Tag Archives: FATHOM

WILDWOOD – Review

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So, this week brings a new animated feature into the multiplex, right after the tepid reception to the superb FORGOTTEN ISLAND and a few weeks before Disney’s HEXED and THE CAT IN THE HAT. Ah, but there’s a big difference here, mainly in the particular animation technique. Sure, they utilize a few computer ‘tweaks”, though the main “method” is one that’s over a hundred years old. It’s stop-motion animation (or “puppetry). Tiny modeled figures (sometimes clay and often wood or plastic) are posed by hand to simulate motion. Hey, we just saw it a few weeks ago with Shaun the Sheep. That’s from Aardman Animations in the UK, but what about the USA? Their contemporary here is that studio in the great Northwest, Laika. Filmgoers have been dazzled by their visually stunning flights of fancy for decades, starting with the beloved CORALINE in 2009. Now, they’re back after a seven-year “hiatus” with their most ambitious work to date. So, let’s dive into the wizardry and wonders of WILDWOOD.


After a brief flashback in a magical realm, the story takes us to the present day, to an “almost as magical realm”: Portland, Oregon. Teenager Prue (voice of Peyton Elizabeth Lee) is again frustrated with her folks, 21st-century “hippies” who don’t want her roaming about while babysitting her toddler brother Mac. After she promises Mom (Maya Erskine) and Dad (Jake Johnson) to stay indoors, Prue puts mac in his wagon attached to her bike and heads to the city park. While stopping for coffee, she runs into (literally) her “dweeby” classmate Cutis (Jacob Tremblay). While they talk at the playground, Prue doesn’t realize that an army (a massive murder) of crows is perching on the “monkey bars” (shades of Hitchcock). The black birds swoop in and lift Mac into the sky before she can reach them. Curtis joins her in the pursuit, and the duo crosses a bridge into the fog-enshrouded “Impassable Wilderness”. While making their way through the thick forest, they encounter a pack of coyotes dressed in military garb. When they begin to chase the pair, Prue and Curtis split up (he insists on being “bait” so that she can go after Mac). Curtis is captured and taken to the “master” of the coyote army, Alexandra, the dowager governess (Carey Mulligan). She takes him under her wing and explains that the crows, under her command, have brought her Mac. She plans to sacrifice him to the “ivy” in order to regenerate her late son Alexi. Meanwhile, Prue is captured in the South Wood by the Mayor. She escapes and gets some valuable “intel’ from the great Owl Rex (Richard E. Grant). Prue’s quest will lead her to the forest bandits and the farmers who follow the “mystics” of North Wood. Can she unite the two factions in order to thwart Alexandra’s magical master plan, rescue her baby brother, and return home?

It’s said that seven is the “lucky number”. In this case, it may be one less, since this sixth film from Laika Studios is their most impressive, grandest cinematic achievement yet. The artistry on display has truly made huge “leaps and bounds” in the past two decades. Every aspect of this pushes and propels the art form into areas mainly reserved for the colossal epics of Hollywood’s Golden Age (yes, even you, Mr. DeMille). The whole design and look of the characters, with humans just as interesting as the animals and the backdrops, from the lush forest to even the decor of Prue’s bedroom. Unfortunately, I didn’t see it on the largest screen format, so I look forward to studying the details (a workout for the “pause button”) upon its streaming run (and hopeful 4K disc). Plus, the textures are so varied, from Prue’s flowing hair to the wings of an eagle, making us almost forget that we’re watching something so “hand-crafted” (the end credits state that”this was handmade in Oregon”). Thanks to the screenplay adaptation by Chris Butler of the book by Colin Meloy and Carson Ellis, we’re treated to this astounding adventure that’s packed with heartfelt emotion and lots of wit (the streets of the city made me wistful for the great TV comedy “Portlandia”). This might have been the lure for such an incredible cast of voice actors. Ms. Lee and Mr. Tremblay have a wonderful rapport as Prue and Curtis, while Mulligan gives Alexandra a silky, sinister, but subdued aura of quiet menace, tinged with tragedy. As for those laughs, they’re provided by Charlie Day as the sympathetic coyote Dmitri and the often-utilized Awkwafina as the helpful rat Septima (maybe a record number of animated feature speaking roles for her). There’s even a double Oscar winner with Mahershala Ali, as the fearsome leader of the “bandits”, the Robin Hood-inspired Brendan. So, who’s the creative force, the mastermind that brought all these gifted artisans together? It’s none other than the company founder, Travis Knight, who somehow made this sprawling saga come together. His “showcase” might be the final “showdown” between the warring factions that’s just as thrilling and immersive as any of the Narnia or Lord of the Rings set pieces, though some action shots may surpass them. This might be the reason for the “PG-13” rating, along with a couple of “naughty” phrases, mixed in with a fairly high “body count” (the deceased stay down here) and more than a dash of blood. So, if the kids can deal with these mature themes of longing and loss accented by swashbuckling swordplay and medieval-style mayhem, then make the magical movie trip to the truly wondrous world of WILWOOD. And be sure to stay for the 2-D animated credits that include a look “behind the curtain”.

