Tonight I saw Toy Story 4, starring the voices of Tom Hanks and Annie Potts.
Woody (Hanks) and the gang of toys who used to belong to Andy (John Morris) have settled in nicely with young Bonnie (Madeline McGraw) and her family. Bonnie is hesitant about starting Kindergarten, so Woody tags along for her orientation. That's where she creates a new toy, Forky, (Tony Hale) from a utensil that was thrown into the trash.
Forky helps Bonnie adjust to her new school and becomes immediately beloved, but Forky doesn't really want to be a toy and attempts to return to the trash every chance he gets. This keeps Woody on his toes, chasing after him at every turn to ensure he stays put. But Woody isn't always successful and Forky successfully escapes during a road trip. Woody goes after him and they both end up at an antique store where they encounter a doll named Gabby (Christina Hendricks) who has a broken voice box and is desperate to replace it with Woody's.
Meanwhile, Bonnie is devastated that Forky is missing and that sends the family road trip into chaos, with all of the remaining toys in the vehicle worried for Woody and Forky.
All of the usual wit and clever blink-or-you'll-miss-them funnies are as present here as they were in the first three films, as is the charm and heart. It's lovely spending time with characters like Woody and Little Bo Peep (Potts) who we've seen before and the addition of several supporting characters only add delight—Keanu Reeves is a standout as the always-posing stuntman, Duke.
Of course there's a huge action sequence at the climax of the plot, a little creepiness, some genuine sadness and even a budding romance. Really, for a film that's fourth in a franchise, it's incredibly satisfying.
Go see it. You'll still be smiling when you get home.
~~~
Showing posts with label animation. Show all posts
Showing posts with label animation. Show all posts
Wednesday, July 03, 2019
Sunday, December 23, 2018
Mary Poppins Returns
Today I saw Mary Poppins Returns, starring Emily Blunt and Lin-Manuel Miranda.
The Banks children need some assistance. Michael (Ben Wishaw) and Jane (Emily Mortimer) are going to lose the family house to the bank if they don't come up with its full value because Michael repeatedly forgot to pay the mortgage.
The mean banker (Colin Firth, playing against type) doesn't want them to find the missing share certificates that will save them because he's hungry for more property. Out of the sky, Mary Poppins (Blunt) arrives to save the day.
Blunt is fantastic, as is lamplighter Jack (Miranda) and if only there were more of those two in the film, perhaps it could've met my expectations, but alas it did not.
The positives? The film is visually stunning. The sequences that include animation (the bath, my favorite) are nothing short of brilliant, with bright colors popping like a Target commercial and crisp, beautiful illustrations to match. This is the only place where, due to technology, the present-day film surpasses the classic.
Also great are the cameos by Dick Van Dyke, Angela Lansbury and Meryl Streep. Each gets an ample amount of time to do their thing and they all, of course, do it well.
The issues? The "magic" is few and far between. We feel it in the opening sequence with Jack singing about London; when Mary emerges from the clouds; when the kids dive into their first psychedelic-ish experience (in the bathtub); when the lamplighters do their dance near the end. But that's about it. The songs aren't really that memorable (through no fault of the singers) and way too much time is spent dwelling on the looming bank deadline.
While I'm on the topic of time: This film did not need to be as long as it was. It could have easily been a 90-minute delight. But no ... sequences drag on (I'm looking at you broken bowl) and character development somersaults until we're sick of hearing Michael yell and of watching the kids lose track of Georgie (Joel Dawson).
Also frustrating is the romance that is teased between Jack and Jane for the duration of the film, but never truly realized. They make a cute couple—why not give us that one?
All in all, the message is lovely and if it sparks a new generation of kids to go back and see what the original was all about, then it was worth it.
If you're hungry for a happy ending, then go forth and enjoy. But if you're looking for something transcendent, you may come away wishing for more.
~~~
The Banks children need some assistance. Michael (Ben Wishaw) and Jane (Emily Mortimer) are going to lose the family house to the bank if they don't come up with its full value because Michael repeatedly forgot to pay the mortgage.
The mean banker (Colin Firth, playing against type) doesn't want them to find the missing share certificates that will save them because he's hungry for more property. Out of the sky, Mary Poppins (Blunt) arrives to save the day.
Blunt is fantastic, as is lamplighter Jack (Miranda) and if only there were more of those two in the film, perhaps it could've met my expectations, but alas it did not.
The positives? The film is visually stunning. The sequences that include animation (the bath, my favorite) are nothing short of brilliant, with bright colors popping like a Target commercial and crisp, beautiful illustrations to match. This is the only place where, due to technology, the present-day film surpasses the classic.
Also great are the cameos by Dick Van Dyke, Angela Lansbury and Meryl Streep. Each gets an ample amount of time to do their thing and they all, of course, do it well.
The issues? The "magic" is few and far between. We feel it in the opening sequence with Jack singing about London; when Mary emerges from the clouds; when the kids dive into their first psychedelic-ish experience (in the bathtub); when the lamplighters do their dance near the end. But that's about it. The songs aren't really that memorable (through no fault of the singers) and way too much time is spent dwelling on the looming bank deadline.
While I'm on the topic of time: This film did not need to be as long as it was. It could have easily been a 90-minute delight. But no ... sequences drag on (I'm looking at you broken bowl) and character development somersaults until we're sick of hearing Michael yell and of watching the kids lose track of Georgie (Joel Dawson).
Also frustrating is the romance that is teased between Jack and Jane for the duration of the film, but never truly realized. They make a cute couple—why not give us that one?
All in all, the message is lovely and if it sparks a new generation of kids to go back and see what the original was all about, then it was worth it.
If you're hungry for a happy ending, then go forth and enjoy. But if you're looking for something transcendent, you may come away wishing for more.
~~~
Sunday, July 15, 2018
Yellow Submarine
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.
~~~
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.
~~~
Saturday, March 31, 2018
Isle of Dogs
This morning I saw Isle of Dogs, starring the voices of Bryan Cranston and Scarlett Johansson.
Wes Anderson's latest release is inventive, clever, heartwarming, funny, detailed and unique in his signature style. It's also slow-paced, underutilized and at times (sorry) just plain boring.
