Animated Feature – Page 2 – We Are Movie Geeks

CHICKEN RUN: DAWN OF THE NUGGET – Review

So, since we’re deep into the holiday season (the biggie is just ten days away), what better time to revisit some old friends? And it really has been a long stretch, actually more than twenty years. That’s quite a gap between sequels, especially in animation where franchises seem to abound almost annually. Yes, the decades set this flick apart, but also its style. It’s not drawn at the old “light-desk’ nor is fashioned from pixels via an army of computers. This piece would truly be considered “old school’ as it returns to the techniques of “stop-motion animation”, which has been a cinema staple for over a hundred years. These days it’s mainly employed in the service of “selling” in TV commercials or the occasional TV special. But these wacky “wizards of clay” at Aardman (the main characters are molded and sculpted) are masters of this time-consuming craft and they’re returning to bring back some fine feathered friends (and some human foes) in CHICKEN RUN: DAWN OF THE NUGGET.

The plot of this fable explores what comes next post “they all lived happily ever after”. At the conclusion of the 200 original, Rocky the rooster, and the hens escaped the terrible Tweedy Farm. And they’ve been living peacefully on an island, far from the shore of the countryside. Ginger (voice of Thandiwe Newton) and Rocky (Zachary Levi) are enjoying the domestic life and are delighted when their egg hatches. Soon the chick grows into a spirited, feisty teenager they’ve named Molly (Bella Ramsey). Keeping her out of trouble seems to be a full-time job for her parents and most of the neighbors. Then Molly climbs a tree for a “bird’s eye view” of that world across the water and soon makes her escape. When Ginger sees that she’s AWOL, she enlists Rocky and the rest of the old “henhouse crew” (Babs, Bunty, Mac, and old Fowler) on a rescue mission. After hitching a boat ride from their rat “sea trader” pals Nick and Fetcher, the gang arrives just in time to see Molly and her new best pal, a feral hen named Frizzle (Jose Sedgwick-Davis), get scooped up by a truck from Fun Land Farms. The island chickens follow it to the gate of a nearly impenetrable fortress. Ginger has no choice but to actually break into the “processing plant” to rescue her only daughter. But can she and her friends triumph when they learn that an old adversary is behind this new method of turning their ilk into tasty crunchy “nuggets”?

The new vocal cast (save for one former nemesis) does a splendid job of selling the verbal jabs and jokes in this new adventure fantasy. Newton and Levi are a good match as parents with different “nurturing styles”. Ginger is the more pragmatic while Rocky has a casual “have a blast” attitude (similar to many modern sitcom couples). Ramsey conveys all the optimistic energetic spirit of youth with much curiosity and naivete. And there’s great supportive work from Nick Mohammed as the sinister super-genius Dr. Fry (get it). All these actors service the superb skills of talented designers, sculptors, and animators (working with clay rather than a pencil or a keyboard/mouse). The island sequences have a warm natural feel with the foilage jutting into the tranquil lake. But it all turns dark and sinister for the nocturnal capture of Molly. And then the story “shifts gears” in the spiky citadel of Fun Land Farms. It certainly reflects the tone of the sequel. While the original film played as a parody of WWII POW camp epics (think THE GREAT ESCAPE or STALAG 17), this one has “a laugh” at the 1960s and 1970s spy capers. We can almost imagine 007 or even Derek Flint or Matt Helm dashing through the shiny metallic hallways of “the farm” (it feels as though it should be inside a volcano or mountain). Plus there are terrific parodies of sci-fi (maybe THE MATRIX meets THE STEPFORD WIVES0 and a playful poke at amusement parks with a phony plastic pastel backdrop. These bug-eyed birds are just so hilarious as they try to become action heroes. It does go on a bit too long, as one ending shifts into another challenge, but the film should keep every member of the family entertained and amusing. So, the witty script and dazzling visuals make CHICKEN RUN: DAWN OF THE NUGGETS a truly tasty holiday treat.

3 Out 4

CHICKEN RUN: DAWN OF THE NUGGET is now streaming exclusively on Netflix

MERRY LITTLE BATMAN – Review

Here’s a new streaming flick that’s perfect for the season and answers a question that’s probably on the minds of many youngsters: do my favorite superheroes get to celebrate the holiday? I mean do the ‘super-baddies” give them a day off? Those queries have been explored in many animated TV shows and in the comic book source materials (the rival comics companies would usually publish a “Christmas with the Superheroes” annual special edition). So a feature-length “jolly romp” is well overdue. So, will Christmas Eve lighten up the Dark Knight? Especially if there’s a junior caped crusader in the mix (and we’re not talking about the “boy wonder”). Hey, who’s that swinging over the roofs of Gotham City? It’s none other than a MERRY LITTLE BATMAN.