4 out of 4

WILDWOOD is now playing in select theatres

FATHOM – Review

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Dr. Ellen Garland listens to a whale song near the islands of French Polynesia in the south Pacific, in the documentary FATHOM.
Courtesy of Apple TV+

Fathom is a word that can mean a measurement of sea depth or a struggle to understand a difficult or enigmatic subject. Both meanings apply in FATHOM, visually beautiful documentary about scientists trying to understand whales’ songs, filled with stunning images of rolling seas, rocky shores, and solitary scientists lit by the glow of a screen as they pour over their data.

There is a sense of being immersed in the scientists’ world of whale research, more like in a mystery film than a documentary. Director/cinematographer Drew Xanthopoulos’ FATHOM is shot in a style more typical of a narrative film, perhaps even mystery, with partially-shaded lighting, artistic framing and warm tones. This visual style gives the documentary a uniqueness, as well as immediately drawing us into the and work of the two women scientists, Dr. Ellen Garland and Dr. Michelle Fournet, who are the focus of the film. They are separately researching humpback whale sounds, but different aspects of them, and the film follows them out into the ocean where they are doing field research projects. Appropriately, haunting whale songs provide much of the soundtrack.

Fournet is researching humpback whale communication in Alaska while Garland is based in Scotland. These scenic locations are put to good use as we follow the two scientists, who are preparing for field research to test their hypotheses. Besides humpback whale songs, which carry over long distances, these behemoths make other sounds which seem to be for communication, although their meaning, like the purpose of their songs, are still unknown. Fournet is researching those other sounds, trying to “start a conversation” with a humpback whale as a way to tease out their meaning. Garland studies whale songs and is tracking the progress of one song as it is passed along through humpback whale groups across the Pacific.

Fournet is planning to do her field research off the Alaskan shore, using a sound called a “whup,” which may be a kind of whale “hello, my name is/” Garland is traveling from Scotland to the south Pacific, to French Polynesia, for her field research, to determine if the same song that started near Australia is turning up at this location further east.

The open ocean around French Polynesia provides director/cinematographer Drew Xanthopoulos with another very scenic location for the documentary’s lovely photography. The documentary alternates between the two scientists as they prepare for and then embark on their field research. One of the great strengths of this film, besides its gorgeous cinematography, is its thoughtful, accurate presentation of the scientists’ work, in a fashion that is clear and involving without dumbing it down.

Fournet and Garland narrate parts of the documentary, explaining their work and giving fascinating background on whales. At other times, we seems to tag along, following them as they prepare for their field work, interact with others assisting them, until we then go out into the field with them, the most bracing and thrilling part of the film, as well as its largest section. We also get glimpses into their personal lives and gain insights on the particular challenges faced by women scientists.

The documentary also gives just enough intriguing background on whales, delving into their evolution, big brains and social nature. It notes they evolved social brains and social culture before humans even walked upright, and have brains even more advanced for social life than our own. Among the intriguing facts noted is the merging of the senses of sight and sound in whales, adapting to communicate in their dim environment.

Part of the brilliance of this film is its choice of the two scientists. It was pure inspiration to choose two women scientists but Fournet and Garland are particularly good choices. Both are excellent at explaining their work clearly to a lay audience, as well as being charismatic and photogenic. That latter factor might sound odd, but film is a visual medium, and this is not the first time scientific nature documentaries have used that to hold audiences’ attention – think of the young Jane Goodall in early National Geographic documentaries.

Curiosity is an basic trait of all scientists, and this film gives us a sense of that, capturing the drive to uncover facts like solving a mystery. We also get a look at the difficulties of life in the field work, but also a taste of the kind of fun researchers might have in off-task time, blowing off steam.

The unexpected awaits in any field expedition, and Garland and Fournet encounter both dangers and research challenges once out on the sea with the whales. Fournet notes that she has had years when she sighted no whales but has the opposite condition this time, while Garland, accustomed to plentiful whales this time of year, finds herself searching for them. Both surprise conditions force them to adapt their research protocol and offer unforeseen new knowledge. There are moments of drama, tensions and hints of danger, framed by rolling seas, breaching whales, and misty shores.

FATHOM is an excellent documentary on humpback whales, a stand-out mix of science and nature documentary with the extra bonus of a showcase for women scientists. Featuring marvelous photography and a style that gives it the feel of a narrative adventure, this documentary works all levels. Although fellow scientists and science buffs might wish for a little more detail on the science and nature film buffs might want a little more whale footage, it gives enough of both to satisfy, while opening the door for the curious to learn more.

FATHOM opens Friday, June 25, streaming on Apple TV+.

RATING: 3 1/2 out of 4 stars