On the positive side, the voice actors are all brilliant and suited to the persons or canines they represent. Cranston's "Chief" is a dog who bites and doesn't take kindly to being told what to do. Johansson's "Nutmeg" is a sultry beauty, prone to performing tricks at will (and asking observers to imagine her missing props). Bill Murray's "Boss," is well ... very Bill Murray.
Hearing these actors interact with convincing dog dialog is delightful. Anyone who's ever had a pet develops ways of communicating with them, but here we get to imagine what their conversations would be like amongst one another. Where the film fell flat was when it focused on "The Little Pilot," an annoying student activist and the government characters who deport the dogs from Japan.
Perhaps their similarities to our modern-day political world hit too close to home, or maybe I'm just conditioned to see pets portrayed in simpler situations. Whatever the case, the film suffered for me when the focus was on the humans.
In addition, the animation is brilliant, but there are quite a few shots of the dogs walking across the screen in a line. Also several scenes of the trash island they've been deported to (that feels sadly like the Great Pacific Garbage Patch). There's also a hell of a lot of drumming throughout everything. And that gets old real fast.
Go for the gorgeous artistry and strong writing; just know you may need a cup of coffee to get through some of the duller stretches.
~~~
Wes Anderson's latest release is inventive, clever, heartwarming, funny, detailed and unique in his signature style. It's also slow-paced, underutilized and at times (sorry) just plain boring.
On the positive side, the voice actors are all brilliant and suited to the persons or canines they represent. Cranston's "Chief" is a dog who bites and doesn't take kindly to being told what to do. Johansson's "Nutmeg" is a sultry beauty, prone to performing tricks at will (and asking observers to imagine her missing props). Bill Murray's "Boss," is well ... very Bill Murray.
Hearing these actors interact with convincing dog dialog is delightful. Anyone who's ever had a pet develops ways of communicating with them, but here we get to imagine what their conversations would be like amongst one another. Where the film fell flat was when it focused on "The Little Pilot," an annoying student activist and the government characters who deport the dogs from Japan.
Perhaps their similarities to our modern-day political world hit too close to home, or maybe I'm just conditioned to see pets portrayed in simpler situations. Whatever the case, the film suffered for me when the focus was on the humans.
In addition, the animation is brilliant, but there are quite a few shots of the dogs walking across the screen in a line. Also several scenes of the trash island they've been deported to (that feels sadly like the Great Pacific Garbage Patch). There's also a hell of a lot of drumming throughout everything. And that gets old real fast.
Go for the gorgeous artistry and strong writing; just know you may need a cup of coffee to get through some of the duller stretches.
~~~
Wednesday, January 24, 2018
Loving Vincent
Tonight I saw Loving Vincent, starring Douglas Booth and Saoirse Ronan.
Do everything in your power to see this in the theater if it's still available in your area. Seriously.
What Dorota Kobiela, Hugh Welchman and over 100 painters did is simply magnificent. They shot an entire movie—then painted over every frame (over 65,000 of them). So trust me when I say that you'll experience the first hand-painted full-length film in a much more immersive way if the images envelop you from the brilliance of a gigantic screen vs. a television or home theater.
The story picks up after the death of Vincent Van Gogh, when Armand Roulin (Booth), one of Van Gogh's subjects, attempts to solve the questions behind the famous artist's suicide (or murder, depending on what theory you believe) and travels to various scenes in the style of Van Gogh's works to do so. I'll admit I got so lost in the visuals that the dialog/plot points suffered for me, but perhaps if I watch it again, I'll pay more attention?
Probably not. But as a huge Van Gogh admirer, this was an incredible visual treat. It was as if all of the scenes I'd witnessed my entire life in museums and on postcards had come to life, straight from my mind's eye.
Of course, I was then preoccupied wondering (hoping) this technique gets explored via other artists too (Andrew Wyeth and Claude Monet would be my first choices, but I could also be happy with Georges Seurat if anyone's up for it).
I certainly hope this isn't the last we've seen of such beauty.
~~~
Do everything in your power to see this in the theater if it's still available in your area. Seriously.
What Dorota Kobiela, Hugh Welchman and over 100 painters did is simply magnificent. They shot an entire movie—then painted over every frame (over 65,000 of them). So trust me when I say that you'll experience the first hand-painted full-length film in a much more immersive way if the images envelop you from the brilliance of a gigantic screen vs. a television or home theater.
The story picks up after the death of Vincent Van Gogh, when Armand Roulin (Booth), one of Van Gogh's subjects, attempts to solve the questions behind the famous artist's suicide (or murder, depending on what theory you believe) and travels to various scenes in the style of Van Gogh's works to do so. I'll admit I got so lost in the visuals that the dialog/plot points suffered for me, but perhaps if I watch it again, I'll pay more attention?
Probably not. But as a huge Van Gogh admirer, this was an incredible visual treat. It was as if all of the scenes I'd witnessed my entire life in museums and on postcards had come to life, straight from my mind's eye.
Of course, I was then preoccupied wondering (hoping) this technique gets explored via other artists too (Andrew Wyeth and Claude Monet would be my first choices, but I could also be happy with Georges Seurat if anyone's up for it).
I certainly hope this isn't the last we've seen of such beauty.
~~~
Thursday, January 04, 2018
Coco
Tonight I saw Coco, featuring the voices of Anthony Gonzalez and Gael Garcia Bernal.
Miguel (Gonzalez) is a young boy in love with music. He plays the guitar, sings and enjoys the sounds that he passes by in town, but he's forbidden from music by his strict family.
They are in the midst of preparing for El Dia de los Muertos—The Day of the Dead—where they display photos of their ancestors to invite them to come and "visit" that one special day of the year. As this is going on, Miguel plans to enter the town talent show without permission until his guitar gets destroyed so he goes to look for another one.
As he finds the one he intends to "borrow," something paranormal occurs and he's transported into the dead world. There he meets his ancestors, who are entering a rigid customs-like process to be able to cross over to the living world for that one day visit. No, the metaphor couldn't be more obvious.
It's there he encounters Hector (Garcia Bernal) who begs him to take his photo back to the living world with him so he can be remembered and earn visitation. There is also the matter of Miguel coming face to face with his musical idol and realizing things aren't always as they seem.
