MEAD is one of the most refreshing independent science fiction films in years. In an era when most of the genre has been overrun by dreary post-apocalyptic nihilism or depressing dystopian parables, this is a vibrant and humorous space opera with likable protagonists and an interesting villain to boot.
The story, based on the underground comic book "Fever Dreams" from 1972, follows a pair of outlaws--the symbiotically linked human Friz (Samuel Hunt) and his robot/spaceship MEAD (voiced by Patton Oswalt)--as they flee from the zealous Admiral Gillette (Robert Picardo), who has a personal grudge against the pair. MEAD has the unique ability to project illusions to trick his enemies--illusions that Friz must first imagine. Together, they use this ability to evade would-be captors and stay alive.
Along the way, they pick up a fellow outlaw named Phoebe (Lillie Young), who begrudgingly joins them as they set off to steal fuel from a military base on Ganymede. What follows is one of the funniest scenes in the entire film, as they use illusions of a teddy bear, a tyrannosaurus, pteranodons, and a giant toy robot named Timmy the Wunderbot (voiced by Patrick Warburton) to distract military forces and steal the necessary fuel cells.
The trio flees and Admiral Gillette sets after them in an enormous spaceship named Achilles. What the pair doesn't know is that Gillette has brought with a special new helmet that allows him to see through their illusions and instruct his crew how to properly fight the outlaws. A cat-and-mouse firefight ensues, leading to a climax that's one of the most exciting--and surprisingly emotional--scenes in the entire film.
I was fortunate enough experience this in the movie theater with a live audience, where several of the patrons were actually crying during the final scene. I don't know if the film will be playing in theaters again any time soon, but if the opportunity arises, know that this is the best way to experience it--MEAD dazzles on the big screen.
Some technical elements of the film are a little rough around the edges, to be sure, but those are to be expected from an independent production of this scale and budget. To compare its visuals and music unfavorably to movies like Dune (2021) or the recent Disney Star Wars entrees seems to be missing some critical qualifications of how to critique movies. Small productions like MEAD shouldn't be kicked to the ground (as I'm sorry to see some other reviewers have done) for aiming high and not quite hitting all of their marks. On the contrary, we should hold big studios more accountable for recycling the same I. P. again and again, polishing it with all of the finest special effects and music that Hollywood money can buy, and serving us the same recycled tripe for every meal.
For all of its imperfections, I'd take another 10 films with the imagination and ambition of MEAD for every Marvel film of the past decade. If that's the kind of thing you're after, look elsewhere. Otherwise, MEAD may be just the thing for you.