The title refers to the son of Bruce Wayne, Damian (voice of Yonas Kibreab) who gets into loads of mischief with his pet cat Serena as they “cosplay” (he’s got a paper-bag cowl) through the vast environs of stately Wayne Manor. Luckily Alfred the trusted butler (James Cromwell) still has enough energy to clean up, while Papa Bruce (Luke Wilson) worries about his boy’s safety. He doesn’t have much else to do, since his alter ego has pretty much made Gotham crime-free. Ah, but there’s still his duties as a founding member of the Justice League. This afternoon he gets an emergency phone call from them requesting that he tend to an emergency in the Arctic, on Christmas for bat’s sake! But before he starts up the ole’ Batjet, Bruce lets Damian open one present. And it’s a great one, his very own utility belt! Sure it’s full of bandages, but still…wow! After Bruce departs, Damian figures out a way to get Alfred outta’ the way (urgent marshmallow run), so that he can really test out the belt, which leads him to discover the secret passage to the Batcave. In one display case, Damian finds the bat-suit made just for him. Of course, he’s gotta try it on which activates a monitor in its chest emblem. Plus it instructs him using the voice of his dad. And he’ll need that fatherly AI advice when two burglars bust in and somehow nab his prized belt. Damian’s pursuit of the duo leads him into a showdown with Batman’s “arch-est” enemy and most of the old rogue’s gallery. Even with all the hi-tech gizmos, can one eight-year-old lad save the city? And will Batman Senior return before the bad guys ruin Christmas?

Now, here’s a fun little stocking stuffer, a nice switch from the ultra-somber and serious hero in most live-action movie offerings, though missing the “camp” of the 60’s TV incarnation (though this film gives a quick nod to it). Much of the fun is conjured by the superb vocal performances. Kibreab has a natural energy to his line readings, as he conveys a sense of wonder over each discovery. Cromwell channels a bit of the classic British character actors (always enjoying a “spot o’ tea”) as the slightly grumpy but still grandfatherly Mr. Pennyworth. And in the father role, Wilson exudes a similar warm, naturing vibe that he perfected as the father of “Sttargirl”, a much-missed “under the radar” superhero TV show. Speaking of the small screen this has a much different look, much more exaggerated than the Bruce Timm-designed Dark Knight of the last thirty or so years. And thankfully it’s not “over-rendered” CGI either. The look here is very much inspired by the gnarly “ink-scratches” of the great Ronald Searle (for the movies he designed the title sequence for THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES), though I detected elements of the great magazine cartoonist Arnold Roth with a pinch or two of Charles Addams and Mad magazine’s Peter Paul Porges. It’s filled with scrunched-up noses and figures that shouldn’t be able to stand though they glide with grace past the exquisite ink-type backgrounds full of intricate machinery and towering buildings. And all popping to life with a color scheme that recalls delicate dyes and watercolor paints. I’m sure there was some software used, but it’s refreshing to see this old 2D animation in vogue once more. And did I mention how great the classic villains look in this type of “zany takes”? So, to steal a line from a popular schoolyard song parody, Mr. Wayne “doesn’t smell”, but instead hopes that his fans everywhere will have a MERRY LITTLE BATMAN. No “humbugs” here!

3 Out of 4

MERRY LITTLE BATMAN is now streaming exclusively on Amazon Prime

WISH – Review

So most of the big animation studios have sent us their big 2023 features already. Last weekend Dreamworks sent out those music-lovin’ TROLLS into the multiplex, while Sony “kicked off” the flood of flicks early this Summer with another trek across the Spider-Verse, followed quickly by the fine folks at Pixar with their ELEMENTAL. Yes, they’re still a Disney “brand”, but what about the big “kahuna, the “Mouse House” themselves? Though they suffered from a major stumble with STRANGE WORLD last Winter, they’re bouncing back in a big way. After all, it’s the official 100th anniversary, so this is a return and in many ways a tribute to, the fantasy themes that were such a big part of those original full-length films. Thinking about it that way, the title makes a whole lotta’ sense because the plot of many of them centered around a WISH.

