; when the film went into production and the show's staff halted production on the series while Judge and Joe Stillman wrote the script. They conceived numerous plot ideas with Judge's being the one developed into a film. John Frizzell composed the film's score. Beavis and Butt-Head Do America was praised by critics and proved to be a major box office hit from its release on December 20, 1996 by Paramount Pictures, grossing $63.1 million in the United States, becoming the biggest December box office opening in history until it was beaten the following year by Scream 2 and subsequently one week by Titanic.
After a surreal dream of the two of them menacing a city as giants and Butt-Head wake up to realize that someone has stolen their television. The pair embark on a quest to find it. After several mishaps they visit a low-quality motel that advertises "TVs in every room". There, they encounter Muddy Grimes, waiting for two hired hitmen to murder his wife, Dallas. Muddy, thinking that the boys are the killers he has contacted, remarks that they are younger than he thought they would be and says that they must "do" his wife. Mistaking the word "do" as a euphemism for sex, Butt-Head convinces Beavis that both of them can "score" as well as get paid enough to buy a new TV. Muddy hands them a photo of Dallas with instructions on, he drives them to the airport to catch a plane to Las Vegas. After arriving in the casino where they are staying, the boys get arrested by security after being mistaken for trespassers and they are taken to their rooms, their room was purchased by Muddy to be adjacent to Dallas's room, they accidentally burst in.
Dallas soon realizes. While Beavis and Butt-Head begin fighting over who will "do" Dallas first, the police arrive to arrest her. Thinking she plants a stolen biological weapon known as the "X-5 Unit" in Beavis' pants in order to get rid of it, she gets them tickets on a bus to Washington, D. C. instructing them that she will be waiting for them in the United States Capitol and will let them "do her" there. The stolen bioweapon attracts the attention of the ATF, headed by Agent Flemming, who orders a body cavity search on everyone he encounters and in spite of his tough talk, relies on fellow Agent Bork's assistance all the time. Flemming becomes convinced that the duo are criminal masterminds after they accidentally release the water behind the Hoover Dam, cutting the power to Las Vegas. On the tour bus, they visit Yellowstone National Park. After becoming stranded in a gift shop at Petrified Forest National Park, they are told Washington is "about 2,000 miles that way" and begin to wander through the desert.
While Flemming orders roadblocks for over 200 miles over every road in the desert, the boys meet two former Mötley Crüe roadies who are implied to be their fathers, but part ways before they can make the connection. The boys soon collapse of dehydration. Delirious from the heat, Beavis unwittingly consumes a peyote cactus, has a vivid psychedelic experience overnight; the next day and Butt-Head are found by Muddy, who plans to kill them after realizing they were not the hit men he hired. However, after hearing that Dallas is going to meet up with the duo in Washington, Muddy decides to take them the rest of the way in his trunk to hunt down Dallas. In the middle of I-81 in Virginia, Butt-Head opens the trunk with a car jack, they escape by jumping onto the road, inadvertently causing a 400-car pileup. Beavis and Butt-Head casually walk past the scene and get back on the tour bus, stopping at the Capitol before reaching the White House. Before Dallas can meet with Beavis and Butt-Head to recover the bioweapon, she is confronted in the parking garage by Muddy.
Muddy and Dallas briefly reconcile before they are arrested by the ATF while having sex in Muddy's car. Faced with the possibility of a 60-year jail sentence, Dallas betrays Muddy by saying that he hid the bioweapon "in some kid's pants", but she still gets the sentence; the ATF is dispatched to the White House due to Beavis and Butt-Head being there on the same day as a peace conference. Beavis consumes caffeine pills and coffee while on the White House tour transforms into Cornholio, he wanders into the Oval Office and picks up the red phone, causing the military to go to DEFCON 4. Meanwhile, Butt-Head runs into Chelsea Clinton. Beavis leaves the White House and goes inside Mr. Anderson's trailer, where Anderson catches and kicks out Beavis for "whacking off"; the ATF spots Beavis walking around the camper pants-less and confront him, thinking he has the bioweapon on him. They are just about to open fire when Anderson throws out Beavis's pants; the pants are ripped open with the bioweapon flying out of them.
The weapon, landing safely in Butt-Head's hand, is recovered. Blame for the incident is u
Kirikou and the Sorceress
Kirikou and the Sorceress is a 1998 traditional animation feature film written and directed by Michel Ocelot. Drawn from elements of West African folk tales, it depicts how a newborn boy, saves his village from the evil witch Karaba; the film was released on December 9, 1998. It is a co-production between companies in France and Luxembourg and animated at Rija Films' studio in Latvia and Studio Exist in Hungary, it was so successful that it was followed by Kirikou et les bêtes sauvages, released in 2005, adapted into a stage musical, Kirikou et Karaba, first performed in 2007. Another followup, Kirikou et les hommes et les femmes, was released in late 2012. In a little village somewhere in West Africa, a boy named, but he's not a normal boy, since he can speak and walk after being born. He is very determined, his mother tells him that an evil sorceress has dried up their spring and devoured all the males of the village except for one. Hence the tiny Kirikou decides to accompany his uncle, to visit the sorceress.
