Worst to Best Animated Films of 2020 Finale

(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!)

Good gravy, let’s finally get this one out of the way! Here were my top 10 favorite animated films from 2020! If you haven’t seen part 1, part 2, or part 3, I will make sure to hyperlink them. I apologize that life got in the way of making this one happen so late. 



10. The Wonderland 

While Keiichi Hara’s follow-up to one of my favorite films of 2016 Miss Hokusai doesn’t quite reach that level of quality, his new film, The Wonderland is still a whimsical adventure via a coming-of-age tale. It has some truly beautiful landscapes and a creative fantastical world that may be Hara’s own take on Alice in Wonderland. The villain isn’t the most interesting, and there are some jokes and moments that irked me, but I was so happy to catch this film before everything came crashing down with the pandemic. 

9. The Willoughbys 

This dark family comedy may suffer from a majority of the children in this family being underdeveloped in favor of the oldest son getting the majority of the development, but considering how little came out during the pandemic, I’ll take an overall vibrant and funny experience. What it may lack in some story strength makes up for some of 2020’s most vibrant CGI stop-motion-style animation, some very clever jokes, a fantastic cast, and it was just another step in showing what kind of experiences Netflix, flaws and all, are going to be offering in the feature animation scene. 

8. The Croods: A New Age

While I wouldn’t call 2020 or 2021’s DreamWorks’ best year for animation, out of their four recent films that they have released, The Croods: A New Age is their best one since 2019’s How to Train Your Dragon: The Hidden World. Who would have thought that a sequel that was in start/stop production hell would actually result in one of the better DreamWorks sequels? They expand on the world, the new characters are likable and bring in some substance to the overall story, the jokes are more creative, and the sequel leaning into the more absurd world that the story takes place in leads to a better overall product. I don’t know what they could do with a follow-up film, but if it’s as much fun to watch as this one, I wouldn’t mind seeing a third film. 

7. On Gaku: Our Sound 

While Lupin III: The First and Wolfwalkers were going to always be the more approachable GKIDS-distributed films of 2020, I still wish On Gaku: Our Sound had received more love. It’s a truly, by the definition, indie animated feature among the bountiful animation scene in Japan. Its offbeat atmosphere, quirky humor, and laid-back approachable story stick out from the flashier big-budget fare. That many of the people working on this were first-time animators is an impressive feat and while the use of rotoscope is obvious, the fact there is no other film quite like it out in 2020 is impressive and rather fun. It’s a film that introduces a real deal shot in the arm that the animation scene always needs. 

6. Lupin III: The First 

I remember how worried I was to see the franchise’s first step into CGI, and boy howdy, they didn’t miss a beat. Not only is it a fantastic foray into CGI animation, but it’s also a Lupin story that’s actually compelling and entertaining! For those that are fans of the franchise, getting both good animation and a good story isn’t always a given or is balanced with each film and special. With the return of the iconic dub cast, thrilling action, stellar writing, and some of the best CGI from Japan, Lupin III: The First shows a promising future for the franchise and the future of theatrical CGI animation from Japan. 

5. Onward

Remember when everyone was dunking on this film, and then everyone ended up liking it? I sure do. While it might not be one of the higher-end Pixar films, this touching story about two brothers and their journey to strengthen their bond and to try to get some closure with their dead father does elevate it as one of the more intimate and personal Pixar stories. The fantasy element even has a fun way of approaching the metaphorical and literal theme of losing and finding magic in life. It’s a film that has gotten better on rewatch, and I feel badly that it became one of the first victims of the pandemic. 

4. Over the Moon 

Netflix had a tough challenge of following up their acclaimed year of animation from 2019 where they had both I Lost My Body and Klaus, so Over the Moon was such a surprise with how much I fell in love with it. It is a touching story about grief, personal change, and dealing with loss, with some fantastic music, vibrant animation, and a fantastic lead. It was directed by Glen Keane, and this was his first time directing a feature film! Over the Moon also has a very witty script from Keane and the late great Audrey Wells. It also gets bonus points for having moments of gorgeous 2D animation. With Pearl Studios now on their own, making films with a promising lineup of future projects in the works, Over the Moon was an out-of-this-world first impression of what they could do after their relationship with DreamWorks ended. 

3. Ride Your Wave 

Masaaki Yuasa is a master director. I mean, I could leave it at that, but that wouldn’t be super satisfying as this is, until we finally see Inu-Oh this year, his best and most approachable movie. It’s a romance that of course has its own Yuasa twist that makes it his take on the “Shape of Water” romance perspective about a college girl finding her way in life. It even has the tamest visuals of Yuasa and Science Saru’s work. You can tell they toned it down from the immense visual overload that was 2004’s Mindgame and his more recent work with Lu Over the Wall and The Night is Short, Walk on Girl. Whether you like his more out-there premises or his more grounded ones, Ride Your Wave should be in your animation collection. 

