The Other Side of Animation 156: UglyDolls Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

The big problem with making an animated film based on a property is that it can take a while to get it off the ground. While animated features can be easier to make cohesive in terms of everything looking like it belonged on screen, trends and popular brands come and go at lightning-fast speeds. Animation is a long process that usually takes up to three or four years (usually) to go into production and animate. That’s why it’s really odd to see films like The Angry Birds Movie, the upcoming Dora the Explorer movie, and Playmobil movie, because they haven’t been popular for years before their release. It’s also not easy to simply halt production. As you already spent a lot of money on the rights, talent, and animation, the investors and studios would love to see that product come to life. Rarely do you hear about an animated film getting halted mid-production and delayed to redo a year or two of work. Unfortunately, by the time your film based on the popular brand comes out, it could be years since anyone last talked about it or even knew about it. This is the situation that the UglyDolls movie finds itself in. Directed by Kelly Asbury of Shrek 2, Gnomeo & Juliet, Smurfs: The Lost Village, and Spirit: Stallion of the Cimarron fame, the movie based on the cult-favorite toy line has more of an interesting history behind It than anything else. Originally announced back in 2011, Illumination got the rights to make the feature, with Chris Meledandri to produce the film alongside the creators of the brand David Horvath and Sun-Min Kim also set to executive produce. Obviously, something happened to that relationship, as in 2015, the rights and production swapped to STX Entertainment, and the animation was being done by Reel FX Entertainment, the same studio behind The Book of Life, Rock Dog, Sherlock Gnomes, and the upcoming Scoob. What’s even crazier is that Robert Rodriguez is now the executive producer, and is behind the story of the film, and was set to direct. Obviously, Kelly Asbury took over, but Robert Rodriguez is still behind the story, and is executive producer alongside Jane Hartwell and Oren Aviv. With what I can tell, the original creators of UglyDolls are no longer attached as producers of this film. So, we have a film that has been in development for quite a long time, switched hands and directors a couple of times, based on a toy line that only had a cult fanbase, and, as of writing this review, is a critical and financial bomb. Yeah, let’s dive in!

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UglyDolls follows our lead character Moxy, voiced by Kelly Clarkson. She is an Uglydoll that lives in a realm called Uglyville, a part of a world where rejected/”ugly” dolls are tossed. Moxy lives there with her friends Lucky Bat, voiced by Wang Leehom, Ugly Dog, voiced by Pitbull, Wage, voiced by Wanda Sykes, Babo, voiced by Gabriel Iglesias, and the town’s mayor Ox, voiced by Blake Shelton. Moxy’s dream is to find a human to live with, but is constantly told that humans are a myth. Of course, she and her friends decide to leave the town to find a new world. As they venture out of Uglyville, they find themselves in a place known as Perfection, a town where the “perfect” dolls end up to be with children. The leader of this place is a guy doll named Lou, voiced by Nick Jonas, that is pretty much going to tell you to your face that you aren’t perfect. Well, Moxy and her friends aren’t going to stand down, and are going to show that they are just as worthy of being with children as the regular dolls. Can they thwart Lou’s evil plan? Can they show that being yourself is great? Can this film actually make sense of its world and how it works?

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That’s literally one of the biggest issues this film has. Due to its rushed development, the world-building of UglyDolls doesn’t make a lick of sense. It becomes confusing when they introduce a portal to the human world in Perfection. So, where does the portal go? Is it a single toy store? Is it linked to multiple stores? Do the humans know of this realm of living toys? Who made this factory? If the toys can go to and from the human world, where do they go for the portal? It seems like another run-through on the script was not in the favor of the writers, because a lot of this could have been fixed if they just went through the setting another time. Just take out the humans and let them be this world of living dolls. Granted, fixing the setting and premise wouldn’t have fixed the writing.

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This has to be one of the most repetitive scripts that I have ever seen in an animated film. None of the jokes landed outside of one from the one-eyed unicorn, and the pacing of the script was essentially the same thing every single scene. They get a challenge thrown at them by Lou, everyone gives up, Moxy says they can’t give up, her friends doubt her, she pushes through, and then they make it through. It’s the same set-up for almost every scene. They do have a weak twist in the story, but no one in the audience cares, because it’s not subtly telegraphed. A lot of the film’s themes and morals are essentially “hit over your head” with the light touch of a wrecking ball crashing through a building. Outside of maybe Moxy and Lou, none of the other characters have a lot of personality to them. They really have one character trait, and that doesn’t equal having an identity. This might be because STX, in all of their wisdom, are making a TV series based on the film for Hulu, which I don’t even think is going to get made now. I don’t know why you would, because the movie is bombing, and I haven’t seen one truly positive review for it.

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The lack of refinement bleeds into the voice work. This movie showcases the worst of celebrity voice casting. There are so many that you could easily just recast with voice actors who, while maybe not able to save the material they are given, could, you know, voice act! You never once see the characters. You only see the celebrities that they hired, which takes you out of the story in a super frustrating way. The animation also lacks polish. While $45 mil is still a lot of money, it definitely shows that this film needed more time, more money, and more creativity. A couple of the song sequences just put the characters in flat backgrounds, you can tell when some characters are sliding across the ground, and while Perfection fits the themes of the film, it also looks like they copy and pasted a lot of the doll models and houses. They try to go for that felt design seen in films like 2016’s Trolls, but it fails to capture Trolls’ wildly colorful world.

So, what do I actually like about the film? Very little. I hate saying that, but it’s true! I think out of all the actors in this film, the only ones that are trying are Kelly Clarkson, Nick Jonas, and Blake Shelton. I thought they put in the most decent performances. In terms of the animation, I like how accurate the dolls look. Sure, they aren’t truly ugly, but they were based on a toy line, and they translated well to animation. Uglyville looks pretty solid as well. It’s vibrant, and probably the most creative-looking location in the entire film. While I do despise how cynical and manipulative this film feels, it was at least presented as intended, which is better than Wonder Park trying to be deeper than it knew how to be.