Kirikou tricks the sorceress and saves his uncle, by waiting inside his uncle's hat, pretending that it was magic. He saved the children from being kidnapped by the sorceress' boat, which sped off towards Karaba, saved them again from the sorceress' tree, which closed it branches around the children, once again sped off towards Karaba. Next, he bursts the monster, drinking all the village's water, he travels to ask his wise old grandfather about the sorceress, faces many obstacles in the process. The grandfather finds that Kirikou is always asking questions, a good thing; the grandfather tells him that she is evil because she suffers: bad men put a poisoned thorn in her back. On the way to Karaba, Kirikou makes friends, who each in turn, give him presents, after he saves them from the skunk. Kirikou manages to trick the sorceress and removes the thorn, he manages to take the gold, return it to the rightful owners; the sorceress is cured. She kisses. Love reigns; when they arrive back at the village, no one believes that the sorceress is cured, only do they believe Kirikou when a procession of drummers arrive.
It turns out Karaba did not eat the men, just turned them into watchmen, other obedient objects. Doudou Gueye Thiaw: Child Kirikou Awa Sene Sarr: Karaba Maimouna N'Diaye: Kirikou's mother Robert Liensol: Kirikou's grandfather William Nadylam: Adult Kirikou Sébastien Hébrant: Adult Kirikou Rémi Bichet: Adult Kirikou Thilombo Lubambu: Kirikou's uncle Marie Augustine Diatta: the force woman Moustafa Diop: the fetish on the roof Isseu Niang: the small woman Selly Raby Kane: Zoé, the big girl Erick Patrick Correa: Boris, the big boy Adjoua Barry: Boulette, a girl Charles Edouard Gomis Correa: a boy Marie-Louise Shedeye Diiddi: the little girl Abdoulayé Diop Yama: the old person Josephine Theodora M'Boup: a woman Tabata N'Diaye: the old woman Samba Wane: fetish talked Aminatha N'Diaye: a mother François Chicaïa: man of the village N'Deyé Aïta N'Diaye: woman of the village Abdou El Aziz Gueye: man of the village Boury Kandé: woman of the village Assy Dieng Bâ: Karaba's scream Michel Elias: animals sounds Theodore Sibusiso Sibeko: Kirikou Antoinette Kellermann: Karaba Fezile Mpela: Uncle Kombisile Sangweni: The Mother Mabutho Kid Sithole: The Old Man Samson Komeka: Kirikou Ryūnosuke Kamiki: Kirikou Atsuko Asano: Karaba Kaori Yamagata: Mother The film is a co-production of Les Armateurs, Trans Europe Film, Studio O, France 3 cinéma, RTBF and Exposure in France, Odec Kid Cartoons in Belgium and Monipoly in Luxembourg.
It was animated at Rija Films' animation studio in Latvia and Studio Exist in Hungary, with backgrounds painted at Les Armateurs and Paul Thiltges' animation studio, Tiramisu, in Luxembourg, digital ink and paint and compositing by Les Armateurs and Odec Kid Cartoons in Belgium and voices and music recorded in Senegal. The original French voice acting was performed by a cast of West African actors and schoolchildren and recorded in Dakar; the English dubbing directed by Ocelot, was made in South Africa. A dub of the film in the Swahili language was produced in Tanzania in 2009 through the help of the Danish Film Institute and John Riber of Media for Development in Dar es Salaam; the film contains several instances of female nudity, male nudity to a lesser extent, as would be the norm due to the body not being as sexualised as it is in western culture. This was controversial enough in the US to delay the film's release there until 2002; the film has been licensed by distributors in numerous countries, including: Argentina – Prodifilms Brazil – Cult Filmes, Paulinas Multimídia Canada – Remstar Distribution Denmark – Angel Films A/S France – Gébéka Films Germany – MFA Filmdistribution Italy – Mikado Film Japan – Albatros Film, Ghibli Cinema Library/Buena Vista Home Entertainment Russia – RUSCICO Spain – Alta Classics S.
