For many pre-adolescent boys, Heavy Metal magazine is the step stool to the likes of Playboy. The erotic, Adult-themed comics are almost a way to get away with something. It's only a comic book, after all.

Much of what appears in Heavy Metal exists only to exploit the sexuality the magazine is able to get away with. The story is secondary to the drawings of nudity. Yet the format also allows some storytellers to break free of the normal constraints in the comic industry and tell stories more powerful and adult than what was possible in your average superhero comic. The occasional gem emerged from the smut.

As the magazine grew in popularity, it doesn't seem all that surprising that a filmed version was carried out. Rather than simply make one, long story, the filmmakers opted to make the film similar to the magazine -- several smaller stories. Still, in order to make the entire experience connected, a theme is interwoven to lead from one segment to the next.

As we begin, we are introduced to the Lok Nar. This little green orb is the embodiment of all that is evil. It travels the universe, wreaking havok by exploiting greed and randomly bestowing remarkable powers upon those most likely to abuse them. The Lok Nar invades a home and takes a little girl hostage. It then proceeds to tell her some if its stories.

Like the magazine that inspired it, some of the animated segments are little more than an excuse for sex, drugs and rock and roll. Others, however, make an attempt at character development and try to find some meaning beyond big breasts and love making.

The animation in the film is a veritable mixed bag of styles. Again, this follows the format and style of the magazine, where each artist has their own, unique visual presense. Multiple techniques were used in the film, from traditional animation, to roto-scoping (essentially, the tracing of filmed actors), to still images moved against special effect backgrounds. The different styles serve to keep the film visually interesting and fresh.

Overall, the format of multiple short stories works well for the film. No one segment overstays its welcome. There is certainly room for every viewer to pick their favorite segment. The film also contains a few bits of witty humor, but this is to be expected of a film produced by Ivan Reitman and featuring the vocal talents of the likes of John Candy, Eugene Levy and Harold Ramis.

It is impossible to call Heavy Metal a great film. It was innovative for its time (though it looks a bit dated today), however, and it does spark a rememberance of a time more innocent, when looking at drawings of nude women in a magazine seemed like the most important thing in the world.