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I feel badly for UglyDolls. It never truly stood a chance when STX Entertainment decided to rush the product out to try and start a franchise. I’m not surprised it’s bombing, but I only feel sympathy for the animators for this film. It’s not easy to be working on tighter budgets and development times. I would say don’t go see this film, but seeing how it’s one of the newest films to bomb at the box office this year, no one is going to see it. Not even for a bad movie night, it’s just too boring for something like that. I hope Reel FX can get back on track with making some good films, but we will have to see how their next project turns out. Also, at the end of the day, it’s just another bad movie in a sea of bad movies. Once June comes around, and Toy Story 4 hits theaters, everyone, including me, will have forgotten about this film. It’s not worth hating on it for a long time, nor is it worth making awful YouTube videos that say all theatrical animation past 2009 sucks when it doesn’t. For now, I think it’s time head back over to Spain, and take a look at a film that was one of my favorite animated film experiences of last year and that’s going to get an official US release this year!  Next time, we shall dive into Bunuel in the Labyrinth of the Turtles. Thanks for reading, I hope you all enjoyed the review, and I will see you all next time!

Rating: The Worst/Blacklist

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The Other Side of Animation 151:How to Train your Dragon: The Hidden World Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

Well, it has happened. I am finally able to review DreamWorks animated movies! Now that they are under Universal’s banner, and not Fox’s banner, I can now talk about today’s film and any of their future projects. It’s fascinating to see the entire history of DreamWorks. The company was founded by Jeffery Katzenberg after a nasty break-up with Disney, and made a name for not really having an identity, making edgier/mostly mediocre films that tried to ape off of what Disney/Pixar were doing at the time. They finally made a name for themselves with hits like Shrek 2, the Kung Fu Panda and How to Train your Dragon films, and then lost so much money after one failed business decision after another, we are now at the current part of the timeline. Once they lost about 500 employees and a couple of double digit millions when their 2014 films failed to bring in the money, they were then bought out by Universal. That’s a fairly rough and compacted history, but this isn’t about the history of DreamWorks, and how they started out to where they are now. I’m not getting paid enough on my Patreon to do something like that (link to my Patreon if you would like to support it). We are here to talk about How to Train your Dragon: The Hidden World. Directed and written by Dean DeBlois, The Hidden World wraps up the entire trilogy of one of DreamWorks’ best franchises. It came out near the end of February to critical acclaim and commercial success. So, how is the actual film? Let’s see what unfolds in this hidden world.

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The third film takes place a year after the second film, as Hiccup, voiced once again by Jay Baruchel, is now officially the leader of his people, and has gone on frequent missions to take down and free dragons from people who capture them. Unfortunately, his home and people are at risk of having to find a new land, and come to the realization about the relationship his people have with the dragons. This doesn’t help things when a group of dragon hunters hire a notoriously dangerous individual known as Grimmel the Grisly, voiced by F. Murray Abraham, who wants to kill all of the dragons, especially the Night Fury and Light Fury species. Hiccup then suggests that they find the Hidden World, a place where all the dragons live. Since this is the third film as well, let’s throw in a mysterious Light Fury, a white version of the franchise’s icon Toothless. Can Hiccup save his people and dragons from annihilation?

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Before I talk about the positives, and there are a lot of positives, I wanted to counter against some of the criticisms that have been thrown at this film. The first criticism I see is that it doesn’t tie into the Netflix series at all. To be frank, I’m happy they didn’t. Sure, the Netflix series was able to expand upon the characters and the world with more villages, villains, and other heroes. However, if push comes to shove, I’d rather it stay exclusively within the film world. It’s not really fair to expect everyone going into this third film to have watched the Netflix series, or the series that came out before the second film. I get that even the slightest little easter eggs or cameos would have been nice for fans of the TV series, but at the same time, most people going into this wouldn’t have seen the entire series. The next criticism I see is aimed at how some of the characters are handled. I have a mixed reaction to this part overall. Again, a lot of people pointed out that the TV series was doing a better job at fleshing out these characters. Well, duh. You have a TV series that has multiple episodes and more time to flesh everything out. I think the writing is strong enough that a good chunk of the characters are still true to them and are still great.

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That’s really all I have to disagree with. Now, we talk about the actual criticisms. To me, the How to Train your Dragon franchise runs parallel with DreamWorks’ Kung Fu Panda franchise. The first film was a surprise hit, and both have really good first films. The second films arguably are better films expanding the world, the story, the characters, and have a better villain. The third films are not as good as the second ones, but are great closers to the franchise, however, they have weaker villains. Yeah, while being voiced well by F. Murray Abraham, Grimmel the Grisly was not as interesting as a villain as other animated film villains. He had a bit of mystery to him, and was a threat with the other warriors and those dragon killers, but he felt underutilized. While I disagree that all of the side characters suffered from being underdeveloped, both Kung Fu Panda and Dragons sure do not give their side protagonists a lot to do. This is especially true for Jonah Hill’s Snotlout. He is just the worst character in this film. While Fishlegs, voiced by Christopher Mintz-Plasse, Ruffnut and Tuffnut, voiced by Kristen Wiig and Justin Rupple, all have some more focus and things to do in the story, Snotlout never has a good scene, is always the butt of the joke, is constantly trying to hit on Hiccup’s mom for some creepy reason, and if that’s not creepy enough, apparently, Snotlout is worse in the original books. It always comes off like DreamWorks puts in so many characters, because they are banking on a TV series. They also don’t let us, the viewers, spend much time in the Hidden World. I kind of wish there was more time spent on Hiccup, Toothless, the Hidden World, America Ferrera’s Astrid, than focusing on the side characters who don’t have much to them.