2. Soul 

Even with a year like 2020, having a Cartoon Saloon, a Peter Doctor/Kemp Powers Pixar film, and a Yuasa film in the top three spots should be a sign of how good the good stuff was. There are definitely some understandable arguments about some of this film’s execution of plot points, and I understand where they are coming from with some of them, and maybe it’s because 2020 was just an entire mood year, Soul hit many people in a way that most animated films, Pixar or otherwise, do. Until Disney and Pixar can break the chains and do more adult-tinted animated features, this is the most adult film Pixar has ever put out, with an extremely philosophical story about life and what drives a person. With earworm tunes, an incredible performance from Jamie Foxx, and a rather ethereal tone, Soul ranks up as one of Pixar’s best. 

1. Wolfwalkers 

I mean, was there any shock here that it would be number 1? While it is technically tied with Soul, there is just something extremely special anytime we get a Cartoon Saloon film. It has some of the studio’s best animation yet, with its mix of gorgeous 2D visuals and rough pencil style reminiscent of the 70s and 80s Disney/Don Bluth that looks like it was filmed on wood grain. It is a touching story about two young girls, the themes of discrimination, anti-colonialism, sexism, freedom, family, and environmentalism, Wolfwalkers stands out from the pack in a year that had very little competition for the major titles everyone was looking forward to. Now, I do wish they would simply sell Wolfwalkers as an individual release instead of holding it hostage with Song of the Sea and The Secret of Kells, though seriously, pay for an AppleTV+ subscription and watch this incredible flick.

The Other Side of Animation 245: Back to the Outback Review

(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!)


Heads up: I was able to watch this series before its recent release via a screener sent to me by Netflix. I got no other form of monetization other than the screener. Thank you, Netflix.

Netflix has been making a name for themselves with the teams and talented individuals they hire to craft their animated work. Streaming has opened up a much wider field for there to be differences within the animated medium. We have gotten shows and films that would not fly within the big studio scene, and it leads to a much healthier artistic freedom. Not to say there aren’t huge improvements to be made behind the scenes, because there absolutely are with how animators, writers, and entire teams are paid and treated, but you can still appreciate the work that they have made. Hopefully, things become better behind the scenes, because the products these talented individuals are making have been really fascinating. For example, this new animated film called Back to The Outback. 

Directed by Clare Knight and Harry Cripps, our story revolves around a group of “dangerous” animals at a zoo in Australia, because if you are going to have a film about dangerous animals, you might as well go the route and place it in a country with some of the deadliest animals around. Moving on, we are following the story of a Taipan snake named Maddie, voiced by Isla Fisher. She lives in a glass cage in the area of the zoo that has “dangerous” animals. These animals include a funnel-web spider named Frank, voiced by Guy Pearce, a thorny devil named Zoe, voiced by Miranda Tapsell, and a scorpion named Nigel, voiced by Angus Imrie. They are treated as the worst things ever, compared to their zoo counterpart, a koala named Tom/Pretty Boy, voiced by Tim Minchin. Pretty Boy is the star of the Zoo while everyone else is treated like garbage. After a crocodile is taken away after scaring a kid, Maddie and her friends decide to escape the zoo to head back to the outback! Unfortunately for them, they have to take Pretty Boy with them and are now on the run! They are being hunted down by a handler at the zoo named Chaz, voiced by Eric Bana, and his son named Ben, voiced by Diesel La Torraca. Can our gang of animals outmaneuver the humans and make it back to the wild?



Listen, this film is getting stuck between so many big releases and releases that aim for a more adult audience. It’s a real shame, because while it is a smaller story, the film itself is still creative with how it handles its themes. There is a lot of subtextual commentary with how the “dangerous” animals are portrayed, and how the zoo handlers get them ready for the show. There are so many little moments and details that you can pick up from the film’s animation beats, that the cutesy designs are almost there to really catch you off-guard with the subtext underneath the cuteness of the visual style. Even the villain, while nothing super memorable, follows through the themes of the film. There is nothing better than watching a film taking full advantage of the themes it lays out on the table for everyone to see. Throughout the entire film, the story itself has all of these little creative jokes and moments that play up the themes of the film in clever ways. Sure, on the surface this looks like a lot of smaller-scale animated films, but when you look past its cute designs and past the somewhat familiar trappings of most family-focused animated features, there is a lot to find admirable about how it talks about the subject matters. Even the comedy has a lot of wit via its dialogue and visual gags. If you are at all familiar with the history of animals in Australia, then some of these gags are going to be a laugh riot. 

Animation-wise, it gets the job done. The designs of the animals and humans are good. The animals themselves are expressive and they mesh well with the human characters. The voice cast is delightful, and they are all going at it like how most actors should be doing voice work. You know, like actual acting gigs. They all capture their characters perfectly. The cast is stacked with plenty of big names that include Isla Fisher, Tim Minchin, Guy Pearce, Miranda Tapsell, Angus Imrie, Eric Bana, Rachel House, Keith Urban, Celeste Barber, Wayne Knight, Jacki Weaver, Aislinn Derbez, and Diesel La Torraca. The soundtrack has the proper Australian vibe composed by Rupert Gregson-Williams, and there are a few songs that are sung by the characters in the film. It will definitely remind you that Keith Urban has a great singing voice. 

