Worst to Best Animated Films of 2018 Part 1

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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/list!)

Well, it’s 2019, and it’s time to talk about the Worst to Best of 2018’s animation line-up. Overall, 2018 was a vastly superior year for animation, as it wasn’t just a few good major releases and a ton of great indie/foreign releases like 2017. 2018 was a year full of surprises, and, for the first time in a while, the number of really bad movies felt shorter, and not as bad as other years like 2011, 2017, or were as bad as the worst of 2016. It also proved to be one of the few down years for Disney and Pixar, as a Sony Pictures Animated film took home the most awards, and rightfully so. Anyway, the rules for this list are the same. They had to have come out in 2018, and were in the running for the 2018 Oscars and Annie Awards. No straight-to-DVD films, unless they are of some major importance in the animation pop culture realm. Like usual, I will also be including the animated Netflix films, because unlike most animation lists, I actually saw every animated film released in the US and in the running for the Oscars. So then, let’s get started!

44. Duck Duck Goose

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While Netflix’s upcoming animated feature line-up sounds incredible, Duck Duck Goose was by far the worst animated feature I saw last year. It was obvious that after multiple delays, it was shoved onto Netflix with no fanfare. It’s not a great looking film, the writing wasn’t anything note-worthy, characters were wildly inconsistent in personalities, and it was really gutsy to think that it had a chance in being in theaters. I felt badly for the studio that made it, because now it’s going to be labeled as another example of a studio wanting to dump a film that won’t do well, and give it to Netflix. I liked Jim Gaffigan in it, but that’s because he’s Jim Gaffigan. Outside of that, there is no real reason to go see this flick.

43. Gnome Alone

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I was wondering where I should put this one, because it’s just as bad as Duck Duck Goose, but Gnome Alone feels more cohesive and consistent in terms of tone, writing, and animation quality. It’s another film that was in limbo, because the original distributor was probably on its deathbed, and while there a few decent ideas that could have made this mildly more amusing than other films on this list, they don’t go far with it, and it’s another film that has a decent cast, but you will not find any info on them talking about it at all. At least, I couldn’t find anything. It’s fairly generic and pretty forgettable. Hopefully, Netflix picks and chooses what they release in the future, so they don’t end up with tripe that no one will be talking or caring about after it’s released on their service.

42. Happy Family

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Yeah, the entire bottom part of this list will be including many of the “was released in theaters, but no one cares” animated films of 2018, and Happy Family is one of them. It could have been an interesting flick about a family that ends up getting turned into the monsters they are dressed up as, but they didn’t take advantage of it in any of the correct ways. The characters are unlikable, the animation is dated and not theatrical quality at all, and the story gets a bit bonkers as it goes on. I hate that a lot of talented actors were attached to this, because this film does nothing for their careers. Maybe a more talented group of filmmakers could have made this better, but there is a reason no one remembers this came out last year.

41. Son of Big Foot

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The direct-to-video animation market had a dry spell last year, with no real major clunkers reaching theaters, but this carryover from 2017 was the only major animated direct-to-video film that was getting any kind of talk. It’s an absurd idea that’s not handled well, more animation that’s not entirely impressive, and a story that doesn’t really take advantage of how insane the premise sounds. It comes off like no one knew how ridiculous this setting was and played it entirely straight. The only major reason to watch this movie is to get a few friends together and grab a few beers to have a night full of laughs. Yeah, that’s not really a positive endorsement.

40. Netflix’s Godzilla Trilogy

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At first, I was going to make them take individual spots on the list, but they only work as one big movie, and they all are terrible. Clunky CGI, a boring drawn-out story, too much focus put on the humans, not enough monsters and giant monster action, and it had the wrong writer to craft a story that was worthy of Godzilla. I know some people love these three films, but I really can’t stand them. To me, this trilogy showed everything that was bad about both anime and the king of monsters. I already reviewed it, so you can check the review out on my website, but I would rather watch giant monsters duke it out Pacific Rim-style next time than what we got with this trilogy.

39. Sherlock Gnomes

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The real reason why this film is up this “high” on the list is because while the marketing for this film was awful, the two leads from the previous film were side characters in their own sequel, and the story as a whole is clunky and soulless, I could understand actually watching this film again. Honestly, it turned into a “better” movie because of how bad the marketing was, and how those jokes were only there in the trailer. There are a few solid performances, like Depp’s Sherlock, and the 2D animated sequences were easily the best part of the film. Sadly, outside of Elton John, no one really cared or wanted this movie to be made. Luckily, Sherlock Gnomes won’t be Paramount’s biggest animation blunder this decade, which, as of writing this, goes to Wonder Park.

