Returning to the films we grew up with can be a painful reality check. Movies like Attack of the Clones, which once resonated with me as a thrilling sci-fi spectacle, now make for an awkward viewing experience due to the stilted acting and grating dialogue. The humor in the live action Alvin and the Chipmunks is far less charming to me today than it was when I was in elementary school. And as soul-crushing as it is to admit, Bionicle: The Mask of Light may not hold up as the fantasy masterpiece I thought it was when I was eight. Even if there’s still some enjoyment to be taken from the sea of bizarre movies that flooded my childhood, rarely does the experience of revisiting them hold a candle to what it was like watching them as a kid.

There is an exception to this rule, however. 2005 saw the release of an ambitious film that would only prove to be more compelling as time went on. This was, of course, Robert Rodriguez’s modern classic Sharkboy and Lavagirl (or, to refer to it by its full title, The Adventures of Sharkboy and Lavagirl in 3-D).

Produced by Rodriguez’s company, Troublemaker Studios (also known for Spy Kids and Sin City), Sharkboy and Lavagirl told the story of Max, an ordinary 10-year-old who is summoned on a grand adventure to save a fantastical planet that seems to have been conjured from his own dreams. Max is accompanied by two inhabitants of his dream-world, the titular superheroes Sharkboy and Lavagirl. Along the way, they encounter prominent figures in Max’s subconscious, such as the villainous “Minus” and “Mr. Electric,” antagonistic reflections of his real-life school bully and teacher, respectively.

Like many great works of art, the film did not see an overwhelmingly positive reception upon its release. Not only did it underperform in the box office, but it failed to impress the vast majority of critics, as evidenced by its less-than-ideal Rotten Tomatoes score of 19%. Poor effects, annoying characters, and distracting 3-D gimmicks were among Sharkboy and Lavagirl's most disliked aspects. Even self-proclaimed fans of the film (such as myself) won’t deny that these flaws are prevalent throughout the movie. With that in mind, why does it still hold such a special place in the hearts of many 2000s kids?

For most fans, the answer is simple: the dated aspects of the movie don’t hold it down, but instead add a layer of nostalgia and charm. The film constantly reminds you of the era it was released in, whether that be through its effects, cast, or made-for-3-D moments. The film confidently displays vibrant, outlandish visuals in nearly every shot, despite the computer-generated effects not looking much better than the average PlayStation 3 game. The presence of a young Taylor Lautner reminds us of a time before the craze of the Twilight films, a series which pop culture has also recently embraced for being synonymous with Gen Z nostalgia. Finally, while 3-D cinema still exists, it is rarely pushed as a marketing gimmick like it was during the mid-to-late 2000s. There’s an inexplicable yet undeniably comforting element to watching CGI monstrosities constantly project themselves into the foreground of the image for maximum 3-D effect.

Yes, Sharkboy and Lavagirl is dated—delightfully, wonderfully dated—but dated nonetheless. Yet while its flaws certainly contribute to its enjoyability, I can’t comfortably dismiss it into the “so-bad-its-good” category that many similar hot messes get thrown into. There’s an undeniable sincerity behind its oh-so-cheesy writing that shines through during its more tender moments. The story of a kid retreating into his dreams to escape his real-life issues at home and school resonated with many of us, adding a strong emotional core to the journey. Its also important to note that director Robert Rodriguez wrote the story alongside his then seven-year-old son, Racer, who came up with the initial concepts for the main superheroes. Its no wonder the film connected with many young watchers—the ideas behind the movie’s fantasy worlds are unique and genuinely imaginative.

This, of course, does not negate the fact that the movie is also plain bizarre at times. The haunting imagery of Tobor’s flying mechanical face yelling “I’m free” as it disappears into the distance is etched into my memory forever, as is Sharkboy’s weirdly aggressive lullaby/musical number (although I can’t remember what purpose that served for the plot). The climactic showdown between Max and Minus features a thrilling dream-magic duel that Dr. Strange wishes he could recreate, with brains raining from the sky and heads inflating to cartoonish proportions. I haven’t even mentioned that the main villain is the giant disembodied face of George Lopez projected onto the torso of a robot. Praise Inception all you want, but not even Christopher Nolan was brave enough to explore such depths of the human subconscious.

The Adventures of Sharkboy and Lavagirl in 3-D is not enjoyable because it’s good or because it’s bad. It’s enjoyable because it’s Sharkboy and Lavagirl. It’s a dated, strange, and wholly genuine film that is unlike any other, and it deserves to be appreciated for all its beauty, all its warts, and for everything that it means to those of us who grew up watching it.

The ASLC will be showing Sharkboy and Lavagirl at midnight on February 4, 2022.

Written by: Yanni Spanolios
Art by: Judah Bachmann | Instagram