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So, what’s amazing about this film? Everything! The animation is beautiful. I’m so blown away at how incredible the franchise’s visuals have become, as even the first film from 2010 still looks pretty darn good! I love the details of the textures used, the slightly aged characters, and the immense amount of detail used in every house, island, dragon, human, and you get the idea. Once again, DreamWorks shows that while the overarching plot might not be the best, it makes up for it with some really good character moments. Throughout the entire film, there will be little moments between two characters that bring this film so much life and personality. Many of the best moments in the previous films were the quiet moments as Hiccup interacted with either Toothless or someone else. This film ups those scenes, as we get the final chapter of Hiccup’s coming-of-age tale of becoming the new tribe leader for his people. One of the most memorable scenes for me was when Hiccup was a kid, and he saw his dad mourn the loss of his wife/Hiccup’s mother, and you just get so much out of that one scene alone. Of course, the chemistry between Toothless and his new love interest is also a hugely entertaining scene, as it involves the least amount of dialogue out of any scene in this movie, and is so adorable and funny that you think it would backfire in some possible way, but it doesn’t. There are quite a few scenes of Toothless and his girlfriend that are all just wonderful to watch.  The film tackles plenty of complex themes, like learning to change, how Hiccup comes to terms with doing what’s best for everyone involved, and learning and working on making your own path through life.

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How to Train your Dragon: The Hidden World might have a few flaws under its wings, but it’s another fantastic ride from DreamWorks. I know it’s easy to worry about DreamWorks Animation and their film line-up in the future, but for now, why not enjoy this movie and go see it? I highly recommend that you do so if you haven’t already. It shows that when DreamWorks wants to, they can put out a high quality product. Now then, we shall now move from dragons that you form an emotional bond with, to a film about a magical amusement park that doesn’t quite work. Next time, we shall talk about the notorious and infamous Wonder Park. Thanks for reading! I hope you all enjoyed this review, and I will see you all next time!

Rating: Go See It!

The Other Side of Animation 150: Netflix Godzilla Trilogy Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

As much as I like writing reviews for films, I will say that the one thing that has lost its magic is the discourse of talking about movies that I don’t like. With the current film climate that is focused on being hyperbolic, toxic, nitpick-obsessed, and pedantic about everything for the sake of “comedy”, it ruins talking about movies, because people think that is how you approach movies, when it’s not. Film criticism is wildly subjective, and is never a straight path to whether a film is good or bad. Everyone has different priorities when they look into movies. I wish it was more of a conversation piece, and not a race of who can be the biggest pedantic waste of air that drags down film culture rather than elevating it. I may have had more energy to put into talking about bad movies two or so years ago, but now I don’t. However, to be a good critic, you have to look at a wide range of films from big budget to small budget, action to romance, and theatrical or straight-to-video. So, where do I sit with the Netflix-distributed Godzilla trilogy? The trilogy was directed by Kobun Shizuno and Hiroyuki Seshita, with the screenplay written by Gen Urobuchi. The trilogy of films were made by Polygon Pictures, the studio that animated films and shows like Transformers: Prime, Tron: Uprising, Knights of Sidonia, Blame!, the CGI elements of Ghost in the Shell 2: Innocence, Star Wars Resistance, and helped Studio Ghibli co-produce Ronia, the Robber’s Daughter. The trilogy came out over the span of 2018, and suffice it to say, there was very little fanfare or warm welcomes after the trilogy was complete. While Netflix might have a promising animation output in 2019 and onwards for feature-animated films, this, to me, was one of their biggest blunders. Why? Read on to find out.

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I’m going to review this as one giant review, because the movies themselves feel like an overly long three part OVA special. So, the trilogy takes place in the future at the end of the 20th century. Giant monsters have ravaged Earth to a point where everyone on Earth decides to do the sensible thing and pack up, leave Earth, and try to find a non-monster-filled planet.  That seems a bit drastic, but when one of those monsters is Godzilla, you wouldn’t really want him as your next door neighbor. I mean, he could be a good neighbor, but I’m getting off track. Anyway, the humans were joined by two other alien races, the religious Exif, and the technologically-advanced Bilusaludo. After not finding a planet after years of searching, a young man named Haruo Sakaki, dubbed by Chris Niosi, tries to pull rank and suggest that the current living situation that is 11.9 lightyears away from Earth is not going to be livable for everyone. After a failed scout ship exploded going down to a planet they were looking at, Haruo finds out some prime time information about Godzilla’s weaknesses from an Exif named Metphies, dubbed by Lucien Dodge. Haruo convinces the committee in charge to go back to Earth, retake it from Godzilla, and live there again. They head back to Earth to find that nature has pretty much taken back the entire planet. They encounter ravenous life, a mysterious race of humanoid individuals, and, shocker of shock, Godzilla. Can the humans retake the planet and take down Godzilla? Do the other alien races have ulterior motives? Who are the mysterious beings living on the planet?

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So, it was really tough to find a starting point as to what to talk about first. How about the directing and writing? So, what have the directors and the writer of the films worked on? Kobun Shizuno has mostly directed Detective Conan films and the Soul Buster and Knights of Sidonia series. The other director, Hiroyuki Seshita, has mostly worked on Polygon Picture-related properties like Knights of Sidonia and Ajin. So, where does that leave us? Well, let’s talk about the writer of the three films, Gen Urobuchi. He is mostly known for writing the scripts to Fate/Zero and Psycho-Pass. While I have not really seen Psycho-Pass, that other title I mentioned is pretty telling at what kind of movies I should have expected. The three Godzilla films that make up this trilogy are drawn-out, boring, convoluted, and don’t really feel like Godzilla movies. I know Godzilla has had movies that range from the fun monster-fighting romps, to the social commentary side of films, but these three films essentially show off the worst of both Godzilla and anime at the same time. When you think of Godzilla, you think of grand scale destruction, fighting other colossal monsters with their own creative attacks. Now, what are usually the most boring aspects of Godzilla films? The humans! The human/humanoid characters are fairly dull anime archetypes that you see in a lot of anime. You have the angsty young male, the calm-headed best friend, the token female character, the religious nut that has ulterior motives, the war-hungry meathead, and you get the idea. No one is really that interesting, and the story/writing constantly focuses on philosophical elements of living, being on a world ruled by Godzilla, and life, which are just boring as tar.