38. Scooby Doo & Batman: The Brave and the Bold

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I don’t really talk about Scooby Doo on this site, but it’s mostly that I am avoiding the mountain of direct-to-video and the mediocre live-action films. I had to talk about this one as it combines the Scooby gang with the iteration of Batman that combined action and comedy. While I was amused and entertained somewhat, I felt like this film didn’t really know how to balance it out. It couldn’t focus enough on either the Batman or the Scooby Doo element to make either part feel cohesive. It felt more like an average episode of either show. Still, it had a few decent moments and some good voice performances. Check it out if you want, but you aren’t missing much if you don’t. At least it’s not that Tom & Jerry and Willy Wonka and the Chocolate Factory film.

37. Have a Nice Day

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Ah, yes, the Chinese “animated” film that caused a stir at Annecy 2017, and then was quickly forgotten. It’s a shame too, because I was very intrigued by the dialogue and the characters. It had some great dark comedy bits, and while the animation was limited, you could still feel the tension during certain scenes. I do wish this had more animation to it, and the ending didn’t just happen abruptly with no real conclusion, but it’s an interesting film nonetheless.

36. Fireworks

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Yeah, I was sad to put a GKids release this low on the list. Fireworks is not a good movie, and it’s fine if you like it, but for me, it’s up there as one of GKids biggest distribution disappointments. The characters were unlikable, the side male characters were creeps, and the premise and animation weren’t fully up to par. It’s interesting when you find out that this was an adaptation of a live-action television drama episode of a series called If, but that’s the only interesting thing about it. They could have easily taken this premise to much bigger heights with the whole rewinding time mechanic, but it comes off like this was only greenlit because Your Name was a hit. Maybe someday, another studio will find more to do with this idea, but for me, Fireworks is low on my priority of GKids purchases.

35. The Wolf House

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While I still found this film to be sort of boring and overly-long at 75 minutes, The Wolf House is way more interesting when you find out about the context in which this film takes place. This includes a compound that was founded by a German who escaped Germany and fled to Chile, to avoid pedophile charges, and the compound was full of monstrous acts of child sexual abuse, abuse towards it members, and so on. Yeah, that’s not entirely clear when you first see it. If you look at this with its own slow-burn horror film style, it’s surprisingly atmospheric, with an entire house being used with painting and stop-motion animation. It’s quite a technical achievement. Still, even for its short runtime, it seems fairly long, and most of the context will be lost on people who aren’t aware of this subject and history. It’s an interesting film if you can find it, but I don’t know how many will dig 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 91: Blame! Review

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In my Patema Inverted review, I talked about why universe building is important, and why you don’t really want to be taken out of the film because the world the film takes place in isn’t well defined. Sometimes, you need to take time to explain certain elements, because while the universe building could be seen as padding or exposition, it needs to make sense. However, if your entire film is just world building and set-up for an even bigger story, then you also need to be careful there. On one side of said spectrum, you have Rise of the Planet of the Apes, which talks about the origin/reboots the universe the franchise takes place in. It might be building up to what happens, but you still care about the characters and hate to see what happens. On the bad side of the spectrum, you have the first G.I. Joe live-action film where it’s not really interesting, has a lot of questionable elements, and doesn’t give us what we want until pretty much the end of the film. So, where does the Netflix-exclusive Blame! come into play? Based off the manga series and the online miniseries, Blame! is the first theatrical film adaptation of the property. It was directed by Hiroyuki Seshita, and was produced by Polygon Pictures, a studio well known for its help with CGI/CGI segments of films like Ghost in the Shell 2: Innocence, the Disney film Valiant, and the upcoming Godzilla: Monster Planet. I didn’t really see a lot of people get excited or talk about this film, and it got me concerned, since when there is no previews or that many articles talking about it, you wonder why that’s the case. Anyway, how is the actual movie? Well, let’s find out.