In a knowing nod to those classics, this film begins with a massive book of fairy tales. It opens up to tell us the history of the Mediterranean island named Rosas founded by Queen Amaya (voice of Angelique Cabral) and King Magnifico (Chris Pine). He uses his knowledge of magic and sorcery to collect the wishes of his citizens on their 18th birthday, with the promise that he’ll make one of them come true at an annual ceremony. A year away from her special day, young Asha (Ariana DeBose) is excited to audition to become Magnifico’s apprentice. Her widowed mother Sakina (Natasha Rockwell) is excited as are her friends who work at the royal bakery center. But the most thrilled may be Asha’s now 100-year-old grandfather Sabino (Victor Garber) who hopes that his wish will be granted. But things don’t do well at the interview with Magnifico, as Asha learns Magnifico’s sinister secret. He doesn’t return ungranted wishes so that they are not remembered by his subjects, who can now be in his complete control. Naturally, Asha isn’t picked and tries to tell her family about the plot (they don’t think their king is capable of that). And so, Asha proclaims her wish to the sparkling night sky…and gets an answer. An apple-sized glowing star-shaped orb glides down to her. Asha is unbelieving until it sprinkles stardust on her pet goat Valentino (Alan Tudyk) giving him the “gift of gab”. Aha, can this “star” aid Asha in retrieving Sabino’s wish from the castle? But what happens when Magnifico learns of this rival and decides to unleash his dark magic? If so, can there be a “happily ever after” for Rosas?

This newest animated musical fable soars due to the expert vocal talents behind the original characters. Aside from the occasional televised awards show, talented Oscar-winner DeBose hasn’t gotten a chance to truly showcase her impressive singing “chops” until her work here as the story’s plucky-spirited heroine, Asha. She has a warm rapport with the supporting players, especially Garber as sweet Sabino, then really “blows the roof off” with her powerful rendition of the “power ballads” (combining an intro song with the “I want” anthem is very inspiring). She’s nearly matched by an actor we’ve known mostly for essaying action heroes and heartthrobs. Eschewing any sense of nobility, Pine sounds like he’s having a blast as the vain, arrogant, power-hungry Magnifico with his sneer echoing through his terrific crooning (he’s not let his pipes “rust” so long after INTO THE WOODS) of “evil scheme declarations”, making “This is the Thanks I Get” a real showstopper. Much of the laughs are provided by Disney Animation regular (much like John Ratzenberger at Pixar, he’s a “good luck charm”) Tudyk as the new very verbose Valentino, the baby goat whose voice is not cutesy, but a great satire of the theatre classical “overacting” (okay, the goat’s more of a ham). the rest of the supporting players are top-notch with the standout being Harvey Guillen as the most dour of the seven castle bakers (hmm, why that number).

Aside from the vocal cast, the biggest ‘star” (aside from the mute glowing pixie) is the nostalgic look of the whole film. The art evokes classic illustrations from adored children’s literature, especially with the pastel hues of the settings of Rosas, mainly the castle of the royales. This seamlessly extends to the looks of the characters, with the pixels (this is CGI rather than the classic 2D pencil-drawn) having the feel of gauche, dyes, and specifically watercolor, with outlines that appear to be crisp thin brushstrokes or colored pencil (even to Asha’s many freckles). Kudos to the directing team of veteran Chris Buck and feature “newbie” Fawn Veerasunthorn for curating this look for the dozens of artisans and for pacing the story briskly with splendid ‘staging” of the songs. They’re quite pleasant and “hummable”, though there are no “breakouts” like “Let it Go” or “We Don’t Talk About Bruno”. Of course, they couldn’t “sell” the tunes without the deft animation “acting” crafted from the main humans to the engaging forest critters. This is a return to “form” that benefits from the many “callbacks” to the classic “vault treasures”, from the opening title’s use of the original decorative font to the “winks” throughout, to the lovely ”starlight-outline”roster over the end credits. For those in need of a bit of that Disney “stardust magic”, this new feature may have you feeling as though they granted your WISH.

3.5 Out of 4

WISH is now playing in theatres everywhere

TROLLS BAND TOGETHER- Review

Though the end of the year is mainly the mainstay of serious and somber award-seeking films, there’s almost always room for family-friendly flicks. After all, there has to be a break from all the hectic holiday preparations, and what better way to relax than getting off your feet in one of those swell reclining plush multiplex chairs? So, the “mouse house” will arrive shortly with a slick fantasy fable, but how about their “major ‘toon rival”? Well, the fine folks at Dreamworks are completing a trilogy begun seven years ago when they put a new spin on a beloved baby boomer toy. Much of that spin involves music, as the lil’ critters interpreted classic (and some brand new) pop tunes. This makes their third outing feel a bit foreshadowed as those TROLLS BAND TOGETHER.