In typical Pixar fashion, whether you want to or not, you'll shed some tears along the way. It's not as devastating as Up or Toy Story 3, but the writers hit the right tender notes to bring the sads (not that that's a bad thing).
It's also one of their most visually stunning films. The brilliant colors burst with vibrant energy, weaving you deep into Mexican culture as the magical elements capture your senses. Furthermore, the details are impeccable—watch for skeleton faces in everything from the fireworks to the synchronized swimmers.
An emotionally rich, delightful ride for the whole family that will make your heart sing.
~~~
Miguel (Gonzalez) is a young boy in love with music. He plays the guitar, sings and enjoys the sounds that he passes by in town, but he's forbidden from music by his strict family.
They are in the midst of preparing for El Dia de los Muertos—The Day of the Dead—where they display photos of their ancestors to invite them to come and "visit" that one special day of the year. As this is going on, Miguel plans to enter the town talent show without permission until his guitar gets destroyed so he goes to look for another one.
As he finds the one he intends to "borrow," something paranormal occurs and he's transported into the dead world. There he meets his ancestors, who are entering a rigid customs-like process to be able to cross over to the living world for that one day visit. No, the metaphor couldn't be more obvious.
It's there he encounters Hector (Garcia Bernal) who begs him to take his photo back to the living world with him so he can be remembered and earn visitation. There is also the matter of Miguel coming face to face with his musical idol and realizing things aren't always as they seem.
In typical Pixar fashion, whether you want to or not, you'll shed some tears along the way. It's not as devastating as Up or Toy Story 3, but the writers hit the right tender notes to bring the sads (not that that's a bad thing).
It's also one of their most visually stunning films. The brilliant colors burst with vibrant energy, weaving you deep into Mexican culture as the magical elements capture your senses. Furthermore, the details are impeccable—watch for skeleton faces in everything from the fireworks to the synchronized swimmers.
An emotionally rich, delightful ride for the whole family that will make your heart sing.
~~~
Saturday, April 22, 2017
Boss Baby
On April 15, I saw Boss Baby, starring the voice of Alec Baldwin.
In the factory where babies are made, certain souls are set aside for a greater purpose. This is the case for the Boss Baby (Baldwin) who arrives at his new brother Tim's (Tobey Maguire) house in a taxi, briefcase in hand, ready for business.
You see, he's a spy and he's tasked with stopping an evil plot (to tell you more would be to spoil, so I'll leave it at that). Of course, his big brother is ready to "out" his true identity and blow his cover, but the Boss Baby soon wins him over and they work together to stop the bad guys.
There are a lot of cute moments in this animated film (I laughed especially hard when a nude shot occurred and they fuzzed out BB's teeny penis), and really no one is better suited for the voice of a spy baby than Baldwin.
So if you're taking the kids and want to know if adults will get bored, the answer is no. If you're not taking kids, but are just going as a filmgoer, this is not terribly high caliber entertainment. But it's enjoyable for what it is.
~~~
In the factory where babies are made, certain souls are set aside for a greater purpose. This is the case for the Boss Baby (Baldwin) who arrives at his new brother Tim's (Tobey Maguire) house in a taxi, briefcase in hand, ready for business.
You see, he's a spy and he's tasked with stopping an evil plot (to tell you more would be to spoil, so I'll leave it at that). Of course, his big brother is ready to "out" his true identity and blow his cover, but the Boss Baby soon wins him over and they work together to stop the bad guys.
There are a lot of cute moments in this animated film (I laughed especially hard when a nude shot occurred and they fuzzed out BB's teeny penis), and really no one is better suited for the voice of a spy baby than Baldwin.
So if you're taking the kids and want to know if adults will get bored, the answer is no. If you're not taking kids, but are just going as a filmgoer, this is not terribly high caliber entertainment. But it's enjoyable for what it is.
~~~
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.
~~~
Tuesday, July 12, 2016
Finding Dory
On July 4, I saw Finding Dory, starring Ellen DeGeneres and Ed O'Neill.
Dory (Degeneres) is a blue tang with a short term memory impairment. As a baby, her parents tried to train her to come home, but when she was young she got separated from them. She made friends along the way, but never got over the loss of her Mom and Dad.
As an adult, she sets out to find them using techniques she's learned and taking some friends with her—like Hank the Octopus (O'Neill)—to keep her focused.
Her voice, Ellen DeGeneres, hits all the right notes to trigger empathy and sympathy. You can't help but root for her as she navigates the wild waters she first explored with her friend Nemo (Hayden Rolence), who makes an appearance here as well. In fact, all of the voices are great from legend Diane Keaton (Dory's mom) to the 7-year-old Sloane Murray, who gives a precious performance as the young version of Dory.
It's frankly hard to find fault with anything that Pixar does and Finding Dory is no exception. Excellent animation? Check. Brilliant casting? Check. Screenplay that ignites tearful waterworks? Check. Charming jokes to keep us laughing as we cry? Check.
The film is thoroughly engaging and enjoyable—my only complaint would be that as a sequel, it took too long to come out after the original.
Let's hope we don't have to wait as long for the third.
~~~
Dory (Degeneres) is a blue tang with a short term memory impairment. As a baby, her parents tried to train her to come home, but when she was young she got separated from them. She made friends along the way, but never got over the loss of her Mom and Dad.
As an adult, she sets out to find them using techniques she's learned and taking some friends with her—like Hank the Octopus (O'Neill)—to keep her focused.
Her voice, Ellen DeGeneres, hits all the right notes to trigger empathy and sympathy. You can't help but root for her as she navigates the wild waters she first explored with her friend Nemo (Hayden Rolence), who makes an appearance here as well. In fact, all of the voices are great from legend Diane Keaton (Dory's mom) to the 7-year-old Sloane Murray, who gives a precious performance as the young version of Dory.
It's frankly hard to find fault with anything that Pixar does and Finding Dory is no exception. Excellent animation? Check. Brilliant casting? Check. Screenplay that ignites tearful waterworks? Check. Charming jokes to keep us laughing as we cry? Check.
The film is thoroughly engaging and enjoyable—my only complaint would be that as a sequel, it took too long to come out after the original.
