Surreal is a word that seems to be tossed around with little effort, a term that tends to find itself applied to any piece of art that could be considered even remotely offbeat. Whether it’s a desert of melting clocks inhabiting a Salvador Dali painting or the soundscapes of Pink Floyd as they once took control of Pompeii, the word could describe a mood, a feeling originating within these pieces, as much as the experience of seeing/hearing whatever lies before the viewer. It’s here that surreal meets director Julian Glander‘s animated effort “Boys Go to Jupiter, ” and almost immediately, it’s easy to see why.
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An unusual, ethereal sound opens the film, quickly bringing that word to the forefront. Something is occupying the screen, but a moment later it’s revealed that this particular something is being filmed by a group of infuencer hopefuls that includes Freckles (Grace Kuhlenschmidt), Beatbox (Elsie Fisher), and Peanut (J. R. Phillips). There’s also Billy 5000 (Jack Corbett), something of an outsider to the group as well as a high school dropout now spending his days making meal deliveries via Grubster, a company that barely tries to disguise the real-world equivalent it seems to be referencing. Billy’s existence seems to revolve solely around the need to accumulate $5,000 so he can afford to move out on his own, and as he transports himself via hoverboard to his various customers, each with the own personas and semi-captivating stories, he’ll soon come into contact with Rozebud (Miya Folick), the head of a fruit company’s daughter and with whom Billy might just sense a spark or two. It’s here that the aliens come in.
Yes. That just happened.
These Squishmallow-esque aliens, however, are just one part of what might be considered the plot, with Billy’s nilhistic views, Rozebud’s musings on capitalism and the recurrence of a speckled lemon that may or may not possess some greater importance all working their way in as well for something that feels both in danger of falling apart as it does exuding decent stabs at societal commentary. The latter’s here, but it requires some paying attention, and the claymation style of animation, when mixed with all that’s unfolding, soon begins to nudge such a film into the realm of mid-’90s Liquid Television-era MTV.
Yet, somehow, it’s an oddly captivating journey, as Billy’s deliveries turn into their own vignettes within the greater narrative, and the overall animation style, as experimental as it wants to be, renders its characters quite inhuman while in stark contrast to the H. Jon Benjamin-esque delivery of Corbett and the sarcasm of Folick. Glander isn’t afraid to run rampant with the soundtrack, either, with lyrics that appear to humorously narrate the action to a degree, though when the film detours into our alien stowaways starring in what could be considered a pair of perplexing music videos, it begins to feel a touch too odd, for oddness’ sake.
For all its faults, whether intentional or otherwise, the ending still manages to stick the landing, in all its strange glory, resulting in something that must be seen; that said, it’s not to be believed, but rather to appreciate, as tricky as that may be. Stepping back from the canvas to take in the entirety of “Boys Go to Jupiter” results in something just as unusual as when viewed close-up, but nonetheless worthy of a trip into the world Glander has built. It’s surreal, sure. It’s also fascinating. [B-]