This new outing begins with a flashback to the final performance of the huge Troll boy band BroZone. After an attempt at the “perfect harmony”, the quintet went their separate ways. And now we’re back in that Troll kingdom nestled deep in the forest. Things are more hectic than usual as Queen Poppy (voice of Anna Kendrick) and “maybe” BF Branch (Justin Timberlake) are helping with the big wedding of Bridget (Zooey Deschanel) to the Bergen King Gristle (Christopher Mintz-Plasse). Just after the “I do’s” a stranger disrupts the proceedings. It’s none other than John Dory (Eric Andre), singer and manager of BroZone who’s also Branch’s big bro! What? Branch was part of that supergroup and was then known as “Baby Branch”! And what has prompted this reunion? It seems that brother Floyd has been kidnapped by the current “red hot” singing duo, sibs Velvet (Amy Schumer) and Veneer (Andrew Rannells). They’re keeping Floyd inside a near-unbreakable glass cage to “drink in” his musical talent. Ah, but his prison can only be shattered by that ole’ perfect harmony. Yup, it’s time to get the band back together, so the trio hit the road, along with Tiny Diamond (Kenan Thompson) to find brothers Spruce and Clay to save Floyd before his singin skills are completely drained.

The returning voice actors slip back into their established roles as though nary a day has gone by since the previous flick three years ago. Timberlake has a bit of renewed energy as he appears to be having loads of fun by satirizing his own boy band past while trying to deny his attraction to Poppy. As usual, Kendrick brings lots of energetic show-tune spirit to her and gets a chance to shine after meeting her new surprise BFF (and perhaps a tad extra) Viva who is given equally frenetic vocal life by pop singing sensation Camila Cabello (and they’re another terrific song duo). Much of the flick’s laughs are provided by SNL vet Thompson who peppered the story with snarky asides as TD (who still looks like Will Ferrell’s Harry Carey to me). His comic delivery is matched by the story’s villainous twosome with Schumer delivering her insults with a hissing sneer while Rannels conveys a sweaty desperate need to serve her as her bumbling bro. The movie also has a major role for the comic ‘force of nature” Andre but aside from being the “big boss” (and very bossy), he’s given little to do as Dory.

The directing duo of Walt Dohrn and Tim Heitz keeps the pace at a fever pitch while tossing in a near-endless stream of music standards and original melodies. And like the previous films, you could almost get a visual sugar rush from the candy-coated color spectrum paired with the shimmering “sparklies”. The CGI is top of the line, though they don’t take as many stylistic chances as Dreamworks’ Puss In Boots flick from a year ago. Happily, some classic 2D animation from Titmouse Studios sneaks in with some knowing psychedelic nods to Peter Max and that YELLOW SUBMARINE. Sure, the trolls are still “homely/cute” as they bounce into the camera for tight close-ups, but the filmmakers do a deep dive into some classic animation icons of the last century. With their rubbery limbs and big eyes, Velvet and Veneer could’ve sung with Betty Boop or Flip the Frog in the 1930s. And then there are the natives of Vacay Land who recall a Muppet spin on Dr. Seuss. Much of this is merely a bonus bit of fun for the adults as the kids are mesmerized by the catchy songs and bombastically energetic lil’ critters. It’s a haphazard plot structure (the Bergens have little to do), but adults can zone out (but try not to snooze) as those TROLLS BAND TOGETHER.

1.5 Out of 4

TROLLS BAND TOGETHER is now playing in theaters everywhere

SPIDER-MAN: ACROSS THE SPIDER-VERSE – Review

Maybe the multiplex should seriously consider adding seat belts to their plush reclining chairs (maybe dump the seat warmers). An odd notion you might say, but with this weekend’s huge film release, well you may just agree. So, it’s a sequel and yes, we’ve gotten a few of those already in this summer movie season. And it’s a superhero flick, along with three other flicks this year. And it’s also animated, just like that ground-breaking, game-changing Oscar winner from five years ago. Back then some thought, that this was a “cash grab”, that Sony was trying to squeeze the last penny from their live-action franchise. Wow, were those folks proven wrong. Hey, heads up the much-rumored “super-hero fatigue”, because here’s the “cure”. It’s finally time to swing into SPIDER-MAN: ACROSS THE SPIDER-VERSE, which might leave you with a big “Stan Lee-sized” grin on your face!

