Yesterday I saw the animated classic Yellow Submarine.
It's been 50 years since the film was first released and the anniversary this summer brings a glorious new 4k restoration to theaters worldwide. The Beatles always seem to reappear when we need them most.
The premise of the film is simple: Blue Meanies (short, round creatures with yellow teeth) hate the power of music, so they invade Pepperland. The conductor escapes into a Yellow Submarine to seek The Beatles' help.
But really, it's about the music.
11 classic Beatles tunes set to beautiful, hilarious (sometimes even heartbreaking, in the case of "Eleanor Rigby") imagery that moves from psychedelic to reality and back. Even if the movie had no plot, the musical sequences would be worth the price of admission, but lucky for us we get both. The result is a charming, witty, snapshot of a moment-in-time that leaves those of us who weren't even alive when it was released aching to return to it.
As one of the fab four states in the film, "Nothing is Beatle-proof."
Thankfully, that includes our hearts.
~~~
Showing posts with label animated feature. Show all posts
Showing posts with label animated feature. Show all posts
Sunday, July 15, 2018
Sunday, February 26, 2017
The Red Turtle
On Friday I saw the animated film The Red Turtle, directed by Michael Dudok de Wit.
We don't see how our hero sets out on his oceanic journey; when we meet him, he's in the eye of a terrible storm getting tossed about the sea. He lands on a deserted island and soon adapts to a solitary lifestyle.
He eats coconuts and attempts to craft a raft to freedom as a colony of hermit crabs follow his every move. As he's making his way, a red turtle appears—potentially endangering his plans. What follows would be a major spoiler, so I will just say that the turtle has a spiritual and eventually physical symbolism in the story.
Without dialog, the story has to be told through the music and the emotive elements of the visual animation, which make this movie stunning. The drawings are simple, but powerful; the colors a blend of the most delicious sensory combinations that make up our wildest dreams.
Though the pace is undeniably slow (maybe too slow for small children), if you sit back and take in the vast landscape of the presentation, you'll feel as if you've escaped into a live painting.
I've made no secret of the fact that animation is among my least favorite genres, but if more films were on the same artistic and emotional level as this one, I may have a change of heart.
The Red Turtle is being showered with accolades and awards, and it deserves every one of them.
~~~
We don't see how our hero sets out on his oceanic journey; when we meet him, he's in the eye of a terrible storm getting tossed about the sea. He lands on a deserted island and soon adapts to a solitary lifestyle.
He eats coconuts and attempts to craft a raft to freedom as a colony of hermit crabs follow his every move. As he's making his way, a red turtle appears—potentially endangering his plans. What follows would be a major spoiler, so I will just say that the turtle has a spiritual and eventually physical symbolism in the story.
Without dialog, the story has to be told through the music and the emotive elements of the visual animation, which make this movie stunning. The drawings are simple, but powerful; the colors a blend of the most delicious sensory combinations that make up our wildest dreams.
Though the pace is undeniably slow (maybe too slow for small children), if you sit back and take in the vast landscape of the presentation, you'll feel as if you've escaped into a live painting.
I've made no secret of the fact that animation is among my least favorite genres, but if more films were on the same artistic and emotional level as this one, I may have a change of heart.
The Red Turtle is being showered with accolades and awards, and it deserves every one of them.
~~~
Sunday, October 07, 2012
Frankenweenie
This morning I saw Frankenweenie, an animated feature by Tim Burton.
Victor Frankenstein (Charlie Tahan) only has one true friend—his dog Sparky. He doesn't really play outside or interact with other kids, but Sparky is always there to star in his home movies and keep him company.
When the dog dies in an Owen Meany-ish accident at the ball park, the world as Victor knows it crumbles.
Inspired by a lesson taught by his new science teacher, Mr. Rzykruski (Martin Landau), he successfully brings Sparky back to life in what seems to be an homage to the classic Bride of Frankenstein with a wink toward Back to the Future (there's a lot of relying-on-lightning-striking here). The whole process is a nostalgic treat to watch.
Another classmate who is short on friends soon finds out about this magical result and threatens to tell everyone that Sparky is alive unless Victor shares his scientific secret with him. He complies and soon, despite the promises of discretion, the word is out.