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A story about a planet ruled by Godzilla didn’t need to be this complicated. Why is it so hard to make something with giant monsters just giant monsters and action? I’m not judging this movie by what it’s not, but what we got, and what we get is not interesting. Godzilla isn’t even a major player in any of the three movies. He rarely shows up, and it’s really at the end of each movie. Also, for a film series that takes place on a planet taken back by nature and swarming with giant monsters, the other monsters involved are really boring. They are just these generic-looking rock monsters that don’t look good, and the iconic giant monsters you want to see from Toho are only seen in still frames. You only get, like, three of the iconic Toho monsters, but one is only spoken of, while the other one is Ghidorah, but not the traditional Ghidorah. It’s like this movie was afraid to be a giant monster movie. I know we all make fun of the old Toho monster flicks, but they were very entertaining, because seeing giant monsters fight was, and will always be, entertaining. They even have Mecha Godzilla, but not in the same sense. It could have been interesting, but it was sadly not. That’s the big takeaway from this trilogy, it could have been interesting, but it was drawn out between three films, and the few action scenes that were there, were not enough to save the film’s sluggish and confusing story.

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Animation-wise, it’s getting a bit tiring to criticize Japanese CGI animation, because there are good signs of some studios knowing what to do, like Land of the Lustrous, but I didn’t really find anything all that impressive about Godzilla’s CGI. It was fine, everything was animated decently, the action was mostly readable, and when you could tell where the budget went, it looked good. You just see a lot the films reusing character models, and you get the typical clunky anime CGI movements from time to time. Polygon Pictures is getting close to showing how well CGI can work, but a show like the mentioned above Land of the Lustrous does it better.

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So, do I like anything about this trilogy? Well, like I said above, the CGI anime is pretty decent. When Godzilla is actually on screen, you do feel his presence, and when he actually does something, it’s a lot of fun. It’s just common knowledge that watching Godzilla blow stuff up and fight actual monsters is a proven good time. The dub script is pretty okay. I don’t really say this will be anyone’s best performances, but they did a good job with reading the scripts given to them.

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I think the biggest failure of these films were that they got the wrong team to make them. Godzilla didn’t need to be yet another philosophical think piece, when the most recent live-action Godzilla film was flawed, but way better at tackling such subjects, and had much better action set pieces. If you are a hardcore Godzilla fan and haven’t checked out these films, I wouldn’t recommend it, but if you must see every single film, then check them out. I just couldn’t be bothered to be hyperbolic and angry about these films. The more I hated these films, the more draining it became. They aren’t good movies on their own, and it’s not a good overall story as a trilogy. It wastes opportunities by being a three-part film, doesn’t take as many opportunities with its premise as it should, and shows how far some studios still have to go to make good-looking CGI-focused animation. However, after seeing this trilogy, it made me realize why I like talking about movies I enjoy, so, next time, how about we talk about the smash hit How to Train your Dragon: The Hidden World? Thanks for reading, and let’s keep spreading the support for more positive film conversations and more mature and in-depth film criticism. I hope you all enjoyed the review, and I will see you all next time.

Rating for all Three Films: Blacklist/The Worst

The Other Side of Animation 148: Spider-Man: Into the Spider-Verse Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

If you saw my editorials, talking about what I would like to see change in the big budget US animation scene, I talked about how certain studios should and could use a “shot in the arm” with trying out more ambitious storylines and visual styles. Animation is such a wonderful medium that is hamstrung by studios not bothering with stepping out of their comfort zones. Thankfully, Sony Pictures Animation decided to be a brave individual, and show that not only do you not need to spend triple digit millions, but can also make massive long-term profit and award acclaim with Spider-Man: Into the Spider-Verse. Directed by the trio of Peter Ramsey, Bob Persichetti, and Rodney Rothman, Spider-Verse was released back in December to universal acclaim, winning a massive pile of awards, and has certified itself by a team of me, myself, and I, as the best US animated film of 2018. Shall we swing into the review?

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The story revolves around Miles Morales, voiced by Shameik Moore. He’s a high school student who lives in a world where Spider-Man exists. Nothing is really all that different here in this universe. Spider-Man, voiced by Chris Pine, is loved, Miles dad, voiced by Brian Tyree Henry doesn’t trust Spider-Man, and Miles doesn’t really care about going the distance in becoming a better person. After hanging out with his uncle Aaron Davis, voiced by Mahershala Ali, Miles encounters Spider-Man attempting to stop King Pin, voiced by Liev Schreiber from using a giant machine to cause some supposed chaos. Luckily, Spider-Man sort of stops the machine from working while fending off Green Goblin and The Prowler. The bad news is that Spider-Man ends up getting killed by King Pin. The city is then swept over by sorrow from the loss of Spider-Man, and Miles feels responsible for the death of his universe’s Spider-Man. That is, until he encounters a much more self-defeated Peter Parker aka Spider-Man, voiced by Jake Johnson, from another universe. As the two try to find a way to get the alternate Spider-Man back to his own dimension, they encounter other Spider-Men from different dimensions. This includes Spider-Gwen, voiced by Hailee Steinfeld, Spider-Man Noir, voiced by Nicholas Cage, SP//dr, a Japanese anime-style Spider-Man/robot pilot voiced by Kimiko Glenn, and Spider-Ham, voiced by John Mulaney. They team up to try and stop King Pin, along with his lackeys Prowler, Tombstone, voiced by Marvin Jones III, Doctor Octopus, voiced by Kathryn Han, and Scorpion, voiced by Joaquin Cosio, from starting up the machine again, and possibly destroying Miles’ universe.