They’re not “playing it safe’ this time, as this new entry actually begins far from the main setting of the last one. Over at Earth-65 we get some “backstory’ on their arachnid hero, er heroine, Gwen Stacy AKA Spider-Woman (voice by Hailee Steinfeld) whose worries aren’t drowned out by her pounding drum solo (right before she quits her band). Her dad, Police Captain George Stacy (Shea Wigham) is determined to arrest that masked vigilante. After a tragic accident, he nearly gets his wish until a strange portal opens out revealing two other “spider-beings”, chopper riding (with a “bun in the oven”), Jessica Drew (Issa Rae), and the brooding and buff Spider-Man of 2099, Miguel O’Hara (Oscar Isaac). They’re part of a team that protects the “Multiverse” and they quickly recruit Gwen. And then we’re suddenly back on Earth-1610, the home of Brooklyn’s defender Miles Morales AKA Spider-Man (Shamiek Moore). And this high school sophomore is late, as usual, for a meeting of his parents, Rio (Luna Lauren Velez) and soon-to-be-police-captain Jefferson (Brian Tyree Henry), with the school’s guidance counselor to map out a college plan. But Miles has to stop an ATM robbery at a bodega, Oh, but this isn’t an ordinary hood. He’s a former scientist who was transformed by the dimensional collider five years ago. He’s now a faceless white creature adorned with black dots that open up holes in distant points in nearby space. That’s why he calls himself the Spot (Jason Schwartzman). When he disappears into one of those holes, Miles thinks he’s defeated him. That is until he gets a most welcome unexpected visit from Gwen. It’s soon revealed that this is not a social call, because the Spot can now pop in on other realities and threatens the Multiverse. Thus begins a journey for the old friends as they travel to different worlds, meet other heroes, and face a pre-ordained destiny that could destroy all the countless realms of existence.

The stellar vocal cast returns with renewed vigor and confidence emboldened by a new incredible supporting ensemble. Moore once again carries the emotional heft of Miles, balancing his smooth swagger with a true vulnerability as he looks toward a very uncertain future. He’s half of the story’s soul, along with Steinfrld’s heartbreaking reprise of Gwen, as she believes her beloved papa is her fanatical foe. There’s a real affection for Miles as she’s torn between bonding with him and preventing him from repeating her mistakes. Velez and Henry are again warm and wonderful as the concerned but caring parents of Miles. As the other Spider-Woman, Rae is cool but stern as she mentors Gwen and tries to keep her on the right “path”. She’s the “good cop” who tries to balance the unyielding force that is O’Hara who Isaac gives a scary growl that hides his own tragic past. Of the other “spider-folk”, Daniel Kaluuya is very engaging as Hobi, a guitar-toting Spider-Punk from a totalitarian world who chafes at the rules of O’Hara, just another oppressive “man”. On the flip side, there’s Karan Soni as Spider-Man India who embraces the joys of service and web-swinging. There are many other great talents behind the microphone, but who wants to spoil some super-surprises?

Not me, that’s for sure (they’d take away my official Merry Marvel Marching Society fan club button from 1967). What I can write about is the incredible work of hundreds of gifted artists, spearheaded by the directing trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. How could they oversee and co-ordinate such an astounding variety of art styles (perhaps they pulled in extra clones from other dimensions)? Early sequences with Gwen have the look of delicate watercolors highlighted by an ever-changing pastel palette. The offsets the closer to our world surrounding Miles and his family, with locations that could be on any busy street corner. Then there’s the shading and tones of the individual character designs with the bright vibrant hues of Spider-Man India and the grungy, clip-and-paste graphic take on Hobi (he seems to have jumped off an early 1980s record jacket). This is multiplied a hundredfold as the “spider-world” expands with one character looking as though he leaped right from a comic book panel complete with pen and ink cross-hatching and melodramatic dialogue (comic fans will enjoy this “take” on a controversial storyline). Some reviewers have said that you can’t take in every visual flourish on two screenings. I like to think this would be the ultimate home video (with streaming services cutting back on content, discs are a solid future investment) as you can pause to savor every frame worthy of hanging in a gallery (and making for a gorgeous coffee-table “art of” hardcover). Of course, this would all be intoxicating eye candy without the clever and heartfelt script by Davis Callaham, Christopher Miller, and from the original, Phil Lord. They’ve elevated the “universal stakes” while still focusing in on the complexities of the Morales household (mainly the keeping of secrets). This is no mere rehash but instead an epic exploration of the superhero mythos, one that energizes the whole genre and the medium of animation art. Find the biggest theatre screen around in order to immerse yourself in the wit and wonders of SPIDER-MAN: ACROSS THE SPIDER-VERSE. I can almost hear “the man” cheering, “Excelsior!!”.