Let's hope we don't have to wait as long for the third.
~~~
Saturday, January 30, 2016
Documentary Short Film Nominees (Oscars® 2016)
Tonight I saw all five of the nominated films in the Documentary Short category. I'll present my reviews in the order they were shown.
BODY TEAM 12 (Liberia)
The 2014 Ebola outbreak in Liberia devastated the country, leaving nearly 5000 dead and over 10,000 infected. In the midst of the chaos, 29-year-old Garmai Sumo is the only female on a team tasked with safely removing bodies from infected locations. In this film, as we watch the horror unfold, she describes what it's like—the fears, the sadness and even the hope. Her commitment and compassion for her fellow people make this otherwise gloomy subject bearable.
A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS (Pakistan)
In Pakistan, men sometimes beat or kill female relatives who they perceive to have 'disrespected' them. They call these 'honor killings,' as they are meant to restore honor to the family. One such attempted murder happened to 18-year-old Saba when she fell in love and her family told her the boy she wanted to marry wasn't rich enough. She defied them by gaining support from her future in-laws, who helped the couple elope. Her father and uncle then shot her in the face and threw her in the river to die. But ... she didn't die. She lived to tell the tale and tells it here, as she's in the midst of a legal struggle in her community. Her path toward forgiveness under pressure is hard to watch, especially considering that her attackers show no remorse, but it's so well done, I conclude that this is the strongest of the five films.
LAST DAY OF FREEDOM (USA)
A man has a younger brother. The younger brother gets hit by a car during adolescence and is never the same. With a middle school education, said brother enters the service. He goes to Vietnam. Bad things happen. He comes home, again a changed man. His PTSD gets really bad. He does a bad thing. His brother turns him in. He gets the death penalty. The brother is sick with guilt and tells his story here, but we only hear him as the entire short is animated. Though the animation is artistically brilliant, I didn't feel it was the right way to tell this story and it distracted me from the core of the emotion. Meh.
CHAU, BEYOND THE LINES (USA and Vietnam)
The effects of Agent Orange are still prevalent today, as evidenced in this documentary focusing on Chau, a disabled Vietnamese boy with a triumphant spirit. We're first introduced to him in the orphanage-like home he's living in, though he's still in touch with his family (and will go back to them briefly before setting out in the world on his own). The staff at the home, which primarily serves children affected by Agent Orange, don't recognize that Chau's a gifted artist with real potential; they discourage him from pursuing what they see as a futile dream. Thankfully, he ignores them and forges on, despite the fact he doesn't have a knee on one leg and his arms and hands are disproportionate to his body. If you're able to stop crying, this is a life-affirming gem of a film.
CLAUDE LANSMANN: SPECTRES OF THE SHOAH (USA)
In 1985, Director Claude Lansmann released a documentary that had consumed him for 12 years: Shoah. Remembered now as perhaps the most important Holocaust film ever made, the creation of it still haunts him this many years on. In this talking-head short—the most traditional documentary of the bunch—we hear from Lansmann directly as he shares stories of the horrors he drew out of various survivors. It's riveting and depressing and makes you respect the classic work all the more, even if his methods for making it weren't always noble.
~~~
BODY TEAM 12 (Liberia)
The 2014 Ebola outbreak in Liberia devastated the country, leaving nearly 5000 dead and over 10,000 infected. In the midst of the chaos, 29-year-old Garmai Sumo is the only female on a team tasked with safely removing bodies from infected locations. In this film, as we watch the horror unfold, she describes what it's like—the fears, the sadness and even the hope. Her commitment and compassion for her fellow people make this otherwise gloomy subject bearable.
A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS (Pakistan)
In Pakistan, men sometimes beat or kill female relatives who they perceive to have 'disrespected' them. They call these 'honor killings,' as they are meant to restore honor to the family. One such attempted murder happened to 18-year-old Saba when she fell in love and her family told her the boy she wanted to marry wasn't rich enough. She defied them by gaining support from her future in-laws, who helped the couple elope. Her father and uncle then shot her in the face and threw her in the river to die. But ... she didn't die. She lived to tell the tale and tells it here, as she's in the midst of a legal struggle in her community. Her path toward forgiveness under pressure is hard to watch, especially considering that her attackers show no remorse, but it's so well done, I conclude that this is the strongest of the five films.
LAST DAY OF FREEDOM (USA)
A man has a younger brother. The younger brother gets hit by a car during adolescence and is never the same. With a middle school education, said brother enters the service. He goes to Vietnam. Bad things happen. He comes home, again a changed man. His PTSD gets really bad. He does a bad thing. His brother turns him in. He gets the death penalty. The brother is sick with guilt and tells his story here, but we only hear him as the entire short is animated. Though the animation is artistically brilliant, I didn't feel it was the right way to tell this story and it distracted me from the core of the emotion. Meh.
CHAU, BEYOND THE LINES (USA and Vietnam)
The effects of Agent Orange are still prevalent today, as evidenced in this documentary focusing on Chau, a disabled Vietnamese boy with a triumphant spirit. We're first introduced to him in the orphanage-like home he's living in, though he's still in touch with his family (and will go back to them briefly before setting out in the world on his own). The staff at the home, which primarily serves children affected by Agent Orange, don't recognize that Chau's a gifted artist with real potential; they discourage him from pursuing what they see as a futile dream. Thankfully, he ignores them and forges on, despite the fact he doesn't have a knee on one leg and his arms and hands are disproportionate to his body. If you're able to stop crying, this is a life-affirming gem of a film.
CLAUDE LANSMANN: SPECTRES OF THE SHOAH (USA)
In 1985, Director Claude Lansmann released a documentary that had consumed him for 12 years: Shoah. Remembered now as perhaps the most important Holocaust film ever made, the creation of it still haunts him this many years on. In this talking-head short—the most traditional documentary of the bunch—we hear from Lansmann directly as he shares stories of the horrors he drew out of various survivors. It's riveting and depressing and makes you respect the classic work all the more, even if his methods for making it weren't always noble.
~~~
Friday, June 19, 2015
Inside Out
Tonight I saw Inside Out, starring the voices of Amy Poehler and Phyllis Smith.