Of course the experiment doesn't work the same way for everyone, and soon they have a catastrophe on their hands (I especially liked the giggling sea monkeys).
This is the only part of the film that I would hesitate to let small children see. Some of the animals that leap out on to the screen are quite menacing and the whole film is a dark black and white, which lays a grim visual landscape from the start.
I wouldn't say this is Burton's best film, as the pacing is slow in a few places and the predictability is very high.
But it is a sweet story about a boy and the dog he loves, and who could resist that?
~~~
Victor Frankenstein (Charlie Tahan) only has one true friend—his dog Sparky. He doesn't really play outside or interact with other kids, but Sparky is always there to star in his home movies and keep him company.
When the dog dies in an Owen Meany-ish accident at the ball park, the world as Victor knows it crumbles.
Inspired by a lesson taught by his new science teacher, Mr. Rzykruski (Martin Landau), he successfully brings Sparky back to life in what seems to be an homage to the classic Bride of Frankenstein with a wink toward Back to the Future (there's a lot of relying-on-lightning-striking here). The whole process is a nostalgic treat to watch.
Another classmate who is short on friends soon finds out about this magical result and threatens to tell everyone that Sparky is alive unless Victor shares his scientific secret with him. He complies and soon, despite the promises of discretion, the word is out.
Of course the experiment doesn't work the same way for everyone, and soon they have a catastrophe on their hands (I especially liked the giggling sea monkeys).
This is the only part of the film that I would hesitate to let small children see. Some of the animals that leap out on to the screen are quite menacing and the whole film is a dark black and white, which lays a grim visual landscape from the start.
I wouldn't say this is Burton's best film, as the pacing is slow in a few places and the predictability is very high.
But it is a sweet story about a boy and the dog he loves, and who could resist that?
~~~
Wednesday, December 09, 2009
(Disney's) A Christmas Carol
Last night I saw A Christmas Carol, directed by Robert Zemeckis.
To adapt one of the most well-known stories in literature can't be an easy task, but I admire anyone who strives for it, including Zemeckis.
His animated approach (using technology similar to his previous hit The Polar Express) is ambitious and intricate. When you're taken into Scrooge's neighborhood in the first few frames of the film, you're undoubtedly stepping into Dickens' England. Not only do the buildings and streets appear real, the faces of the characters are much closer to actual human likenesses than any other animated film to date. Even the cleavage on the dancing women is convincing. Yes, I said cleavage.
And that brings me to my next point: this is not a movie for young children. Because the dialog stays very faithful to the original text (and that's a good thing), many of the scenes are dark and frightening. The spirits (except for maybe the Ghost of Christmas Present, who is somewhat goofy) will seem creepy even to adults. The Grim Reaper-like essence of the Ghost of Christmas Yet to Come elevates the evil to a definite PG level.
The voices are also startling--though Jim Carrey provides the pipes for Scrooge AND all three spirits. The action scenes (mostly Scrooge being transported from place to place) are also extremely loud, and if you see it in IMAX as I did, you may want to pack some earplugs.
So how does this version measure up to previous versions? Well, nothing can beat the classic live action version in 1951 starring Alastair Sim or the more popular George C. Scott interpretation from 1984. But as far as making the original images from the book illustrations and the story come to life, this is as good as it gets.
The timeless lesson is as relevant today as when Dickens' wrote it in 1843. At the core of the film is a delightful old story about a man who has to battle his inner-demons to realize what life should be all about. One can only contemplate what our world would be like if everyone were held to such an extreme manner of self-evaluation.
To adapt one of the most well-known stories in literature can't be an easy task, but I admire anyone who strives for it, including Zemeckis.
His animated approach (using technology similar to his previous hit The Polar Express) is ambitious and intricate. When you're taken into Scrooge's neighborhood in the first few frames of the film, you're undoubtedly stepping into Dickens' England. Not only do the buildings and streets appear real, the faces of the characters are much closer to actual human likenesses than any other animated film to date. Even the cleavage on the dancing women is convincing. Yes, I said cleavage.