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Like a couple of times in my reviews, I want to talk about the animation first. This was the first big selling point when everyone saw the first teaser trailer for Spider-Man: Into the Spider-Verse. The visuals are literally jaw dropping. You will lose your jaw, and then have to go get it surgically reattached with how incredible and striking the visuals are. Everyone has said it, and it’s true, it looks like a literal moving comic book. The bright colors, the many details you would see in most comic books, the textures, the lighting, the designs, and how it all meshes well. Not one character from the different dimensions stands out in a bad way. Everything flows and gels well. I have seen some people argue that the animation is bad, but I’m sorry, that’s just objectively wrong. If you follow animation, then you know Spider-Verse does not have bad animation. The slower framerate and movements are there for a reason. If everything moved as fast as say, Sony’s Hotel Transylvania franchise, it would be an eye sore with all the bright and multi-colored visuals. It’s a style of animation that is used in other parts of the world, like in The Painting and Zombillenium. It’s used to work with the unique art style and not a budget limitation. When you see as much animation that varies in both budget and quality, you can see what is style and what is bad animation. Norm of the North is bad animation. Spider-Man into the Spider-Verse is good animation. End of lecture.

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In terms of the story, Spider-Verse has one of the most complex and complete stories out of most animated films in 2018. It’s the best told story among the US-made films. Films like Incredibles 2 and Ralph Breaks the Internet felt like they either didn’t go far enough with their themes and story, or only went at them in ways where they only go 50% and not 100%. Spider-Man fully commits to its multi-verse storyline mixed in with themes of coming of age, finding your own identity, not being fixated on events from the past, what it means to be a hero, and the harsh realities of being a hero. Every character works well with one another, and they treat everyone as characters. Sure, you can argue and nitpick and say that three of the six Spider-Mans don’t get as much development as the other three, but all six aren’t the main focus. The real focus is on Spider-Gwen, Miles, and Jake Johnson’s Peter Parker. Even Miles’ parents and Parker’s Aunt May are easily some of the best characters out of the movie. It’s so shocking to see an animated film treat everyone with actual dimension and not as one-note archetypes. While you can say that this film’s version of King Pin is not as good as the Netflix one, that isn’t really fair. This is one movie, whereas the Netflix one had three seasons to flesh out the character. It’s not really a perfect one on one comparison. However, you still get why King Pin is doing what he’s doing in the movie, and that’s pretty good. I also like how the film skims over origin stories. We really don’t need another Spider-Man movie that takes 40 minutes of its runtime to flesh out what happens. At least, it’s not a 100% origin story with the exception of Miles Morales, who has probably one of the best developments and stories out of any superhero movie.

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The voice cast for this film is perfect, and everyone seems to be on board and on the same level as everyone else. This isn’t like Venom or The Meg, where everyone, but one or two people know what kind of movie they are in. The talent is crazy good with Shameik Moore, Brian Tyree Henry, Mahershala Ali, Hailee Steinfield, Nicolas Cage, John Mulaney, Liev Schreiber, Jake Johnson, Lily Tomlin, Luna Lauren Velez, Kimiko Glenn, and as usual, seeing the late great Stan Lee in one of his last cameos is touching and endearing. The music is also incredible with plenty of amazing pop and rap songs that fit the tone perfectly. I even bought the soundtrack after I saw the film. I still listen to Vince Staples’ track.

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I really have no complaints about this movie. It’s truly the best US-made animated film of 2018, and congrats to Sony Pictures Animation for their successful 2018 line-up of animated features. Sure, I have minor gripes, but they really don’t matter when everything else is so strong. I highly recommend checking this film out, or getting it on blu-ray the day it comes out. It’s smart, funny, endearing, action-packed, and a blast. I think anyone who thought Sony Pictures Animation should just shut down and “drop dead” need to go crawl under a rock and never come back. Now then, before we hit 150, let’s keep making sure everything is awesome with LEGO Movie 2: The Second Part. Thanks for reading, I hope you all enjoyed the review, and I will see you all next time.

Rating: Criterion/Essentials

Let’s Fix the Animation Scene Part 2: The Foreign/Indie Animation Scene

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this editorial/list!)

Here we are! This is part 2 of my massive editorial on what I would do or advise to fix the animation scene! If you haven’t seen Part 1, where I tackle the Hollywood theatrical scene, you should read that first. This time, we will be talking about my thoughts on how to improve the foreign/indie scene. For me, this section of animation is a lot different than the big Hollywood scene. It has multiple pros that it does better, but it also has its own cons that are exclusive to this side of animation. Now then, let’s get started!

Word of Mouth/Grassroots Campaigning Isn’t Good Enough!

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Listen, I love the foreign features that get brought over by companies like GKids, Shout! Factory, and Good Deeds Entertainment. We do need to show moviegoers that there is a healthy amount of animated features outside of the big budget releases like The Breadwinner, Loving Vincent, Wolf Children, and Paprika. I’m glad that they can put some ads out into the net, and use word-of-mouth to get a lot of acclaim and fans that current Hollywood wouldn’t really do. However, that simply isn’t enough. I can’t really find the information about this, because it seems like the industry wants to keep hush hush on how much certain aspects, like distribution costs, but you need to start making deals with bigger companies to get your films out there in all areas of the US. Simply hitting the biggest cities is not good enough anymore. I get that certain companies like GKids have made deals with theaters like Regal Cinemas, but being at one theater chain isn’t enough. Some people live in towns or cities where they get skipped over in the distribution game. Being with massive companies like Disney and Universal could mean that you receive that extra help in getting into more than just one kind of theater. It also doesn’t help when theater chains only allow one or two-night screenings of films. I know Fathom Events probably helps with some kind of cost, but it’s a pain to have to take Lyft rides to certain theaters and having it cost up to $20 just for the ride alone to see these movies. Word of mouth is helpful, but when you don’t have a big enough marketing campaign or a good enough distribution plan, then word of mouth can only do so much.

If You Can’t Make Visually Appealing CGI, Then Either Use a Creative Art Style, or Don’t Bother

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Listen, I get that CGI animation is what’s “big”, and it’s probably cheaper than going the route of super traditional 2D animation, but if you don’t have the budget, the talent, or the know-how to not make CGI look good on whatever budget you have, then don’t bother with it. It’s not like 2D is dead and can’t be done using tablets or computers. You just can’t simply go the direction of cel by cel animation. Simply doing CGI because you can, doesn’t mean you should. Do you know how many lackluster-looking CGI animated features I see Lionsgate or Direct TV pick up? There are films that have fairly impressive CGI from overseas, but then never think through on the designs of the characters when translating them from 2D to CGI. Bilal: A New Breed of Hero is a good example of this issue, where the CGI itself is rather good-looking, but then a character here or there will appear and it looks off-putting, due to the super realistic look of everything. Plus, you can make 2D flash work well. It’s not flash’s fault if your film looks like something like a cheap online flash animation. Ice Dragon: Legend of the Blue Daisies is a good example of how to make bad flash animation for theatrical release. Even if it did get a Fathom release here in the states, it looks ugly with no real talent put into making a visually interesting movie. Just know what you are getting into.