Pixar has done it again. They've gone and created a visually stunning, colorful, magical film that not only pleases the aural senses, but pulls your heart out and presents it to you on a platter.
Riley (Katilyn Dias) is a happy-go-lucky 11-year-old girl living a cozy life with her parents in Minnesota until one day everything changes: the family moves to San Francisco for her dad's job.
She keeps a brave face and tries not to get too upset when the house they arrive to is nothing like the one they left, and the moving van with all their stuff is delayed. The emotions inside of her are fighting the good fight to keep her safe and content, but Sadness (Smith) keeps grabbing her memories and forcing them to change shape. In an effort to keep Riley from getting dismal, Joy (Poehler) tries to rescue those memories and in the process gets catapulted out of "headquarters," leaving only Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling) to rule her feelings.
Soon Riley is miserable at her new school, mad at her parents and ready to run back to the Midwest where she can again find happiness. Joy and Sadness have to do whatever it takes to get back inside headquarters to prevent her from going too far down the dark path.
What an amazing metaphor for an adolescent brain!
Didn't we all feel like a crazy train wreck of emotions during those years? Or was it just me because my parents put me through a move when I was the same age as Riley's character? I'm bargaining that most young people—male and female—feel so much uncertainty as their mind and body matures that they're often overwhelmed.
The voice actors here are well-known, but thankfully it's not distracting, because they're so perfectly suited to their assigned emotion (especially Smith, who everyone will remember from the American version of The Office).
I laughed, I cried, I mused, I remembered, I reflected, I hurt, I healed... I loved this film.
~~~
Pixar has done it again. They've gone and created a visually stunning, colorful, magical film that not only pleases the aural senses, but pulls your heart out and presents it to you on a platter.
Riley (Katilyn Dias) is a happy-go-lucky 11-year-old girl living a cozy life with her parents in Minnesota until one day everything changes: the family moves to San Francisco for her dad's job.
She keeps a brave face and tries not to get too upset when the house they arrive to is nothing like the one they left, and the moving van with all their stuff is delayed. The emotions inside of her are fighting the good fight to keep her safe and content, but Sadness (Smith) keeps grabbing her memories and forcing them to change shape. In an effort to keep Riley from getting dismal, Joy (Poehler) tries to rescue those memories and in the process gets catapulted out of "headquarters," leaving only Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling) to rule her feelings.
Soon Riley is miserable at her new school, mad at her parents and ready to run back to the Midwest where she can again find happiness. Joy and Sadness have to do whatever it takes to get back inside headquarters to prevent her from going too far down the dark path.
What an amazing metaphor for an adolescent brain!
Didn't we all feel like a crazy train wreck of emotions during those years? Or was it just me because my parents put me through a move when I was the same age as Riley's character? I'm bargaining that most young people—male and female—feel so much uncertainty as their mind and body matures that they're often overwhelmed.
The voice actors here are well-known, but thankfully it's not distracting, because they're so perfectly suited to their assigned emotion (especially Smith, who everyone will remember from the American version of The Office).
I laughed, I cried, I mused, I remembered, I reflected, I hurt, I healed... I loved this film.
~~~
Sunday, January 12, 2014
Frozen
Today I saw Frozen, starring the voices of Kristen Bell and Idina Menzel.
Elsa (Menzel) and Anna (Bell) are sisters. Elsa is older and blessed with superpowers; Anna excitedly wakes Elsa to play using those superpowers, which create magical landscapes around them.
One morning when they're having fun, Elsa loses control of her powers and Anna gets hurt. Their parents rush to their aid and are advised to lock Elsa away and hide her powers from Anna going forward.
When they're older, Elsa reveals those powers and her emotions get the better of her as her sister announces her engagement. She essentially freezes their whole village, but doesn't know it as she escapes immediately thereafter.
Anna decides to save the town by finding her sister and asking her to thaw everything out. This, of course, is harder than it seems and true to fairy tale form, we learn it is true love that must save them.
The film is a delightful romp, rich with beautiful, snowy visuals that actually make you chilly while you watch. The strength of Anna's character is refreshing in a female lead (animated or not) and the snowman, who could be obnoxious, is actually pretty cute. I also liked the men (both the dreadful ones and the nice ones).
Sitting next to an adorable 3-year-old boy for the duration, I heard him once reason with his mother, "Maybe one sister can be the cold weather queen and the other sister could be the warm weather queen?"
His innocence speaks to the vibe of the movie, which concentrates on simple justice and the pursuit of happiness. Truly delightful.
~~~
Elsa (Menzel) and Anna (Bell) are sisters. Elsa is older and blessed with superpowers; Anna excitedly wakes Elsa to play using those superpowers, which create magical landscapes around them.
One morning when they're having fun, Elsa loses control of her powers and Anna gets hurt. Their parents rush to their aid and are advised to lock Elsa away and hide her powers from Anna going forward.
When they're older, Elsa reveals those powers and her emotions get the better of her as her sister announces her engagement. She essentially freezes their whole village, but doesn't know it as she escapes immediately thereafter.
Anna decides to save the town by finding her sister and asking her to thaw everything out. This, of course, is harder than it seems and true to fairy tale form, we learn it is true love that must save them.
The film is a delightful romp, rich with beautiful, snowy visuals that actually make you chilly while you watch. The strength of Anna's character is refreshing in a female lead (animated or not) and the snowman, who could be obnoxious, is actually pretty cute. I also liked the men (both the dreadful ones and the nice ones).
Sitting next to an adorable 3-year-old boy for the duration, I heard him once reason with his mother, "Maybe one sister can be the cold weather queen and the other sister could be the warm weather queen?"
His innocence speaks to the vibe of the movie, which concentrates on simple justice and the pursuit of happiness. Truly delightful.
~~~
Sunday, March 24, 2013
The Croods
Today I saw The Croods, starring the voices of Emma Stone and Nicholas Cage.
Grug (Cage) Crood is just like any other father—he loves his family, acts as the breadwinner and is fiercely protective of his children.
Eep (Stone) Crood is just like any other teenage daughter—she hates being cooped up, is curious about the unknown and enjoys the company of cute guys.
The unique thing about this bunch is that they're prehistoric. They're cave-people who don't know how to advance past their hunter-gatherer stages because they refuse to explore the unknown.
