Heavy Metal (1981)
Directed by Gerald Potterton
The embodiment of ultimate evil, a glowing orb terrorizes a young girl with bizarre stories of dark fantasy, eroticism and horror.
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What critics compared Heavy Metal to
There are also strains of Heavy Metal (1981) via animated sequences, and nods to every Iron Maiden album cover ever.
Mandy (Grade: B) is a midnight-movie festival onto itself; over two gonzo hours, it combines giallo, Clive Barker, Death Wish , prog rock, heavy metal, Heavy Metal, Guy Maddin, Mad Max, the dueling-chainsaw climax of The Texas Chainsaw Massacre 2 , Nicolas Roeg, and Nicolas Cage at his most bugging-out unhinged.
Animated sequences echo fantasy novel covers and the movie “Heavy Metal” in equal measure.
Cosmatos avoids aping the exploitation of women’s bodies that marks so much of the heavy metal (and Heavy Metal) to which he’s paying homage but Mandy’s death is an unfortunately textbook case of fridging.
I’m expecting fans of eighties fantasy like Heavy Metal (1981) to absolutely lose their minds over this film, but you don’t have to be a part of that fandom to appreciate the hypnotizing, psychedelic story and how impressively it is told.
"The Fifth Element" from Columbia TriStar is almost literally a comic-book adventure, a comical sci-fi fantasy that may seem vaguely familiar to you because it was clearly inspired by the opening segment of the 1981 animated film, "Heavy Metal," which in turn was inspired by the "Heavy Metal" comics.
While it doesn't go for the dark dystopic look, it does borrow liberally from the European Heavy Metal magazine's visual style (and most specifically, from the artist Moebius).
Even when the film is idling, Dan Weil (who's worked with Besson since "The Big Blue")-- leading a design team that includes Jean "Moebius" Giraud (illustrator of "Metal Hurlant," aka "Heavy Metal," magazine) and Jean-Claude Mezieres, illustrator of the Valerian, Agent Spatio-Temporel graphic novels --and costumer Jean-Paul Gaultier ("The City of Lost Children") make sure plenty is going on visually.
The director, working from a comic book-type script that he co-wrote with Robert Mark Kamen (and which bears a certain resemblance to one of the segments of Heavy Metal), injects a ton of offbeat, sporadically-effective humor into the movie, frequently causing The Fifth Element to cross over the line into self-parody.
That’s not to say this is a compromised product for fans of Snyder’s deeply 1980s, Heavy Metal– inspired approach to the world of the DC Universe.
That's not to say it isn't derivative, though; it's a clearcut film noir homage, complete with hard-boiled narration by the eponymous taxi-driving hero (voiced by Richard Romanus, who did a lot of work for Bakshi's urban toons), an obese gangster who wants something the hero has, a femme fatale -- what we have here is a cyberpunk remix of The Maltese Falcon.
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Sakaar’s design is aggressively retro-futuristic, calling to mind Heavy Metal magazine covers (with the Led Zeppelin music cues to match), and the score from Devo frontman Mark Mothersbaugh drenches everything in lush, prog-rock synthesizers.
If Francisco Goya painted Heavy Metal magazine, it'd look something like Fury Road , a far cry from its squarely-lit competition.
Estamos frente a una cinta con una riqueza visual abrumadora (nos recuerda al colorido y la extravagancia de las historias que se podían leer en la legendaria revista"Heavy Metal") pero llena de coherencia propia, donde hasta los más ridículos excesos (aquel tipo que musicaliza las batallas con su guitarra-lanzallamas) hacen sentido dadas las reglas planteadas por el mismo director.
There’s a reason heroes Jake Sully (Sam Worthington) and Neytiri (Zoe Saldaña) aren’t cultural icons, and it has much to do with their physical unattractiveness, which also characterizes Pandora’s outlandishly color-streaked and underwhelming, faux-Heavy Metal dino-beasts.
One typically has to rotoscope images that rips this hard — be it in Heavy Metal , Fire and Ice or The Spine of Night — or try their hardest to resist studio temptation to make things more palatable.
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Once Lind and Andrews follow Kong into Hollow Earth, accompanied by Wilson’s mercenary daughter Maya (Eiza González), the film takes on a trippy, Arthur Conan Doyle meets “Heavy Metal” ambiance.
Unleash Poseidon’s rage in Heavy Metal ways throughout Aquaman .