Just because you have more freedom, doesn’t mean you should go all out!

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While not having as big of budgets as Hollywood animation can be a hurdle, it usually means you have more freedom to make what you want. There is a reason why execs are going to make sure that the $75 million they invested into a project is not going to go into some super artsy film that won’t hit a massive audience. However, because you have more freedom, it doesn’t mean you should be using it to do everything you have ever wanted to do in one project. A lot of passion projects end up being cluttered, messy, and unfocused. It’s like when adult comedy show creators think that just because they are on Netflix, they can go full tilt on the shock humor, but end up making a bad show that has nothing, but unfunny shock humor. You still need to make a film, and that means staying focused. Eyes on the prize! Make a good flowing film first, and then worry about everything else.

Distributors: Just Because You Can Bring it Over, Doesn’t Mean You Should!

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So, you know how GKids picks and usually chooses the best animated features to bring over? The ones that keep getting award nominations are usually acclaimed for good writing, beautiful animation, and endearing characters? Now, compare the films that, say, Lionsgate and Direct TV pick up. I’m sure you can look at the difference between the quality and the control certain companies use, because they don’t pick it up for the sake that it’s just animation. Kids might like animated things, but due to the limit of time and the quality of animated films and shows, they are going to stick to the films that resonate with them. I get that some may have higher price tags than others, but it doesn’t mean you need to only buy the lesser products. Sometimes, you don’t need to bring over everything.

Work on Your Humor!

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So, this isn’t a big deal, because most directors make films with universally acceptable comedy, but man, some countries need to get it through their skulls that what might be funny to them, will not be funny for other audiences. Japan and China seem to think sex jokes and fart gags are funny, but they really aren’t. They are distracting, and do take you out of the film. I can even understand why some films like Cinderella the Cat haven’t been fully brought over, because it has some unfortunately homophobic moments that it passes off as comedy. The rest of comedy issues come from cheap and lazy comedy writing that they think kids will like. People don’t like these kinds of jokes anymore. Just because you are aiming your films at a family audience, doesn’t mean you have to aim low for the kids watching the film.

That’s it for Part 2! Next time, we shall talk about the Award scene situation!

My Two Cents on the Animation Submissions for the 2019 Oscars

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this editorial!)

Recently, the animation submission for the upcoming Oscars/award season has been revealed. There are 25 animated features competing for those five sacred spots. While I was too late in doing a first half of 2018 look-back at animation, I think I’ll pretty much combine it with this editorial. 2018 has been an incredible year for animation, both big and small. This was definitely a step up from 2017, where outside of Coco, Captain Underpants, and LEGO Batman, the big-budget releases were either okay or hugely mediocre. It was like they got all of the filler titles put into 2017, so the better-made projects could all be in 2018. The indie side of things has also been incredible. While I am disappointed that some of my favorite films from the Animation is Film Festival are not a part of this submission list, the indie scene was still fantastic. So, like last year, I’m going to categorize each of the films that have 100%, 75% 50%, 25%, or 0% on getting one of those five sacred spots through the hopes that they earned it because of their quality, and not because of a big For Your Consideration campaign. Let’s get started.

The films that have a 100% chance

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Isle of Dogs: Wes Anderson is a darling of the award scene, and if you doubt that, you will need to see the how many awards The Grand Budapest Hotel won (I love that movie). Plus, it’s a unique stop-motion animated feature and it did pretty good business when it was in its limited release run before hitting wide release.

Ralph Breaks the Internet: While some may say the original is better, I find the sequel to Wreck it Ralph to be even better. I think it handled its concept extremely well, it was funny, charming, touching, and overall, was another home run from the major Disney animation front. I find that it’s going to age better as an animated feature than the other big Disney/Pixar film out now.

Spider-Man: Into the Spider-Verse: Before I saw this film, I was excited, but hesitant about it getting any award chance. However, as the nominations started to stack up, and I finally saw the film, yeah, it was incredible. It’s easily the best US-made animated feature of 2018, and it would be surprising if the Academy turned this film down. Like I said though, its multiple award nominations will definitely help get it nominated for an Oscar.

Mirai: If GKids had a potential film this year, it would be Mirai. They are marketing like it’s a Ghibli film, it’s been getting the biggest festival push, it’s gotten rave reviews from critics who have seen it, and its story and setting can be universally approachable to any voter in the academy. Or at the very least, it should be, because the Academy has some kind of issue against Japanese non-Ghibli movies, but I digress.

Ruben Brandt Collector: Sony Pictures Classics might not pick up as many animated features as GKids or Shout! Factory, but they pick out unique films that stand out among the rest, and you would have to be blind to not see the unique and visually stunning Ruben Brandt Collector. Along with its surreal art style, it’s a more mature animated feature, and the Academy would look really good if they chose something that was unique and different. Plus, Sony Pictures Classics is a favorite among the voters.

The films that have a 75% chance

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Lu Over the Wall: before I knew GKids picked up Mirai, this was the film I was going to place my entire bet on which GKids film was going to get the Oscar love. While it might fall apart in the third act, and normal viewers will compare it a lot to Ghibli’s Ponyo or Disney’s The Little Mermaid, Lu Over the Wall is still a fantastic film with a unique art style, and likable characters. It’s more approachable to non-foreign animation viewers than Masaaki Yuasa’s other option in this race.