L. Unipersonal United Kingdom – British Film Institute United States – ArtMattan Productions Official website of Michel Ocelot Kirikou and the Sorceress official USA Web site Kirikou and the Sorceress official USA Web site to purchase DVD Kirikou et la sorcière at Le Palais des dessins animés Kirikou and the Sorceress at AllMovie Kirikou and the Sorceress at The Big Cartoon DataBase Kirikou and the Sorceress on IMDb Kirikou and the Sorceress at Rotten Tomatoes BBCi review The Guardian review
Pom Poko is a 1994 Japanese animated comedy-drama fantasy film directed by Isao Takahata, animated by Studio Ghibli for Tokuma Shoten, Nippon Television Network and Hakuhodo, distributed by Toho. The phrase "Pom Poko" in the title refers to the sound of tanuki drumming their own bellies as a form of Tanuki-bayashi; the phrase started as a jocular explanation of meditative percussion at Shōjō-ji taken up in a 1919 poem by Ujō Noguchi, which became a popular nursery rhyme recorded in 1925. Consistent with Japanese folklore, the tanuki are portrayed as a sociable, mischievous species, who are able to use "illusion science" to transform into anything, but too fun-loving and too fond of tasty treats to be a real threat – unlike the kitsune and other shape-shifters. Visually, the tanuki in this film are depicted in three distinct ways at various times: as realistic animals, as anthropomorphic animals that wear clothes, as cartoon-like figures based on the manga of Shigeru Sugiura, they tend to assume their realistic form when seen by humans, their cartoon-like form when they are doing something outlandish or whimsical, their anthropomorphic form at all other times.
Prominent testicles are an integral part of tanuki folklore, they are shown and referred to throughout the film, used in their shape-shifting. This remains unchanged in the DVD release, though the English dub refers to them as "raccoon pouches". In the English dub and subtitles, the animals are never referred to as "raccoon dogs", the more accurate English name for the tanuki, instead they are incorrectly referred to as just "raccoons"; the story begins in late 1960s Japan. A group of tanuki are threatened by a gigantic suburban development project called New Tama, in the Tama Hills on the outskirts of Tokyo; the development is dividing their land. The story resumes during the early years of the Heisei era. With limited living space and food decreasing every year, the tanuki begin fighting among themselves for the diminishing resources, but at the urging of the matriarch Oroku, they decide to unify to stop the development. Several tanuki lead the resistance, including the aggressive chief Gonta, the old guru Seizaemon, the wise-woman Oroku, the young and resourceful Shoukichi.
Using their illusion skills, they stage a number of diversions including industrial sabotage. These attacks injure and kill people, frightening construction workers into quitting, but more workers replace them. In desperation, the tanuki send out messengers to seek help from various legendary elders from other regions. After several years, one of the messengers returns bringing a trio of elders from the distant island of Shikoku, where development is not a problem and the tanuki are still worshipped. In an effort at re-establishing respect for the supernatural, the group stages a massive "ghost parade" to make the humans think the town is haunted; the strain of the massive illusion kills one of the elders, the effort seems wasted when the owner of a nearby theme park takes credit for the parade, claiming it was a publicity stunt. With this setback, the unity of the tanuki fails and they break up into smaller groups, each following a different strategy. One group led by Gonta takes the route of eco-terrorism, holding off workers until they are wiped out in a pitched battle with the police.
Another group attempts to gain media attention through television appearances to plead their case against the habitat's destruction. One of the elders becomes senile and starts a Buddhist dancing cult among the tanuki who are unable to transform sailing away with them in a ship that takes them to their deaths, while the other elder investigates joining the human world as the last of the transforming kitsune have done; when all else fails, in a last act of defiance, the remaining tanuki stage a grand illusion, temporarily transforming the urbanized land back into its pristine state to remind everyone of what has been lost. With their strength exhausted, the tanuki most trained in illusion follow the example of the kitsune: they blend into human society one by one, abandoning those who cannot transform. While the media appeal comes too late to stop the construction, the public responds sympathetically to the tanuki, pushing the developers to set aside some areas as parks. However, the parks are too small to accommodate all the non-transforming tanuki.