There's an old saying that goes "if it ain't broke, don't fix it," and the same could be said for Daddy Crood's philosophy. He means well, but doesn't let his family outside the cave once the sun goes down because "new is bad."
Eep challenges that rule by sneaking out as often as she can, and one night encounters Guy (Ryan Reynolds), a boy her age with a pet Sloth named Belt (who functions as one too). Because of her rebellious actions, her family must follow her, and the places they go are frightening and wonderful all the same.
Basically, the feature is a parable about the importance of keeping an open mind and taking risks (just in case they're worth it). The story—like the main family—is simple, but that's okay because of the audience it's targeting.
I had the pleasure of seeing the film with a 6 year-old boy and a 3 year-old girl. Both were absolutely silent and engrossed as the action played out.
If they weren't bored, I can't imagine many of the adults were either (I know I wasn't), and at the end of the day, the storyline preaching was minimal. This is a character-driven jaunt, starring fun, familiar voices, set in a time our evolution often causes us to forget.
It will remind you not to be afraid of the new—and not to forget how far you've come, either.
Grug (Cage) Crood is just like any other father—he loves his family, acts as the breadwinner and is fiercely protective of his children.
Eep (Stone) Crood is just like any other teenage daughter—she hates being cooped up, is curious about the unknown and enjoys the company of cute guys.
The unique thing about this bunch is that they're prehistoric. They're cave-people who don't know how to advance past their hunter-gatherer stages because they refuse to explore the unknown.
There's an old saying that goes "if it ain't broke, don't fix it," and the same could be said for Daddy Crood's philosophy. He means well, but doesn't let his family outside the cave once the sun goes down because "new is bad."
Eep challenges that rule by sneaking out as often as she can, and one night encounters Guy (Ryan Reynolds), a boy her age with a pet Sloth named Belt (who functions as one too). Because of her rebellious actions, her family must follow her, and the places they go are frightening and wonderful all the same.
Basically, the feature is a parable about the importance of keeping an open mind and taking risks (just in case they're worth it). The story—like the main family—is simple, but that's okay because of the audience it's targeting.
I had the pleasure of seeing the film with a 6 year-old boy and a 3 year-old girl. Both were absolutely silent and engrossed as the action played out.
If they weren't bored, I can't imagine many of the adults were either (I know I wasn't), and at the end of the day, the storyline preaching was minimal. This is a character-driven jaunt, starring fun, familiar voices, set in a time our evolution often causes us to forget.
It will remind you not to be afraid of the new—and not to forget how far you've come, either.
Saturday, October 13, 2012
ParaNorman
Today I saw the animated feature, ParaNorman.
Norman isn't like other children.
Kids don't like him because he's different; his family grows tired of his paranormal claims. Basically, he sees ghosts and hardly anyone believes him.
His one true friend, Neil, a chubby kid that deals with bullies of his own, does have faith he's telling the truth and wants to help Norman as he prepares to save their village from an end-of-days curse.
Throughout this film there's a healthy mix of every-day kid situations (obnoxious older siblings; idiot classmates that pick on others because they're not as smart as their victims) and historical/paranormal references including everything from witch trials to modern-day zombies. The balance is good, but I would hesitate taking a small child to see this. Aside from the obvious frightening scenes, there would be a lot of explaining to do on the part of the adult.
The afterlife is a major theme, as is that of bullying and the treatment of social outcasts.
Overall it sends a wonderful message about how we all should treat each other while marveling us with gorgeous animation wrapped into a very sweet story.
A wonderful escape, especially during the spooky fall season.
~~~
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?
~~~
Friday, September 28, 2012
Finding Nemo 3D
Tonight I saw the Pixar classic, Finding Nemo, in 3D.
Though I've seen the film dozens of times, until this evening, I had never seen it in 3D. And oh, how beautiful it was!
Nemo (Alexander Gould), a young clown fish, is angry with his father on the first day of school and swims to a nearby boat. His father, Marlin (Albert Brooks), goes after him but doesn't make it in time and a scuba diver scoops Nemo up.
The young fish lands in an aquarium at a Sydney, Australia dental office; his father desperately sets out (despite his own fears about the ocean) to find him.
Marlin soon meets up with a female fish, Dory, who is voiced by a hilarious Ellen DeGeneres. She suffers from short-term memory challenges, but thankfully remembers the address on the scuba diver's goggles so they can try to get to Nemo.
Nemo meanwhile has made friends with his fellow aquarium fish, as they are busy planning their escape.
Will they reunite? Well, if you haven't seen it by now, you should get yourself to a theater.
As with every Pixar film, there are delightful tidbits for the adults to enjoy while the kids marvel at the visuals. This is all underlined with a healthy dose of heart, delivered sentimentally in just the right places.
I think after seeing the vibrant ocean life pop with new dimension, I love this film even more than I did before.
~~~
Though I've seen the film dozens of times, until this evening, I had never seen it in 3D. And oh, how beautiful it was!
Nemo (Alexander Gould), a young clown fish, is angry with his father on the first day of school and swims to a nearby boat. His father, Marlin (Albert Brooks), goes after him but doesn't make it in time and a scuba diver scoops Nemo up.
The young fish lands in an aquarium at a Sydney, Australia dental office; his father desperately sets out (despite his own fears about the ocean) to find him.
Marlin soon meets up with a female fish, Dory, who is voiced by a hilarious Ellen DeGeneres. She suffers from short-term memory challenges, but thankfully remembers the address on the scuba diver's goggles so they can try to get to Nemo.
Nemo meanwhile has made friends with his fellow aquarium fish, as they are busy planning their escape.
Will they reunite? Well, if you haven't seen it by now, you should get yourself to a theater.
As with every Pixar film, there are delightful tidbits for the adults to enjoy while the kids marvel at the visuals. This is all underlined with a healthy dose of heart, delivered sentimentally in just the right places.
I think after seeing the vibrant ocean life pop with new dimension, I love this film even more than I did before.
~~~
Saturday, January 21, 2012
Beauty and the Beast in 3D
Last night I saw the animated classic Beauty and the Beast in 3D.
