SKY CAPTAIN AND THE WORLD OF
Jude Law, Gwyneth Paltrow, et al.
Director: Kerry Conran
Opening Date: September 17, 2004
Doesn’t the pic of the robots on this page look mega cool? Like something
straight out of the 1940s Richard Fleischer
Superman cartoons, right? Or how
about that art deco city straight out of the original 1920s
Retro is the operative word here, and just might be the film’s downfall.
Anyone remembered the dismal fate of The Rocketeer
(a retro comic-based movie made to cash in on the original late 1980s
Batmania) at the box office? Is there anything you can remember from that
movie beside Jennifer Connolly and, uhm , that dress she wore? Can you
remember the movie at all?
Anyway, with very little advance hype, an awkward title and Angelina Jolie
its biggest name star, Sky Captain and the World of Tomorrow might
just go flying in under the radar at the box office upon its release on
(already pushed back from an initial July release). After all, Jolie
couldn’t even rescue the previous Lara Croft instalment at the box office.
By then the movie-going public would probably feel pummelled by big budget
special effects movies, especially if they the whiff of mediocrity about
it like Van Helsing and
The League of Extraordinary Gentlemen . . .
Summary for Sky Captain and the World of Tomorrow
In 1930's Manhattan, reporter Polly Perkins (Gwyneth
Paltrow) has noted the disappearances of many of the world's most famous
scientists. After the city falls under attack of giant flying robots, she
decides to team up with her old flame/aviation officer Joseph "Sky
Captain" Sullivan (Jude Law) and fly to Nepal in search of Dr. Totenkopf,
whose plan is to destroy the world.
about Sky Captain and the World of Tomorrow
The entire movie was shot
against blue- and green-screen, with everything except the main characters
computer generated. This was one of several movies to take that approach
(although which was first is debatable), including: Immortel (ad
vitam) (2004), Casshern (2004), and Sin City (2005).
To increase flexibility with
the film's editing process, Kerry Conran shot each of the hundreds of
extras individually on the blue screen, so that he could manipulate them
in the final shot to his own liking without having to reshoot the entire
Originally, the title was
simply The World of Tomorrow, but was changed so as not to be
confused with another 2004 big-budget film,
Day After Tomorrow.