Skip to Content, Navigation, or Footer.
34th Street Magazine - Return Home

Film & TV

Crash Landing

There are a number of animated films that adults can love. Pixar’s impressive catalogue is full of hilarity and thoughtfulness that children cannot fully appreciate, and taking a child to see Wall-E or Up could hardly be considered a chore. Unfortunately, Planet 51 isn’t even in the same cosmos as those movies. It’s a lazy, uninspired, repetitive effort that only the smallest of children could potentially enjoy.

Lem (Justin Long) is just a typical green alien teenager. He’s applying for a job and is in love with the girl next door. One day, human astronaut Chuck Baker (Dwayne Johnson) lands his spacecraft right in his front yard, and all the martians thinks he’s the real alien. It’s up to Lem to lead Chuck through frantic chase after frantic chase and get him to his spaceship so he can return to Earth.

The writing is shockingly unimaginative. Planet 51 looks like America circa 1958, and its inhabitants all happen to speak English, making communication with Chuck totally easy. In order to show how obviously different Planet 51 is from Earth, it rains rocks instead of water. To keep parents placated, writer Joe Stillman tosses out perfunctory references to much better movies, including Alien, E.T. and Singin’ In The Rain.

The film contains several odd “no homo” moments, including a not-so-thinly-veiled anal sex reference. The level of homophobia in a children’s movie was surprising and ruined several sweet moments. Who are these “jokes” for? This is the mark of a desperate screenplay: shooting itself in the foot to get a cheap laugh from no one in particular.

0.5 Stars Directed By: Joe Blanco & Javier Abad Voices Of: Justin Long, Jessica Biel, Dwayne Johnson Rated PG, 91 Minutes


More like this
ironlungdom.png
Review

‘Iron Lung’ and the Rise of the YouTuber Film

Iron Lung shows how a creator with a large online audience turned a low budget game adaptation into strong box office revenue through fan driven promotion and social reach. YouTube creators build direct audience ties, run production pipelines, and mobilize viewers to support projects across media platforms. The film’s performance signals a shift where online personalities compete with studio backed releases through community scale and digital marketing power.

Wicked Duology
Film & TV

‘Wicked: For Good’ is for the Theatre Kids

Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.