Tito and the Birds: A foreign animated feature with a grunge art style that sticks out, and is about a world that is infested with a virus that is caused by fear and paranoia? Yeah, this is an ideal film that could be very approachable to Oscar voters. It’s stylish, but also has a message. It gets a bit of that nostalgia with a lot of the inspiration for this great film being from 80s adventure films like The Goonies. It’s a topical film that has themes that can be timeless of how we should stand together against the fear-mongering individuals.

Incredibles 2: While the critical reception of the film is starting to die down as people realize that the film is good, but still not Pixar’s best and wasn’t worth the wait, the first film in the series did win an Oscar, and the Academy does love its safe bets, but we will have to see. The Academy also doesn’t like nominating Pixar sequels that aren’t Toy Story.

The Night is Short, Walk on Girl: I’m more hopeful about this movie, because it’s an adult animated feature, but it’s not adult in the sense of a stoner comedy, but adult in its themes, visuals, and humor. It’s a wild ride, but it’s probably a bit too experimental and zany for individuals who are looking for more “safe” features.

Maquia: When the Promised Flowers Bloom: I think it would be smart for the voters to look into this one to give an animated theatrical feature by a female director a chance, because it’s easily one of the most endearing and personally touching films of 2018. It’s one of the few films this year that has made me cry, and it has a unique and intensely intimate story about motherhood. I think the only thing that might hurt this film’s chances is that it’s a non-Ghibli Japanese feature, and the designs are not its greatest strengths.

The films that have a 50% chance

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Liz and the Blue Bird: On one hand, the Academy has a huge bias against Japanese animation that isn’t made from Ghibli. On the other hand, the Academy sure does love its small-scale character-driven dramas. It’s a smaller-scale film that might turn people off who want to see more epic-scale adventures or stories, but Liz and the Blue Bird is one of the best character-focused stories of 2018, but I don’t know if it fully has a chance.

Early Man: I would love to see Aardman get a nomination, simply because Early Man is a pretty good movie. However, I do think what will hurt it ultimately is that the film is too simple, and it just got buried under Black Panther. It doesn’t help that Lionsgate’s company Summit Entertainment didn’t really do well at marketing the film or releasing it during a proper period of time. It just sucks that this film will get overlooked, but it’s also a film I feel like that kneecaps itself for being award-worthy. We will have to see.

MFKZ: I probably should put this on the 25% chance, but it’s a film that could make for an interesting choice, because it’s basically They Live (the John Carpenter horror movie) mixed with French/Japanese animation. It’s a thrill ride of over-the-top action, characters, and the Academy is always looking for something different that stands out. They might as well go with the one that stands out the most.

Smallfoot: While surviving pretty well in the top 10 box office films of September and through October, Smallfoot simply didn’t make a lasting impression. It’s a shame, because Smallfoot might be one of the biggest animated surprises of 2018. It might have a few jokes that fall flat, but it has a story that kept me and many others invested.

The films that have a 25% chance

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Hotel Transylvania 3: Summer Vacation: While this might be the best film of the series with the most consistent visuals, story, characters, and laughs, no one really talks about the film anymore, and its popularity came and went fast. Plus, the others haven’t had a chance in Hades of getting nominated, and that’s no different here. Maybe it had a chance if it was released last year, but sadly, it has very little here.

On Happiness Road: While I am aware of this movie, it’s still going through its festival run, and I haven’t heard of a US distributor for it yet. It was at the Annecy 2018 film festival, but this film has no presence in the US, even though it does look great. Maybe its positive reviews will give it some clout, but it has very little chance in the award show circuit.

Teen Titans Go to the Movies: I like this movie, but it’s a film based on a TV show. It has very little chance in getting any kind of buzz. It’s also worth noting that it’s also another superhero movie. If a superhero film this year is going to get some kind of major award, it’s Black Panther.

Sgt. Stubby: An American Hero: I can sum up why this film has very little chance. It’s the biggest animated failure of 2018. At the very least, the other big animated flops like Early Man and Sherlock Gnomes made back their main budgets. When you can’t even muster $5 mil of a $25 mil budget, then that’s saying something. It might have its setting to boast about, but let’s not kid ourselves here. I don’t think anyone truly cared, or even knew about this film.

The films that have a 0% chance

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Ana and Bruno: While I know Ana and Bruno is a big deal in Mexican animation as it’s the most expensive animated feature from that part of the world, but outside of the animation scene, do people even know about this flick? It has slightly higher than average ratings, but who is distributing this film? I’m sorry, but this is one of the most obscure animated films in the submissions. It also has some less than stellar animation. It unfortunately has no chance.

Have a Nice Day: The only noteworthy element of this film is the controversy it caused last year for getting removed by China’s government for no real reason. It also has some interesting story beats, but with the very limited animation, and its fairly clunky story, there is no way this film has a chance. Plus, no one really knows about it.

Fireworks: I still stand that this is GKids’ worst outing in a while. The story is terrible, it wastes so any opportunities, because it needed to stick to the original story of the TV show episode it’s based on, and it’s not even the best looking animated feature from Japan this year. It’s a shame that the reviews were pretty much spot-on with this one. If you like it, that’s fine, but it has no chance when Mirai is the superior flick.

Sherlock Gnomes: I’m sorry to all of the people who worked hard on this film, but this has no chance! It was widely panned by critics and audiences, bombed at the box office, and is one of the few films I think I can safely say had no reason to exist. No one was asking for a sequel to a film no one cared about.

Dr. Seuss’s The Grinch: The Grinch might be making money, but that’s all it’s going to do. Illumination got lucky with Despicable Me 2 getting an Oscar nomination, but they haven’t been getting much award love since. No one will be talking about this Grinch until next Christmas, when people are reminded that Illumination made another one. Just because you made a lot of cash, doesn’t mean you will rake in the awards.

Tall Tales: I’m going to sound like a broken record, but it was very hard to find information about this movie, and it has no real presence in the US animation scene. It doesn’t even have any presence in the overall animation scene. When no one has any opinion or knowledge of your film, how are you going to expect an Oscar nomination?