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Blame! takes place in a world where the entire earth is covered in giant metal skyscrapers, and there is barely any organic life left. It sucks to be a human in this world, since humans are considered pests by the security system that they ironically made, and are killed on the spot by the security system if they are spotted. Now, the human race is about to go extinct and live in these little settlements. As the viewer, you follow the lead of the film, Killy, voiced by Johnny Yong Bosch, a wandering individual who comes across one of the human settlements, and decides to help them out with the help of a decayed robot scientist. Can they survive? What will they find? Can they avoid the security system or maybe an even more dangerous threat?

blame02Right off the bat, Blame! does a couple of elements excellently. First off, let’s talk about the animation. CGI anime has been a touch controversial, due to the fact that 2D animation is more loved with this medium than CGI, since CGI in anime has been poorly used before, and is still poorly used. An obvious example of bad CGI anime would be the recent Berserk series, since it looks like they just replaced 2D characters with CGI puppets, and either don’t have the time or the effort to make sure they move fluidly. It’s aggravating, since you can understand that CGI animation might be cheaper and could get more jobs for people in that insane working conditions nightmare known as the anime industry. At the same time, CGI just doesn’t have the soul that 2D has, and it never, will unless they were willing to go the Disney/Pixar level quality route. Blame!, on the other hand, has for the most part, pretty good anime-style CGI. No one comes off as puppet-like, nothing is too floaty or cheap, and it makes the action scenes and overall film fun to watch. You can really tell with something like the recent Berserk series when the camera swings around or moves quickly to try and trick the viewer into not spotting the shoddy animation. It makes watching the series tough since you know how good action anime can be. You feel every shot, punch, and strike that are being given to the enemy and the lead characters.

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I think the world building is done pretty well. To me, it stands out, with while being very drab and gray, an interesting concept, since you always hear about how we, as a species can stop overpopulation. Granted, the story does fall into the “the humans forgot to do something, and now the thing we created, wants to kill us” trope, but I could look past that since so many sci-fi-focused products give us that story. I liked that these giant robots that build everything are not bothered by humans, I think it’s scary that there can be killer security robots that can disguise themselves as humans to avoid the barrier keeping the humans safe. I liked how bug-like the security robots moved, and so on. Killy is an interesting character, since he is a cyborg, but he’s left open enough to hopefully see more of him fleshed out in a movie or series. You wonder why this cyborg was made when everything else wants to kill the humans that are still surviving. I will also give Blame! credit, because it pulls off one of the best twists I have seen in not just anime, but animated films. Maybe I could have picked up on it more, but I found the twist to be legit shocking.

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However, this film does fail in a lot of areas. For one, this feels like one of those franchise films that are solely made to set up the universe, and then the second film is what you actually get. I say this because the characters outside of Killy, are really boring. I could care less about what happens to this set of humans. You get every single anime/sci-fi trope you can think of. The only two interesting characters are again, Killy, and the scientist that helps them out. By the end of the film, I had a lingering feeling they were expecting this to be super amazing, and either spawn more films, or a TV series. It gets a bit drab to watch, because the characters fight only two types of enemies. They also do that thing where Killy decides to stay behind to kill something horrifying looking so the rest of the human survivors can escape, but don’t show us the actual fight. Like, don’t do that! Don’t cut away from the most interesting character in the entire film. Nothing else besides the world the film introduces to you leaves a huge impression, and that’s a shame, since I could have seen this being one of the great anime action films. I also felt like some of the anime tropes that are in, well, anime are annoying. For example, why does the scientist, when she gets a new body, get heels? And why does the bigger threat in the film (not spoiling it here) have a skirt? I mean, it’s not that it’s attractive when this threat is killing people point blank with the same weapon Killy uses.

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Blame! is definitely one of the better animated films to come out this year, but in terms of animated films in general, I personally thought it was just okay. It’s nothing ground breaking, it has its moments, but I can’t see myself watching this movie again. It doesn’t have the full-on staying power that something like Ghibli and Hosoda would create and show off. I can’t really say rent it, since it’s a Netflix exclusive, but if you aren’t done watching the new season of House of Cards or Orange is the New Black, maybe give it a look. Though, if you haven’t seen The Little Prince, then watch that first.  Well, that was fun, and before we start heading into some really good movies, I want to tackle one more middling film that shouldn’t be getting a theatrical release, but it is. Next time, we will look at the Google Play exclusive, A Stork’s Journey. Thanks for reading, I hope you enjoyed the review, and I will see you all next time.

Rating: Rent it!