While the film suffers from some familiar story beats that we have all seen in road trip films, some characters are better fleshed out than others, and not all of the jokes hit, Back to the Outback is a wild romp that sets out to be a fun little animated adventure, and at the same time, deals with themes of discrimination. It’s on Netflix, so you have no excuse to miss out on it. Plus, Netflix, despite their many faults, was willing to let these directors and their talented team of writers and animators make a movie that was a surprise. Rarely do many films result in a positively surprising reaction. Now then, it’s time to dive into some screeners with My Sunny Maad. 


Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Go See It!

The Other Side of Animation 240: Dogs in Space Review

(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!)


Heads up: I was able to watch this series before its recent release via a screener sent to me by Netflix. I got no other form of monetization other than the screener. Thank you, Netflix.

The super talented teams who are making cartoons from 2010 to now are truly bringing in a new generation of stories and experiences. It doesn’t matter if they show up on Cartoon Network, Adult Swim, Nickelodeon, Hulu, Netflix, and what have you, we are in a much better state of storytelling and what kind of stories we can tell now more than ever. Sure, we still get spin-offs, reboots, sequel series, and such, but that’s going to happen with every decade of TV animation. What’s so fun about the 2010s-to-now set of series coming out is that they are more committed to telling stories with themes that would have been shrugged off from the 70s, 80s, and even in the 90s. There were shows before then that dealt with heavy topics, but they were rare and definitely were not the norm. Now we have shows that deal with much more story-driven experiences and it helps make more substantial characters and experiences. Even shows aimed at little kids are becoming better, and one example we can look at for that is the new series from Jeremiah Cortez’s Dogs in Space. 

Created by Jeremiah Cortez and soon to be streaming on Netflix, the story follows a group of scientifically enhanced dogs that are set into an ‘out of this world’ adventure to find a new home for the humans. These dogs include our corgi leader Garbage, voiced by Haley Joel Osment, a shetland sheepdog warrior named Stella, voiced by Sarah Chalke, Nomi, a brash excitable pilot shih tzu voiced by Kimiko Glenn, Ed, a thieving Jack Russel Terrier voiced by Chris Parnell,and Chonies, a scientific chihuahua voiced by David Lopez. We also have our scared surveillance officer Loaf, voiced by William Jackson Harper. Can they find a planet good enough for the human race? What other dogs will our crack team of dogs encounter? What aliens will come into contact with them? 

This series is the 2021 version of 2020’s The Fungies, as in it’s a series with charm, some very sharp humor, and a lot of heart. It’s essentially Star Trek, but combined with animation, and no I don’t mean like Star Trek Lower Decks or that new Star Trek Prodigy series, but more with cute dogs and a “golden age” Simpsons era wit and humor attached to it. It might be a show aimed at younger kids, but there’s a bit of a peppery kick to the dialogue and character dynamics that make this show stand out from the rest. The show is definitely more about the adventure and comedy aspect, and while there is action, it’s not the overall focus. It might even be its weakest part, but we will get there when we get there. Most of the episodes are Garbage and his crew exploring the galaxy and encountering the dangers that come with every planet and for this first season, the planet hunting is only half of the plot as our fluffy heroes deal with the inner politics of how the colony deals with spats and rebellious dogs being bad boys instead of sweet little good boys. The different personalities of the teammates from Garbage’s doofy arrogant confidence, to Stella’s stalwart bravery, Kimo’s bombastic nature, the opportunistic kleptomaniac Ed, the calm and collected Chovies, and the hyper paranoid Loaf all work well to bring in some truly great and charming laughs. It even has a few dark jokes and many dog puns for those that like that kind of humor. Luckily, the personality is spread across the many side characters from the council on the ship, to random aliens and side characters seen throughout the show’s first 10 episodes. It makes for a lived-in world as we see what kind of ship the dogs run. 

What always amazes me about modern cartoons is how, while goofy at points, a majority of more story-driven shows introduce a more serious tone or theme to the overarching story. This show’s major theme is not only about trust and that typical friendship conquers all, but the running theme of Dogs in Space is our characters dealing with distrust and abandonment. It makes sense due to how dogs in real life become attached to the hip of good owners and when the owners have to leave or something happens to them, they get worried, scared, or maybe angry for feeling abandoned. It’s the main driving emotion for one of the characters in the show, and Garbage always worries that his messages aren’t getting to his owner who’s back on earth. It makes for a very endearing and heartfelt story, as you see these otherwise adorable poof balls fight space aliens and travel across the stars. 

Art direction-wise, it’s an adorable-looking show. The designs are simplistic, but in a good way, the characters are expressive, especially Loaf, and the team making this show was able to make characters with small eyes feel very expressive. Now, is it well animated? Why, yes! It might use a simpler design style, but if you have seen shows like Atomic Betty or Star vs. The Forces of Evil, then you know what kind of animation style they are using. It definitely feels similar to how they move in both shows. While the action is not the flashiest, it gets the job done, and due to how likable the characters are, you want them to do well and make the fights satisfying to watch. The voice cast is also stellar. It’s the most stand-out part of this overall show. As mentioned previously, you have Haley Joel Osmont, Kimiko Glenn, Chris Parnell, Sarah Chalke, David Lopez, William Jackson Harper, but due to this being fairly Star Trek-inspired, we also have Will Wheaton and Michael Dorn. Other incredible voice actors include Debra Wilson, JP Karliak, John DiMaggio, Rena Strober, Bobby Moynihan, and Dee Dee Magno Hall. 