4 Out of 4

SPIDER-MAN: ACROSS THE SPIDER-VERSE is now playing in theatres everywhere

STRANGE WORLD – Review

UNFORGETTABLE ADVENTURE STORY – Walt Disney Animation Studios’ “Strange World” introduces a legendary family of explorers, the Clades, as they attempt to navigate an uncharted, treacherous land. The original action-packed comedy adventure features the voices of Dennis Quaid as legendary larger-than-life explorer Jaeger Clade; Jake Gyllenhaal as Searcher Clade, a family man who finds himself out of his element on an unpredictable mission; Gabrielle Union as Meridian Clade, an accomplished pilot and Searcher’s partner in all things. Jaboukie Young-White as Searcher’s 16-year-old son, Ethan, who finally finds the adventure he’s always wanted; and Lucy Liu as Callisto Mal, fearless leader of the mythical Avalonia who spearheads an exploration into a strange world. “Strange World” opens in theaters nationwide on Nov. 23, 2022. © 2022 Disney. All Rights Reserved.

In order to continue the big holiday festivities, the “mouse house” is releasing another full-length animated feature to enjoy with the whole family once the leftover goodies are sealed off and sent to the fridge. But you can enjoy this if you’re celebrating solo, too. Now a few days ago, I praised a remake. or re-imagining, of one of their iconic animated classics, and I was lukewarm on their own sequel to a popular hybrid (live and ‘toon) from 15 years ago. So, naturally, they’re sending out an original cartoon flick, not a sequel, prequel, or spin-off. And it’s not set on an Earth-bound fantasy kingdom, but on another world. Ah, but then so was last summer’s LIGHTYEAR from sister studio Pixar. Nope, this is from the artists that really delivered the previous year with ENCANTO (just an opening title song here), Walt Disney Animation Studios, who hope that you’ll join them in a journey to a truly STRANGE WORLD (cue the theremin).

Yes, the title tune brings us up to speed in the film’s first few minutes, giving us the “4-11” on the world of Avalonia, a technically primitive society (horse carts, windmills, and such) that yearns to see what’s beyond the massive mountains that surround them. Why, that’s a job for their most intrepid and adventurous explorer, Jaeger Clade (voice of Dennis Quaid), and his teenage son Searcher (Jake Gyllenhaal). All’s going well until a most dangerous passage reveals a weird, glowing plant called Pando, It emits crackling electric-life energy, and Searcher wants to harness it for the Avalonians. This prompts a stand-off as Jaeger insists on forging ahead despite almost certain doom. And thus begins a parting of father and son, as Jaeger continues, while Searcher and the rest of the crew return home with the Pando. Several years passed and the plant has indeed changed the planet, powering new contraptions and transports, and also providing a plentiful food source, So plentiful that Searcher oversees his own massive Pando farm along with his wife Meridian (Gabrielle Union) and their teeage son, who has gotten his grandpop’s explorer genes, Ethan (Jaboukie Young White). Jaeger never returned, so a statue of him along with his son tower above the nearby village. All seem’s well, until the Clades notice that part of the crop has no, well, spark. It’s a bust. This precedes an unexpected visit from former crew member, and current president of Avalonia, Callisto Mal (Lucy Liu). She’s discovered that all the Pando crops are connected via their roots to a massive “heart’ deep underground. And that central “organ” is failing. She implores Searcher to join her and her aides aboard a massive airship, the Venture, on a journey into the dark depths to save their precious food/energy source. Searcher bids his family farewell and boards the Venture. As it begins its mission, Searcher is stunned to see that Meridian is tailing them in a small one-person crop duster. It turns out that it’s a family reunion because she tells him that Ethan and the family pooch are stowaways on the ship. Before Meridian can return with them the Venture comes under attack and gets two new crew members. When they finally escape the threat, the ship lands in a bizarre world filled with weird unknown creatures. What new dangers await them and their cohorts in this odd hostile new environment? Can they save their precious Pando?