Some try to survive there, dodging traffic to rummage through human scraps for food, while others disperse farther out to the countryside to compete with the tanuki who are there. One day, who joined the human world, is coming home from work when he sees a non-transformed tanuki leaping into a gap in a wall. Shoukichi crawls into the gap and follows the path, which leads to a grassy clearing where some of his former companions are gathering, he joyfully transforms back into a tanuki to join them. Shoukichi's friend, Ponkichi addresses the viewer, asking humans to be more considerate of tanuki and other animals less endowed with transformation skills, not to destroy their living space; the film was released on DVD on October 16, 2005 in North America by Walt Disney Studios Home Entertainment along with My Neighbors the Yamadas. Optimum Releasing released the film on DVD in
Joe's Apartment is a 1996 American musical-comedy film starring Jerry O'Connell and Megan Ward and the first film produced by MTV Films. The film was written and directed by John Payson, with computer-animated sequences supervised by Chris Wedge through Blue Sky Studios, it is the only MTV Films production not to be distributed by Paramount Pictures. The main focus of the story is the fact that, unbeknownst to many humans, cockroaches can talk, but prefer not to, as humans "smush first and ask questions later", they sing and have their own public-access television cable TV channel. Actors providing the roaches' voices included Billy West, Jim Turner, Rick Aviles, Dave Chappelle. Penniless and straight out of the University of Iowa, Joe F. Grotowski moves to New York needing an apartment and a job. With the fortuitous death of Mrs. Grotowski, an artist named Walter Shit helps Joe to take over the last rent controlled apartment in a building slated for demolition. If Senator Dougherty can empty the building, he can make way for the prison he intends to build there, uses thug Alberto Bianco and his nephews and Jesus, to intimidate tenants.
Joe discovers he has twenty to thirty thousand roommates, all of them talking, singing cockroaches grateful that a slob has moved in. Led by Ralph, the sentient, tune-savvy insects scare away the thugs in an act of enlightened self-interest that endears them to their human meal ticket. Tired of living on handouts from mom back in Iowa and after a series of dead-end jobs ruined by his well-intentioned six-legged roomies, Joe finds himself the unskilled drummer in Walter Shit's band. Hanging posters for SHIT, he encounters Senator Dougherty's daughter Lily promoting her own project, a community garden to occupy the vacant site surrounding Joe's building. A gift to Lily while working on her garden is enough to woo her back to Joe's apartment, where the cockroaches break a promise to keep out of his business and a panicked Lily flees, only to discover the garden she'd worked on has been burned to the ground. During a fight with his roommates over his spoiled romantic evening, the building suffers the same fate as the garden.
A mutual truce between our hapless and now homeless roommates leads the cockroaches to "call in favors from every roach and pigeon in New York City" to try to make amends to Joe. Overnight, the roaches scour New York to gather materials to convert the entire area into a garden and take care of all the necessary paperwork to ensure harmony reigns over all. John Payson created the short film Joe's Apt. which aired on MTV as filler in-between commercial breaks. Payson said he was inspired by a 1987 short film called Those Damn Roaches and the 1987 Japanese film Twilight of the Cockroaches, the latter crossing hand-drawn animation and live action. After the short received a CableACE Award, MTV executives were impressed enough to discuss producing a feature adaptation with Payson. In 1993, MTV made a deal with Geffen Pictures during development to produce films based on the network's properties and release them through Warner Bros.. While Joe's Apartment was put into production with a $13 million budget, a feature film adaptation of Beavis and Butt-Head was put into development.
Joe's Apartment was the first feature film Blue Sky Studios was involved in, having produced company logos and animated commercials before. Under Chris Wedge's supervision, Blue Sky produced computer-animated sequences of the cockroaches. However, the film blended them with scenes of puppetry, real cockroaches, stop-motion animation. Producers at 20th Century Fox were impressed enough with Joe's Apartment to acquire Blue Sky, the studio became a feature-animation company. With the enthusiastic billing as "MTV's first feature movie" and the support of the company, Joe's Apartment bombed when it opened on July 26, 1996. Opening to 1,512 theaters but earning a dismal $1.8 million, the film closed all screenings in the middle of August and finished with only $4.6 million. Warner sold distribution rights for MTV Film productions back to MTV's parent company, not long after. Reviews were universally negative distaste at the blending of grimy gross-out gags and up-beat musical humor. Roger Ebert's review was scathing, stating "Joe's Apartment would be a bad comedy without the roaches, but it would not be a disgusting one.
No, wait: I take that back. Without the roaches, we would still have the subplot involving the pink disinfectant urinal cakes." Joe's Apartment on IMDb Joe's Apartment at AllMovie Joe's Apartment at Box Office Mojo Joe's Apartment at Rotten Tomatoes
Mutant Aliens is a 2001 adult animated science-fiction-comedy film by American filmmaker Bill Plympton. The film is more or less a spoof of B monster movies, featuring Plympton's own distinctive animation style and gratuitous sex and violence. Mutant Aliens has shown at a number of animation festivals, but has never had a wide theatrical release. American astronaut Earl Jensen is stranded in space intentionally by the head of the Department of Space. Years he returns to Earth. To gain the people's trust, he tells a touching story of the time he has spent on a planet of mutant aliens. Most of the aliens in this story are oversized human body parts, it is revealed that Jensen has spent his time in space crossbreeding animals to create an army of mutants, in order to exact his revenge on the corrupt Department of Space head. Mutant Aliens on IMDb