The Laws of the Universe Part 1: The very first film in this series was submitted back a couple of years ago, but since no one I know talks about either that or this film, it has no chance. I know Elevenarts is finally putting their films on DVD, but when I haven’t been able to see either film because of limited screenings, then that’s a problem. It’s also going to have to beat out the other amazing anime titles of this year, and it simply won’t.

There you go! These are my predictions of which films have a chance, and what films have no chance in making it onto the list. Hopefully the Academy will get over their hatred for non-US animated features, but we will have to see how long that lasts.

The Other Side of Animation 144: Dr. Seuss’s The Grinch (2018) Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

It’s another year, and that means another Illumination Entertainment movie. It also means another time to say how Illumination is not a horrible studio in the sea of vitriolic hate and anger that is the internet that hates this studio with a passion. Listen, in the grand scheme of things, there are worse things to worry about than a studio that makes middle-of-the-road movies that rakes in boatloads of money, because they hit a massive audience. Now, in the context of the animation scene, I get the annoyance. You want films that put all the elbow grease into their animation, story, and writing to make all the money, or people to go see the incredible indie animation scene. Sadly, that’s an all too head-in-the-clouds way of knowing what’s going to actually happen. People are going to go see films that might not be perfect, but they personally find enjoyable. So, it is annoying that Illumination seems to do the bare minimum with their work, but rake in cash because of smart budgeting and business. It’s not their fault they are doing something that, at the end of the day, is going to make the studio money. Art might be why we make movies, but you can’t simply rely on that on its own to make the industry run. It’s a balancing act, and that’s why for every Missing Link, we get a Dr. Seuss’s The Grinch. Directed by Scott Mosier and Yarrow Cheney, this newest take on the beloved short story was released November 9th, and while getting mostly middling reviews, is raking in the money. To be fair, this is way better than the Ron Howard live-action version by millions of miles. Why? Well, let’s find out!

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Benedict Cumberbatch voices our main character, the Grinch, a green furry individual who hates everyone in Whoville, and especially the Christmas holiday. He doesn’t like the cheerfulness, he doesn’t like the joy, nor does he like his overly happy neighbor “friend” Bricklebaum, voiced by Kenan Thompson. The only proper thing to be mad about is the aggressive groups of Christmas carolers that harass him while he goes to the store. When he finds out that the Whoville citizens are going to throw a Christmas celebration that’s three times bigger than normal, Grinch decides to steal the Who’s Christmas with the help of his dog Max. He has only a few hours to get it all done, and will encounter a few challenges, like cookies and little Cindy Lou Who, voiced by Cameron Seely. Can he do it? I mean, you know about the original story by now, or at the very least, you should.

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Let’s talk about the positives that the film brings to the table. While sounding more snarky, sassy, and almost making you wonder what would have happened if Bill Hader got the role, Benedict Cumberbatch does a solid job as our grumpy green icon. I like that if you aren’t paying attention, or know that it’s him beforehand, you might actually think it’s Bill Hader doing the voice of the Grinch. The rest of the voice cast is also pretty solid. While not all of the characters get worthwhile dialogue sequences, like Rashida Jones’ role as Cindy Lou’s mother, other actors like Kenan Thompson get some of the better laughs in the movie. Oh, and the Whos are actually nice in this film. It’s fine if you grew up and love the Jim Carrey/Ron Howard version, but the one thing the film royally screwed up in that movie was making the Whos the most unlikable blithering individuals. They even have a few story elements that, while they do not go into them at all because it’s Illumination, I liked the ideas of. For example, Grinch has a “neighbor” who is always happy, optimistic, and friendly toward him, while being fairly unaware that Grinch hates him. But you can kind of see two different individuals who deal with the same kind of loneliness, but deal with it in different ways.  It would have been nice if they went more into that, but again, it’s Illumination, depth isn’t their strong point.

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On an animation side of things, The Grinch is probably Illumination’s most visually impressive movie. You can tell that whatever the studio is using to animate this film, the artists and animators they have are incredibly talented. It’s colorful, has some of that Seuss whimsy in its designs, but also has its own Illumination touch. A lot of the textures and details were simply impressive to look at on the big screen. I even heard the 3D version is decent, but my viewing was in 2D. The animation on the character work also made for some solid physical comedy moments. All the visuals accumulate into the heist sequence, and while it is short, is a lot of fun to watch with the fantastical Christmas designs.

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Many of the film’s problems come into the fray with making this story feature-length. Due to the original special being about 25 minutes in length, you don’t get to the actual heist part of the film until maybe halfway or a little over halfway through the 80-minute runtime. It adds in sequences of the Grinch interacting with the Who, and while this could have led to something interesting, it’s more lightweight snark and physical comedy. Along with more sequences of the Grinch with the Who, they give Cindy Lou a subplot and a group of friends who do not add anything at all to the overall story. It even takes out the major threat of the Grinch by giving him a reason why he slightly hates Christmas. The strength of the original special was that he didn’t really have a set reason to hate the holiday. As I sat through the film, I found myself bored at times, because some of the jokes weren’t landing. The audience I was with was the same, but they definitely got a few more chuckles out of the film than me. I also found myself thinking about scenes and ways the film could have improved upon itself through visual storytelling. However, I can’t judge the film because of scenes or ways of filmmaking I would found to be better, but with the film I have here, and it’s simply put, it’s another Illumination film.

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In general, it’s another safe, visually pretty, decently funny, and forgettable animated feature. It might have a nice ending, Benedict Cumberbatch was good as the Grinch, and again, visually splendid animation, but why would you waste the money to go to this film? Just go see Ralph Breaks the Internet, or go and try to find a screening of Mirai or Liz and the Blue Bird to watch. I still stand by my opinion that Illumination isn’t the worst studio around, but it’s becoming harder to defend them when they are not willing to try and push themselves into more creative directions. They make money hand over fist, and they should be able to now experiment a little with different writers, directors, and animation styles. Hopefully, they start doing that more in the future. Now then, let’s talk about one of the great action-animated films of 2018 with MFKZ. Thanks for reading! I hope you enjoyed the review, and I will see you all next time!

Rating: Rent it!