And that brings me to my next point: this is not a movie for young children. Because the dialog stays very faithful to the original text (and that's a good thing), many of the scenes are dark and frightening. The spirits (except for maybe the Ghost of Christmas Present, who is somewhat goofy) will seem creepy even to adults. The Grim Reaper-like essence of the Ghost of Christmas Yet to Come elevates the evil to a definite PG level.
The voices are also startling--though Jim Carrey provides the pipes for Scrooge AND all three spirits. The action scenes (mostly Scrooge being transported from place to place) are also extremely loud, and if you see it in IMAX as I did, you may want to pack some earplugs.
So how does this version measure up to previous versions? Well, nothing can beat the classic live action version in 1951 starring Alastair Sim or the more popular George C. Scott interpretation from 1984. But as far as making the original images from the book illustrations and the story come to life, this is as good as it gets.
The timeless lesson is as relevant today as when Dickens' wrote it in 1843. At the core of the film is a delightful old story about a man who has to battle his inner-demons to realize what life should be all about. One can only contemplate what our world would be like if everyone were held to such an extreme manner of self-evaluation.
Friday, November 27, 2009
Fantastic Mr. Fox
Today I saw Wes Anderson's first animated feature Fantastic Mr. Fox.
Based Roald Dahl's classic book, this film centers around the Fox family—Mom, Dad, their son Asher, and a visiting cousin named Kristofferson. Mr. Fox has given up a life of crime stealing birds for a more respectable job as a newspaper columnist. He's moved the family from a modest hole to the inside of an above-ground tree. His son Ash competes with his seemingly perfect cousin for his parents' attention because he feels he can do no right.
Mr. Fox doesn't like the new farmers in town, so he decides to go behind his wife's back and perform one last "job" of stealing with the help of a friend.
The first part of the theft goes well, though his wife is suspicious. She finds a tag with the farmer's name on it still attached to the chicken Mr. Fox claimed to get at the supermarket, but he talks his way out of it.
The next attempt at stealing is not as successful and results in the farmers waging an all-out war against the fox family, endangering all of the animals that live beneath the surface. In the chaos of the fight, the farmers also capture Kristofferson and hold him hostage above ground, mistaking him for Ash.
This all happens in a very fast-paced, visually appealing way. The landscapes are beautiful and the animals are life-like, especially in the way the foxes move. The dialog is clever but not too cute and the delivery (by George Clooney, Meryl Streep and other well-known actors) is right on. It's refreshingly not exaggerated like many other kids' film characters.
Is it the best animated film of the decade? Well, no—but it's certainly a satisfying, entertaining, family friendly option amidst many lesser alternatives.
Wes Anderson deserves kudos for switching genres so seamlessly and his style translates well to animation. Perhaps he'd consider doing another?
~~~
Based Roald Dahl's classic book, this film centers around the Fox family—Mom, Dad, their son Asher, and a visiting cousin named Kristofferson. Mr. Fox has given up a life of crime stealing birds for a more respectable job as a newspaper columnist. He's moved the family from a modest hole to the inside of an above-ground tree. His son Ash competes with his seemingly perfect cousin for his parents' attention because he feels he can do no right.
Mr. Fox doesn't like the new farmers in town, so he decides to go behind his wife's back and perform one last "job" of stealing with the help of a friend.
The first part of the theft goes well, though his wife is suspicious. She finds a tag with the farmer's name on it still attached to the chicken Mr. Fox claimed to get at the supermarket, but he talks his way out of it.
The next attempt at stealing is not as successful and results in the farmers waging an all-out war against the fox family, endangering all of the animals that live beneath the surface. In the chaos of the fight, the farmers also capture Kristofferson and hold him hostage above ground, mistaking him for Ash.
This all happens in a very fast-paced, visually appealing way. The landscapes are beautiful and the animals are life-like, especially in the way the foxes move. The dialog is clever but not too cute and the delivery (by George Clooney, Meryl Streep and other well-known actors) is right on. It's refreshingly not exaggerated like many other kids' film characters.
Is it the best animated film of the decade? Well, no—but it's certainly a satisfying, entertaining, family friendly option amidst many lesser alternatives.
Wes Anderson deserves kudos for switching genres so seamlessly and his style translates well to animation. Perhaps he'd consider doing another?
~~~
Subscribe to:
Posts (Atom)