Dogs in Space is a cute, charming, and ‘out of this world’ animated series. It sets out to be an amusing sci-fi space adventure, and that is what you will be getting. If you like dogs, which you had better, and adorable sci-fi adventures for all ages, then you will probably enjoy this series. Animation is in a healthier place than ever, and while there are plenty of improvements that need to be done within the animation industry, if we can get more shows like Centuarworld, Maya and The Three, Kid Cosmic, City of Ghosts, and Dogs in Space, then I’m all for seeing what the animation future has in store for us. Next up, we take a trip to both the US and China with this new US/China collaboration effort, Extinction

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Go See It!

The Other Side of Animation 237: Maya and The Three

(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!)

Jorge Gutierrez is one of the most visually distinct artists in the animation scene. His distinct Hispanic/Lantinx inspiration has made him a fan-favorite artist for his work on El Tigre and 2014’s The Book of Life, to name a few of his incredible works. When we talk about artists with visually distinct styles, he is one to be on the lookout for. There is something so incredibly charming and appealing about his work, and hearing that he was one of the original artists picked up to make something original for Netflix was thrilling to hear. Luckily, his newest project, Maya and The Three, a nine-part limited event series, is quite possibly his best work and one of the best new shows/event series of 2021. 

The story revolves around a young lass named Maya, voiced by Zoe Saldaña. She lives with her family who are mighty warriors that include her father King and queen Teca, voiced by real-life couple and creators of the show Jorge R. Gutierrez and Sandra Equihua. On her 15th birthday, the underworld gods tell her that she must come with them to pay for her sins and past actions made by her family. To try and prevent her fate, Maya goes on an adventure to try and uphold the prophecy that her parents told her, about how a mighty eagle warrior and her allies will take down the God of War and save their people. 

The best part about this limited series is how well it fleshes out its characters. The creators tend to take an admirable amount of time to set everything up, and it never feels awkward or unnatural for the plot to snap back from giving each of the backstories of our characters to going back to the main plot of the episode. It’s a straightforward story as Maya encounters her three allies while taking on Gods of all shapes and sizes. It makes for a fun watch that never skips on what needs to be told and the stellar action sequences. While there are goofy and silly elements to the overarching story, it’s one that can get dark, and there will be character deaths. It’s a tale that has themes of death, dealing with loss, family, discrimination, and dealing with legacy. You may assume this is for kids only, but be ready to turn into an emotional messy blob with how difficult the story beats will impact you in the feels. If you have loved the stories from films like Kubo and the Two Strings, then you will feel right at home with this show’s tone. There are some that may say it would have been cool to see as a movie, but the nine-episode runtime gives everything enough room to develop. Sure, there could be some downtime for the characters to breathe, but it’s a show that knows where it wants to go with its story. 

One of the goals for this show from Jorge and Sandra was to make Maya a series with a theatrical look and budget, and boy howdy, they got it down. This is one of the best-looking tv/event series you could find on the streaming service. The CGI is top quality from the animation studio Tangent Animation, Mexopolis, Maya Entertainment, and Netflix Animation. The designs carry Jorge and Sandra’s iconic visual flair with the designs with Jorge translating extremely well into CGI. Characters have a ton of detail to them, but it never feels too busy. You can tell what kind of character each individual is by the look of their designs. They even throw in some 2D sequences to add a little flair to the overall polished package. The world they craft is so creative. Rooster-shaped magic schools, lunar moon islands, mist-covered temples, colossal golems, neon speed lines, upside-down pyramids, gods that can cause tornadoes, gator-headed gods, and you get the idea. They went all out to make a fantastic world in which everyone thrives. 

The voice cast is fantastic, with a Hispanic/Latinx cast that has a ton of amazing actors and some of them get to play against type, which is really refreshing to see when you sometimes only see these actors play one type of character. You, of course, have the incredible  Zoe Saldaña who is fantastic as our lead heroine. You also have Diego Luna, Stephanie Beatriz, Gabriel Iglesias, Alfred Molina, Gael Garcia Bernal, Danny Trejo, Allen Maldonado, Cheech Marin, Rosie Perez, Wyclef Jean, Queen Latifah, Carlos Alazraqui, Eric Bauza, Joaquin Cosio, Isabela Merced, Rita Moreno, and other incredible voices. They put out some of their best work as these characters, and the voice acting is matched by an incredible score composed by Gustavo Santaolalla, who composed the music for The Last of Us series, Brokeback Mountain, The Book of Life, and Narcos: Mexico. Tim Davies, who also helped with music for Darksiders, Ratchet & Clank Future: A Crack in Time, Batman: Arkham City, The Simpsons Movie, Ant-Man, Crimson Peak, Frozen II, and many other shows, films, and games also composed the show’s score.