Now here’s a rollicking adventure tale with satiric touches, imaginative creatures and backdrops, cool gizmos, and a family saga at its core (which is the setting for most of the really wild antics). Plus it features a terrific vocal ensemble. Quaid provides the macho blustering as Clade senior, Jaeger, and Gyllenhaal scores a good many laughs as the dad who just wants his kid (and his pals) to think he’s the cool papa. Union’s a no-nonsense mom that keeps her family grounded(and alive). And Young white bursts with youthful yearning. Oh, I hinted at the look of the film, which is eye-popping. The Pando-fueled transports have a retro beauty, a mating of steampunk and Flash Gordon with intricate little flourishes and fins. Now the underground world is a rainbow pastel explosion with curving slopes and jagged edges. And the wildlife, wow. Check out those magenta-glowing dragons. Or the horses with exlpoding worms for a head. All seem to be a candy-colored mix of Dali and Dr. Seuss. As a bonus, we’re treated to a cool comic book-inspired prologue with the classic 2D animation accented with old-school printers’ dots enhanced by a rousing choral march right out of a grainy TV ‘toon. So, it’s a true visual delight, but something just feels off. The characters look like true caricatures (Jaegar owes much to the bulk of Bluto, Popeye’s arch nemesis), but the movie gets bogged down with the bickering between the different Clade generations. And the ecological message is often pretty heavy-handed, even as we marvel at the weird sidekick Splat who resembles a shiny strobing rubber beanbag filled with gelatin. What may be at fault is the nearly two-hour running time (so many this film year) making several of the non-stop perils fairly repetitive. There are countless wonders to dazzle the senses in this STRANGE WORLD, it’s just a shame it doesn’t engage our hearts and heads.

3 Out of 4

STRANGE WORLD is now playing in theatres everywhere

POMPO THE CINEPHILE – Review

Alright, who’s ready for a movie about making a movie? Pretty tired idea, eh? Sure we’ve seen recent flicks about the making of several classics, from CITIZEN KANE to PSYCHO, even THE ROOM. Why there’s now a streaming miniseries about all the effort to get THE GODFATHER made. Well, this flick’s got a couple of twists. First, it’s about a movie that’s not legit (kind of like the Rick Dalton movies of ONCE UPON A TIME IN HOLLYWOOD). Oh, and here’s the second, really big thing: it’s an animated feature. Specifically, an anime based on a manga originally serialized online. How’s that for “something completely different”. Plus the film title actually refers to this film’s producer, not the director or star, who is known as POMPO THE CINEPHILE.

So, where is she known? Pompo (voiced by Konomi Kohara) is practically royalty in the movie capital of the world, Nyallywood (hmm) where she is part of a dynasty, the teenage granddaughter of the founder of Peterzen Picture Studios. Of course, she’s hired lots of folks to help produce her big-budget (bur “B” in spirit) blockbusters starring the blonde “screen queen” Mystia (Ai Kakuma), the main one being the shy, nervous film fanatic Gene Fini (Hiroya Shimizu). That is, until one morning when Pompo stuns him by giving him the chance to direct her screenplay “Meister”, a somber drama about an artist getting back his creative spark. Oh, and it will star reclusive acting icon Martin Braddock (Akio Otsuka), who has been lured out of retirement. He’ll be back acting opposite an unknown, an aspiring actress Natalie Woodward (Rinka Otani), who Gene has adored from afar. After the footage has been shot, Gene toils for countless hours in the editing suite, only to realize he needs one more scene. But the premiere date looms, and Pompo has run out of money. Luckily Gene runs into an old classmate, Alan (Ryuichi Kijima) who has gone into banking, though he shares a love of cinema. Can he convince his bank’s stuffy board of directors to take a chance on what could be a movie masterpiece? Or will Gene be overseeing another Mystia action extravaganza?

Well, this is a big departure for animated features as it uses the medium (not a genre) to satirize and comment on the current state of cinema, while still establishing a whimsical fantasy “dream-world”. Its take on “Tinsel-town” is that of a wild and wonderful pastel and candy-colored utopia, although Natalie (nice nod to a screen legend) most take lots of menial jobs (but nothing seedy). Sure, it’s pretty much all-ages even with the scene of a giant octopus nearly squeezing Mystia out of her too-small bikini top (another nice nod, perhaps to Jessica Rabbit). The character design mixes fairly realistic-style looks (think the superhero toons) of Braddock and Pterzen with the wild, manic manga types (Gene and Nat) with large open mouths and exploding water beads. On the other hand, Pompo herself appears to be a mix of Sailor Moon and Pippi Longstocking (her braids and pigtails are fluffy and billowing). Credit is due to director Takayuki Hirao for finding a way to make software film editing cinematic as he pictures Gene in a bright-neon glow dreamscape fighting a celluloid hydra by brandishing a scythe/machete (maybe a Klingon mace). And as I mentioned earlier, the pace is frenetic, whipping back and forth through time and (inner) space, but it’s never confusing. Oh, I do whole-heartedly agree with the big cinema secret revealed in the final moments. Maybe we could use a few more studio heads who sympathize with the audience like POMPO THE CINEPHILE. And that’s a wrap!