I loved the film the first time I saw it, became addicted to its infectious soundtrack and even dressed as Belle for Halloween. Seldom does an animated film capture me so.
Belle is a village girl who loves books and her eccentric father, Maurice. Gaston is the macho man of the town who wants Belle to be his wife.
Maurice is a confused inventor who accidentally ends up in the castle of the Beast, a former prince under a nasty spell that can only be broken by finding true love.
The Beast, so bitter about his situation, takes Maurice as his prisoner until Belle finds him and offers herself in his place. The Beast allows the switch, hoping that Belle will learn to love him and break the spell.
His lively staff of servants (a teapot and her young son; a candlestick, etc.) hope for the best (they'd like to be turned back into humans too) and welcome Belle with open arms. In fact, one of the shining moments in the film is the song "Be Our Guest," where the kitchen comes to life with an impressive song and dance as they serve Belle her first dinner.
Anyhow, most know how the story turns out, but just in case there are any left who don't, I'll refrain from spoiling.
Just know that the magic and beauty of the original version of the film is only intensified by this 3D treatment, and the story remains charmingly timeless.
It's not hard to tell why it was a Best Picture Oscar nominee—as you're watching, you sometimes forget you're seeing animation.
It's that good.
~~~
I loved the film the first time I saw it, became addicted to its infectious soundtrack and even dressed as Belle for Halloween. Seldom does an animated film capture me so.
Belle is a village girl who loves books and her eccentric father, Maurice. Gaston is the macho man of the town who wants Belle to be his wife.
Maurice is a confused inventor who accidentally ends up in the castle of the Beast, a former prince under a nasty spell that can only be broken by finding true love.
The Beast, so bitter about his situation, takes Maurice as his prisoner until Belle finds him and offers herself in his place. The Beast allows the switch, hoping that Belle will learn to love him and break the spell.
His lively staff of servants (a teapot and her young son; a candlestick, etc.) hope for the best (they'd like to be turned back into humans too) and welcome Belle with open arms. In fact, one of the shining moments in the film is the song "Be Our Guest," where the kitchen comes to life with an impressive song and dance as they serve Belle her first dinner.
Anyhow, most know how the story turns out, but just in case there are any left who don't, I'll refrain from spoiling.
Just know that the magic and beauty of the original version of the film is only intensified by this 3D treatment, and the story remains charmingly timeless.
It's not hard to tell why it was a Best Picture Oscar nominee—as you're watching, you sometimes forget you're seeing animation.
It's that good.
~~~
Friday, November 25, 2011
Arthur Christmas
Tonight I saw the animated holiday film Arthur Christmas.
Arthur (James McAvoy) is the youngest of Santa's children. He wears Christmas sweaters we'd only wear as a joke and painstakingly answers Santa's miles and piles of mail.
Steve (Hugh Laurie) is Arthur's older brother, trusted with the operation of getting gifts to kids successfully across the world on the big day.
Santa (Jim Broadbent) is getting old; Grandsanta (Bill Nighy) is already 139. They're both not up to what they used to be.
When it is discovered on Christmas Eve that little Gwen (Ramona Marquez) of Cornwall, England, has accidentally been skipped, Arthur and Grandsanta set out to deliver her pink sparkly bike themselves.
It's a very classic story about doing the right thing that's infused with modern-day humor (there is more than one laugh at the expense of lead toys; they use a GPS to try to locate Gwen's home).
But what's so refreshing about the movie is the lack of 'potty' jokes that seem to permeate 99% of the kids' flicks made today. I was so glad to have chosen to see one that is in the 1%.
The voices are all famous Brits (save for a few of the supporting characters, who are American) and their presence only makes the characters more endearing. Arthur is an inherently sweet soul; Mrs. Santa (Imelda Staunton) is a classic, comforting mum; Bryony (Ashley Jensen) is an elf charmingly obsessed with package bows.
This is one for the whole family—there are enough clever adult references to keep the grown-ups smiling and plenty of holiday action to delight the children.
Seeing this is a great way to kick off the 2011 holiday season.
~~~
Arthur (James McAvoy) is the youngest of Santa's children. He wears Christmas sweaters we'd only wear as a joke and painstakingly answers Santa's miles and piles of mail.
Steve (Hugh Laurie) is Arthur's older brother, trusted with the operation of getting gifts to kids successfully across the world on the big day.
Santa (Jim Broadbent) is getting old; Grandsanta (Bill Nighy) is already 139. They're both not up to what they used to be.
When it is discovered on Christmas Eve that little Gwen (Ramona Marquez) of Cornwall, England, has accidentally been skipped, Arthur and Grandsanta set out to deliver her pink sparkly bike themselves.
It's a very classic story about doing the right thing that's infused with modern-day humor (there is more than one laugh at the expense of lead toys; they use a GPS to try to locate Gwen's home).
But what's so refreshing about the movie is the lack of 'potty' jokes that seem to permeate 99% of the kids' flicks made today. I was so glad to have chosen to see one that is in the 1%.
The voices are all famous Brits (save for a few of the supporting characters, who are American) and their presence only makes the characters more endearing. Arthur is an inherently sweet soul; Mrs. Santa (Imelda Staunton) is a classic, comforting mum; Bryony (Ashley Jensen) is an elf charmingly obsessed with package bows.
This is one for the whole family—there are enough clever adult references to keep the grown-ups smiling and plenty of holiday action to delight the children.
Seeing this is a great way to kick off the 2011 holiday season.
~~~
Sunday, June 27, 2010
The Secret of Kells
Last night I saw The Secret of Kells, starring the voices of Evan McGuire and Brendan Gleeson.
When this film was nominated for an Oscar last year, you could almost hear a collective "What?!" from the mouths of American moviegoers. The movie had not yet seen even a limited release in North America, and compared to its fellow nominees, displayed a very old-fashioned form of animation.
There were no fancy CGI shots; no 3D or IMAX options for viewing it—and for me, that's what made it all the more compelling.
Instead of focusing on moving pictures jumping out at me during action scenes, or pondering how something looked so life-like, I spent the film immersing myself in what felt like a 75-minute painting, featuring my favorite colors (blue and green).