The fact of the matter is, Maya and the Three is incredible. This is one of those event series that you get hyped for, and the hype is 100% worth it. It’s incredible to see a creator like Jorge and his amazing team put together something truly inspiring, grand, and beautiful. You have one of the best stories told in animation this year, and if you are in the mood for something truly distinct, then you will need to watch this epic series. Now then, I’m going to keep what’s coming next under wraps. You will just have to check in next time to see the next review. 

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Essential

The Other Side of Animation 235: Firedrake the Silver Dragon Review

(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!)

Listen, it is pretty much impossible to have every studio make films on the level of the top-tier giants like Chizu, Science Saru, Disney, Pixar, and you get the idea. Not every studio all around the world is going to throw down the money for the tools, the talent needed, or will have the smoothest production cycle to make films on par with what’s coming out these days. That’s okay for the most part. Not everything needs to look like the most polished animated film from the bigger studios. With that said, with so many smaller studios making animated features, you have to do something that stands out. If your film makes viewers remind them of much better films, then you are in trouble as a studio. It’s always going to be disappointing when you see a small film from a studio that wants to make an impression, and then come off as something that was made because someone wanted to make an animated film due to how profitable they can be. This is where most people will fall with Dragon Rider aka Firedrake the Silver Dragon


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Directed by Tomer Eshed, the director behind the incredible CGI short Our Incredible Nature: The Common Chameleon, Firedrake was written by Cornelia Funke, John R. Smith, and was just released on Netflix. The story follows a silver dragon named Firedrake. He can’t breathe fire, the other dragons treat him like some odd individual, and his only friend is a creature called a Brownie. He talks to the elder dragon of his kind to learn about the Rim of the World, a location where dragons live freely and away from humans. One day, they find out that the humans are creeping ever so close to where the dragons live. It’s up to Silverdrake and his friend to find the famed dragon rider to help find this location and avoid the evil grasp of Nettlebrand, a mechanical dragon that wants to eat the dragons of the world. 



It’s very difficult to come up with a compelling story that feels refreshing and constantly keeps your attention. Unfortunately, this film doesn’t do a stellar job at keeping the audience’s attention. If you have seen any kind of fantasy film with dragons as the focus, then you will have seen this film. It has a few good lines and morals, but when you are struggling to remember the characters that said it, or when they said it, that’s a problem! The fantastical elements mixed with modern-day human civilization feel undercooked. The humans don’t seem to care that giants, sea serpents, and other mystical beings exist in this world, when the opening of the film explains that humans and dragons used to live together. Okay, well, why should I care? Viewers will find it hard to feel engrossed in this bog-standard world with a mediocre story attached. There are themes of moving on past a tragic event in your life, and how everyone is flawed, but can do good things. To give the film credit, those are decent points. 



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Getting to those points is what makes the film such a struggle to watch. It feels too childish for adults, and not engaging enough for kids. It makes references to much better films you would rather be watching, and those references can come off as both cute and very desperate. The two references by the way are for Ice Age and the obvious comparison point for this film, How to Train Your Dragon. To be fair, the film is based on a book,and could have been simply a bad adaptation of the story. To be even fairer, most viewers won’t care if it’s based on something, because the film needs to be good on its own, and no one wants to see fantastical creatures reference stuff like the internet, Skype, and you get the idea. It feels insulting that this film thought it needed to take place in the modern-day when if you change the time period, it wouldn’t matter. Sure, you would have to change a few scene executions around, but you wouldn’t have to change the overarching story. 




The characters fall flat. Firedrake is your typical dorky outcast who wants to be a powerful dragon but doesn’t know how. Sorrel is the snarky one who doesn’t trust humans. Ben had the potential to be an interesting human character, but viewers will have seen much better orphaned characters with shows like Kid Cosmic that came out this year. The villains and side characters that help flesh out the world don’t offer too much, which is shocking since you would think a giant mechanical dragon voiced by Patrick Stewart would be more entertaining than it actually is. The film’s story is a real crushing case of going in one ear and out the other. 




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The animation for Firedrake and the Silver Dragon looks like those videos you see on YouTube, where they take a game that has colorful cartoony graphics and run it through the hyper-realistic textures and graphics of the Unreal Engine, but then don’t translate the cartoonish character designs. The animation looks clunky and stiff. They also do a lot of repeated character models and looping animations. The overall vibe that I personally took away from this film is an animation school graduate project. Patrick Stewart’s character Nettlebrand has the best character animation on him, but it makes you wonder whether making him metal had a reason for it. A different team would focus more on his robotic elements than it looking like an alternate costume/skin from a video game. The human designs are unappealing to look at, and another sign of either the talent not being there or the talent not having time to go over a few sequences to make them look less horrifying at points. The film also feels like the CGI characters are at times flying against a flat background.