3 Out of 4

POMPO THE CINEPHILE opens in select theatres everywhere and screens exclusively in the St. Louis area at the Marcus Ronnie’s 20.

The Academy Celebrates: ANIMATED FEATURES Oscar Nominees – Video

On Thursday evening at the Samuel Goldwyn Theatre in Beverly Hills, the Academy invited movie fans to join in the celebration of the work of this year’s Oscar nominees in the Animated Feature Film category. Although not pictured above, director Tim Burton was on hand for the panel discussion hosted by actor Rob Riggle (HOTEL TRANSYLVANIA, DR. SEUSS’ THE LORAX).

The nominees discussed how their films were developed, talked about their creative processes, and presented clips illustrating their techniques. All were adamant in saying that animated films are not cartoons and that there is place for both stop-motion and CGI in the genre.

The Animated Feature Film nominees are:

BRAVE
Mark Andrews and Brenda Chapman

This is the second nomination for Mark Andrews and the first in this category. He made his feature directorial debut with BRAVE.

After interning at Disney, Andrews worked as a story-board artist on several films. At Pixar Studios he co-wrote and co-directed the 2005 short ONE MAN BAND, which earned him an Academy Award nomination for Animated Short Film.

This is the first nomination for Brenda Chapman, who unfortunately was sick and couldn’t attend the panel. She has worked at Disney on such films as THE LITTLE MERMAID, BEAUTY AND THE BEAST and THE LION KING. In 1994 Chapman joined the newly-formed DreamWorks Animation, and was one of three directors on their 1998 feature THE PRINCE OF EGYPT. Chapman conceived the original story for BRAVE and served as one of its two directors.

Both directors drew from life experiences with their own daughters as inspiration for Merida’s tale.

FRANKENWEENIE
Tim Burton

Burton worked on the Disney animated feature THE FOX AND THE HOUND (1981) and directed two short films for the studio, the stop-motion VINCENT and the live-action FRANKENWEENIE, before directing his first feature, PEE-WEE’S BIG ADVENTURE. In 2005, Burton earned an Oscar nomination for Animated Feature Film for TIM BURTON’S CORPSE BRIDE.

Burton said he returned to FRANKENWEENIE nearly three decades after he conceived the original idea, reimagining the story as a stop-motion animated feature.

PARANORMAN
Sam Fell and Chris Butler

This is the first nomination for both. Fell made his feature directing debut with FLUSHED AWAY, co-directed by David Bowers, and followed that with THE TALE OF DESPEREAUX, co-directed by Rob Stevenhagen.

Butler spent more than ten years writing the original script for PARANORMAN, which marks his screenwriting and directorial debut. Among the film’s inspirations are classic Ray Harryhausen movies and Butler grandmother, who once told him she was going to “watch over” him.

They mentioned that PARANORMAN is a throwback to the 1980’s horror films and a cross between John Hughes and John Carpenter.

THE PIRATES! BAND OF MISFITS
Peter Lord

Lord formed Aardman Animations with David Sproxton in 1972 as a low-budget studio for shorts and trailers. Nick Park joined Aardman in 1985, and over the next two decades the company produced the Oscar-winning shorts CREATURE COMFORTS, THE WRONG TROUSERS and A CLOSE SHAVE, and the Oscar-winning feature WALLACE & GROMIT IN THE CURSE OF THE WERE-RABBIT. PIRATES marks Lord’s return to directing 12 years after his last feature, CHICKEN RUN. This is his third nomination and the first in this category. He was nominated for the animated short films Adam (1992) and Wat’s Pig (1996).

Being a huge advocate for stop-motion animation, Lord’s snarky comments about a certain heavily funded, CGI animation company in the San Francisco area was met with laughs from the crowd

WRECK-IT RALPH
Rich Moore

This is Moore’s first nomination. After co-writing and designing the Oscar-nominated short film TECHNOLOGICAL THREAT, he launched his career in television animation. He was one of the three original directors of “The Simpsons” and won Emmys for his directing work on that show as well as “Futurama.” A lifelong video game enthusiast, Moore developed WRECK-IT RALPH after John Lasseter invited him to join Walt Disney Animation Studios in 2008.

Of the video game characters in the film, Moore said he just went ahead and threw in Bowser, Street Fighter, Q*Bert and Pac-Man into the script without knowing first if he could get the rights from the different companies. He told the audience could envision a “parallax of Disney and Nintendo lawyers going at it at the table.”

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