The story is simple: little Brendan is an Irish orphan who lives at the Abbey of Kells with his paranoid uncle, who spends all of his time constructing walls to keep the danger out. Forbidden to leave the compound, Brendan, like any other child hero would, sneaks out to explore the surroundings, on a mission to get berries that produce ink for an "unfinished book" Brother Aidan (a wise elder) is working on.
On his journey he meets Ashley, a faerie-like guardian of the forest who he can't help but find enchanting. They encounter many varieties of peril as they travel together, and ultimately it's understood that Brendan will probably get caught.
The book Aidan is working on is undoubtedly the famous Book of Kells, which in reality has lived at Trinity College in Dublin for centuries. In the film, the significance of this breathtaking document isn't paid tribute to in the story, but more by way of the visuals (some were inspired by the actual book).
The hues that dominate the screen from start to finish come across like brilliant watercolors muted to soften the edges of the drawings, which, though imaginative, are somewhat basic.
The line drawings that make up the people, places and animals in the film are charmingly whimsical, with eyes that show their emotion and blink-or-you'll-miss-them details. The pages of each scene, if frozen, would be framable works of art.
As someone who has a special fondness for Ireland, and has seen the actual Book of Kells in person, I may have enjoyed this more than the average viewer. However, I would still recommend it for little ones not yet biased by recent animation technology, or adult fans of historical Ireland.
~~~
When this film was nominated for an Oscar last year, you could almost hear a collective "What?!" from the mouths of American moviegoers. The movie had not yet seen even a limited release in North America, and compared to its fellow nominees, displayed a very old-fashioned form of animation.
There were no fancy CGI shots; no 3D or IMAX options for viewing it—and for me, that's what made it all the more compelling.
Instead of focusing on moving pictures jumping out at me during action scenes, or pondering how something looked so life-like, I spent the film immersing myself in what felt like a 75-minute painting, featuring my favorite colors (blue and green).
The story is simple: little Brendan is an Irish orphan who lives at the Abbey of Kells with his paranoid uncle, who spends all of his time constructing walls to keep the danger out. Forbidden to leave the compound, Brendan, like any other child hero would, sneaks out to explore the surroundings, on a mission to get berries that produce ink for an "unfinished book" Brother Aidan (a wise elder) is working on.
On his journey he meets Ashley, a faerie-like guardian of the forest who he can't help but find enchanting. They encounter many varieties of peril as they travel together, and ultimately it's understood that Brendan will probably get caught.
The book Aidan is working on is undoubtedly the famous Book of Kells, which in reality has lived at Trinity College in Dublin for centuries. In the film, the significance of this breathtaking document isn't paid tribute to in the story, but more by way of the visuals (some were inspired by the actual book).
The hues that dominate the screen from start to finish come across like brilliant watercolors muted to soften the edges of the drawings, which, though imaginative, are somewhat basic.
The line drawings that make up the people, places and animals in the film are charmingly whimsical, with eyes that show their emotion and blink-or-you'll-miss-them details. The pages of each scene, if frozen, would be framable works of art.
As someone who has a special fondness for Ireland, and has seen the actual Book of Kells in person, I may have enjoyed this more than the average viewer. However, I would still recommend it for little ones not yet biased by recent animation technology, or adult fans of historical Ireland.
~~~
Thursday, December 24, 2009
The Princess and the Frog
Tonight I saw The Princess and the Frog, featuring the voices of Anika Noni Rose and Bruno Campos.
Tiana (Rose) is a working girl. She was raised by a seamstress and a military man, and has grown into a popular New Orleans waitress who is saving up to open her own restaurant. One night when she's working at a party hosted by her friend Charlotte (Jennifer Cody), she stumbles upon a frog who promises her the money to open her restaurant if she grants him a kiss. She complies, but instead of him turning into a prince to produce the money, she turns into a frog as well. Turns out he mistook her for a princess so the kiss didn't work.
After many adventures in the bayou in an effort to return themselves to their normal state, the two fall genuinely in love and seek the help of a voodoo priestess. Before we find out if her solution will work, they make friends with creatures from the swamp—Ray, the lightning bug who is more appealing in spirit than in appearance; and Marlon, an alligator who likes to play horns. There are a several cute musical numbers (nothing makes a more adorable accordion than a caterpillar) in the classic Disney tradition, where the leads are surrounded by dancing animals. There are also scary moments where the Shadow Man (who looks like a cross between John Waters and Prince) attempts to ruin all of the good people with his evil spells.
The film is getting much attention for the detail that is most insignificant in the story: Tiana is black. Thankfully, Disney doesn't make race an "issue" here and simply tells a sweet love story.
But after that, there isn't much to it. It is a beautiful film by way of old-fashioned hand-drawings, which burst with color, and that's infinitely pleasant to watch. But the characters aren't very deeply recognized and the ending (as with most Disney flicks) is painfully easy to predict.
Tiana (Rose) is a working girl. She was raised by a seamstress and a military man, and has grown into a popular New Orleans waitress who is saving up to open her own restaurant. One night when she's working at a party hosted by her friend Charlotte (Jennifer Cody), she stumbles upon a frog who promises her the money to open her restaurant if she grants him a kiss. She complies, but instead of him turning into a prince to produce the money, she turns into a frog as well. Turns out he mistook her for a princess so the kiss didn't work.
After many adventures in the bayou in an effort to return themselves to their normal state, the two fall genuinely in love and seek the help of a voodoo priestess. Before we find out if her solution will work, they make friends with creatures from the swamp—Ray, the lightning bug who is more appealing in spirit than in appearance; and Marlon, an alligator who likes to play horns. There are a several cute musical numbers (nothing makes a more adorable accordion than a caterpillar) in the classic Disney tradition, where the leads are surrounded by dancing animals. There are also scary moments where the Shadow Man (who looks like a cross between John Waters and Prince) attempts to ruin all of the good people with his evil spells.
The film is getting much attention for the detail that is most insignificant in the story: Tiana is black. Thankfully, Disney doesn't make race an "issue" here and simply tells a sweet love story.
But after that, there isn't much to it. It is a beautiful film by way of old-fashioned hand-drawings, which burst with color, and that's infinitely pleasant to watch. But the characters aren't very deeply recognized and the ending (as with most Disney flicks) is painfully easy to predict.
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