Since it wants to be like How to Train Your Dragon, it does have a few moments of action and flying, but they feel unimaginative. How to Train Your Dragon felt like you were there while the flying was happening. The overall film lacks that cinematic edge, and whether it was due to time or resources not being handled well, the action and flying sequences don’t have that spark and magic to them. Yes, for the most part, you can judge this film on its own merits without having to compare it to films that were obviously made by large teams of talented animators and directors. With that said, when a film like this is making references and wants to be like that more popular film, well, it’s open season on the comparisons.

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The voice cast does have a few big names including Thomas Brodie Sangster, Felicity Jones, Patrick Stewart, Freddie Highmore, Meera Syal, Sanjeev Bhasker, Nonso Anozie, Alex Norton, and Jimmy Hibbert to name a few. The performances range from annoying to some of them trying their hardest to work with the mediocre material, and some of them are completely forgettable. Patrick Stewart seems to be putting in most of the legwork to leave an impression, and even the weakest Patrick Stewart performance is better than most actors in this film. 






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Netflix is an odd beast when it comes to animation. They have all of this money and they have put out a lot of incredible work, but then you see them buy films from overseas that would look at home on the film rack in a grocery store next to direct-to-video animated fare. If I wanted to see a company bring over direct-to-video films, I would have gone to Lionsgate. Firedrake the Silver Dragon is not the worst of the year, but it’s definitely a bottom-tier animated film for 2021. Maybe if this film came out in a weaker year I would have liked it more, but since the films are so strong this year, it’s going to end up near the bottom. There are so many better animated films with dragons in them right now that you would have to use a map to find a reason to watch this one. If you do want to watch it, then go ahead. Watch the film at your own leisure and see how you come out of the experience. Well, next time, we will be looking at yet another CGI animated film coming to Netflix, but you will have to wait and see what it is.

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Lackluster!

The Other Side of Animation 233 – The Witcher: Nightmare of the Wolf 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!)


Heads up: I was able to watch this series before its recent release via a screener sent to me by Netflix. I got no other form of monetization other than the screener. Thank you, Netflix.

When a ton of different kinds of similar films come out in one year, you want to stand out and be able to stay on your own two feet against the competition. There is nothing worse than being the film that you reference in a negative way when you are comparing it to the film that may be similar but is the better option. This happens from time to time with certain years in animation. Why should anyone choose the subjectively weaker option, when you have something subjectively better offered to you? In this case, this year we have two different action fantasy films that take place in their respective franchises. You have the famous Demon Slayer: Mugen Train, which is the sequel film to the first season of the shonen action franchise, and now we have the prequel film to the Netflix live-action series, The Witcher with The Witcher: Nightmare of the Wolf. 


Directed by Kwang ll Han, written by Beau DeMayo, based on the book series by Andrej Sapkowski, and produced by the legendary Studio Mir, this is a prequel story that takes place decades ago before our lovely Geralt takes the mantle as the main character. So, what do we get instead of a story following a baby Geralt? Well, you should heighten your senses and get your silver sword ready for what I’m about to review. 

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Our main hero for this story is Vesemir, voiced by Theo James, an infamous swashbuckling Witcher and future mentor to the franchise’s main character Geralt. Vesemir is going about his days as a monster slayer, who is hated among monsters and humans alike. I mean, technically, no one likes Witchers and there has been tension among his kind due to the growing tension between humans, the dwindling number of monsters, and their futures. During one night, Vesemir encounters a truly unique version of a monster known as a Leshen, and that sets him off on his journey to find out exactly what is going on, who is behind these weird new experiments, and will he and his kind be able to survive?

So, with this being a prequel story to the main events of the TV series, how does it handle the overall story of Geralt’s mentor and his days as a younger Witcher? I think one decision that was well executed was the fact that you can pretty much sit down with this film and not have seen the live-action show or played the games, and get an understanding as to what the story is about, and the dark fantasy world in which they live. It has a sort of typical fantasy thriller experience, and you can understand who was behind what exactly, before the twists are revealed, but because the dialogue was this great mix of camp and charm, and the overall story is morally grey, it makes for a fun romp to experience. The world of The Witcher is dark, morally grey, and unforgiving. While I call Vesemir the hero of our story, he has some skeletons in his closet that make him a flawed hero. Like I said though, you are easily roped into the story as you do see the complexity of this world’s politics. What you find out about the origins of the Witchers isn’t great, but you can see their perspective in how one becomes a Witcher and how they try to survive in a world full of discrimination and hatred, and how that can corrupt anyone. Now, with all that said, the film knows it’s an action flick, and Vesemir, while having his serious and dry moments, is mouthy. He has some very action movie one-liners and is cocky, but in a fun way. He also has a sincere heart for himself and for the people he cares about. It results in a film full of some mild cynicism, but a lot of heart. It might have a script that can be a bit blunt at times with its commentary, but it never bothered me, and with some lessons and themes, it’s good to be blunt about certain things. Now, if you are wondering if you will ever see Geralt, you will, but don’t expect to see him in any real meaningful way. This is Vesemir’s story, and he’s a fun lead character. It’s one of the few prequel stories where I feel like it tells a good story that never made me think about “well, why should I care about anyone here since it’s a prequel?”. Anytime a prequel can make me say that, they are on my good side. 

Now, for the presentation, this is Studio Mir, and while the overall animation looks like a better-budgeted Avatar: The Last Airbender episode, it looks great. There is a reason why Studio Mir is a highly sought-after studio for action shows and why so many studios try to copy their direction in crafting visuals and action. There is a lot of slick action choreography and camera work to make this some of the best action seen this year. It’s a film with a ton of satisfying action and gore on screen that makes for a visceral, but fun romp! Since this is a film based on the Witcher series, you should also expect some pretty good music as well! It’s composed by Brian D’Oliveira who was a composer on games such as Sackboy: A Big Adventure, Journey to the Savage Planet, Shadow of the Tomb Raider, Resident Evil VII: Biohazard, Tearaway, and Papo & Yo. He brings this mix of European folk with some middle-eastern sounding tunes. The voice cast is also pretty good. You have Theo James as our lead character, Lara Pulver, Graham McTavish, Mary McDonnell, Tom Canton, David Errigo Jr., and Matt Yang King, to name a few of the actors seen in the film. The cast feels like they would fit right into either the live-action series or the third game. 

While I love this film overall, I do have some minor gripes. Tetra, while being a sinister villain, is not all that interesting. They fill the void with some literal last-minute backstory that connects her to an incident told offhand about the conniving nature of the Witchers. It’s not handled the best. The side characters also don’t leave an impression. You tend to forget their names, and they seem to be there to either fill out more of the world or to get killed. I think I would have liked to have seen them get fleshed out more. Maybe it’s because of the length of the film itself, but I would have loved this film to be two hours so you can give more time for the side characters to be expanded upon and to add more action. 

Even with the minor gripes, whether you are a fan of the franchise or not, The Witcher: Nightmare of the Wolf is a good fantasy action film that I think fans and newcomers can easily jump into with ease. Now, do I Like this more than Demon Slayer: Mugen Train? I think in some ways, Nightmare of the Wolf is better, but only because Mugen Train requires you to watch the first season to get the full enjoyment of the film. You don’t need to watch the Netflix Witcher series to enjoy Nightmare of the Wolf. Still, I”m happy to have so many action animated features this year, and I’ll be happy to see so many get made. Now then, I think it’s time to talk about a film that I meant to review a few months back, but, well, I wasn’t able to for one reason or another. It’s time we take a look at the Funimation exclusive The Stranger by the Shore

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!




Rating: Go See It! 

The Other Side of Animation 231: Monster Hunter – Legends of the Guild Review

(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!)

When you hear the terms, direct-to-video, made-for-TV, and “based on a video game”, it doesn’t always bring out the best reactions. Not that any of these tags can’t offer something of quality, but it’s usually not the case. You can find some gems among these terms, but when you get something that combines them into one mess of an experience, well, that’s a bad sign. It hurts because the film I’m reviewing today is the TV film Monster Hunter: Legends of the Guild

Directed by Steve Yamamoto, written by Joshua Fine, and produced by Pure Imagination Studio, this CGI film isn’t based on any of the released games, though if you wanted to connect it to one, it sort of takes place a little bit before Monster Hunter World. It’s a made-for-TV film that was sent directly to Netflix, and while it got one trailer, it was not a film that was available to review in advance. That should tell you everything right then and there about the film’s overall quality. How does this hour-long film adapt and work with the world of the famous video game franchise? Well, you should read on, my fellow hunters. 

Our main focus in this story revolves around Aiden, voiced by Dante Basco. He’s a young man who dreams of becoming a hunter to one day take down large beasts and or the infamous elder dragons. One day, after going out to try and stop a monster from causing trouble in the village, he runs into a professional hunter named Julius, voiced by Brando Eaton. After saving Aiden’s life, Julius warns Aiden that his village is in the migration path of an Elder Dragon that will cause destruction and death in its wake. Aiden decides this is his big chance to become an official hunter and pleads with Julius to take him on this hunt. The two are then joined by a thieving cat named Box, voiced by Stephen Kramer Glickman, Nadia, a Heavy Bow hunter voiced by GK Bowes, an Insect Glaive hunter named Mae, voiced by Caroline Caliston, and a blacksmith named Ravi, voiced by Dan McCoy. Can these ragtag hunters save the day and stop the Elder Dragon known as Lunastra? 

So, this film is only 58 minutes long. How in tarnation do you tell a compelling story within this time frame with multiple characters to flesh out, stakes implemented, and to overall engage you as the viewer to maybe go out and buy some Monster Hunter stuff? The obvious answer is you don’t. The fact that this is the directorial debut of Steve Yamamoto is extremely telling in how poorly told the story is. Yes, Monster Hunter has never been about the plot and was more about the gameplay experience of hunting giant monsters with friends. With all of that said, there was still an interesting enough plot to push you through the single-player experience. The story here is so squished and forced together that it doesn’t give any character time to grow. Yes, Aiden does get an arc, but he’s the only one to get an arc. Every other character either has little or no growth. The story feels so small-scale, when fighting an Elder Dragon in the game is meant to be this big event, and they choose one that you only encounter on the side and not in the main mission lineup. The film tries to make you care about the characters, but good luck remembering who these characters are, and how distinct they are as individuals without pointing out what weapon they use. Oh, and guess who dies first? You won’t believe it unless you know your monster movie or horror movie tropes. They even kill another character for the sake of drama, and it’s offscreen. I felt emotionally numb throughout this hour-long experience, and that’s a shame, but that’s what happens when you make a film based on a game that’s more about the thrill of the hunt and not the emotional hoops you jump through to get into the story. Even with it being based in the world of Monster Hunter, there is nothing that makes it stand out. I think the overall story could have been executed better if it had more time to tell its story, but since it only had an hour, there was no time to make a lasting impression. It tries to have a touching message at the end of the film, but it all fell flat for me. 

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How about the animation? Well, the CGI is decent for TV film standards, and I will give them credit for the monsters looking good. I mean, these are iconic monsters. They had better look how they do from the games, but here the movements are either stiff, too floaty, or not lively enough. I’m sure the animators didn’t have as much time to make this as polished as it can look, but the visuals are only slightly better than the CGI cutscenes from the video games from the PlayStation 2 games. When the action does kick in, it looks good, but the impact of certain hits and weapons feels unsatisfying to watch. The facial movements are also stiff and more emotion could have been put into their reactions. The voice cast is fine. The actors are doing their best with what they are given, and from what I can tell, this film was a first for a few of the actors, and, well, we all have to start somewhere, right? Dante Basco is a super talented actor, but he, along with the other actors, is not given the best material to work with. I give them kudos for making it work as well as they could, but the dialogue was mediocre. 

So, is there something that I like about this film? I mean, not really. Even though the fanservice bits and easter eggs are noticeable if you are a fan of the franchise, that shouldn’t be the end all be all of quality for fans of the franchise. Yes, this was made for fans of the franchise, but you shouldn’t just get the bare minimum and be okay with that. Wouldn’t it have been cool to get Studio Trigger or that studio that made Rise of the TMNT behind this property? How cool would that be? 

Maybe it’s because I’m a fan of the franchise, but I found myself despising 99% of this experience. Outside of Dante Basco doing what he can with the writing, the CGI animation is janky, it doesn’t look better than the CGI animation seen from the PlayStation 2 games, the editing is maddening, the story is tripe, and it adds up to nothing. It offers nothing outside of a few decent action beats, but since you can go and watch something like the upcoming The Witcher: Nightmare of the Wolf or Demon Slayer: Mugen Train, New Gods: Nezha Reborn, and get a much better looking and feeling experience. Legends of the Guilds feels like it was meant to be this pilot to have multiple stories about some of the characters seen throughout the franchise, but it falls apart pretty fast. Not the worst film I have seen this year, but it’s still at the bottom of my animated film list. If you have to watch it, I hope you enjoy burning an hour of your time that you won’t get back. Luckily, the next film I’ll be reviewing will have more to say as we look at Dash Shaw’s Cryptozoo. 

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Blacklist/The Worst. 

The Other Side of Animation 229: Centaurworld 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!)


Heads up: I was able to watch this series before its recent release via a screener sent to me by Netflix. I got no other form of monetization other than the screener. Thank you, Netflix.

I previously talked about this in my Snotty Boy review, but animation is such a beautiful medium of storytelling. With passion, talent, time, and the right team at hand, one can make a unique and distinct experience that you can’t find with something in live-action. There’s always something to be said when a usually cartoony property is given the live-action treatment, and how much more critical fans and critics are of said live-action adaptations. Why would you limit yourself with live-action when you can do pretty much everything within the world of animation? Anyway, the reason I bring this up is that I’m reviewing a new show that would be nigh impossible to translate into live-action. The new series on Netflix, Centaurworld. 


Created by Megan Nichole Dong, Centaurworld is yet another creative and unusual animated series for the notorious streaming service that you probably wouldn’t have seen on TV. So, what do I think about this fairly offbeat adventure with a bunch of quirky centaurs that is filled to the brim with musical numbers and a slew of my favorite character actors? Read on to find out! 

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Our story revolves around Horse, voiced by Kimiko Glenn. In her world, she is with her human companion, Rider, voiced by Jessie Mueller riding across the war-torn wasteland with a magical object that could help them out. Unfortunately, Horse and Rider get separated, and Horse ends up getting warped to a brand new world with the magical item. Horse has now found herself in the most magical place of all, Centaurworld! While there, she encounters a delightful cast of characters including a giraffetaur named Durpleton, voiced by Josh Radnor, Zulius a Zebrataur voiced by Parvesh Cheena, a kleptomaniac gerenuk-like taur named Glendale, voiced by Megan Nicole Dong, a birdtaur named Ched voiced by Chris Diamontopoulos, and a llamataur named Wammawink voiced by Megan Hilty. Can Horse and her new herd of friends find the rest of the pieces of the artifact and get her home and avoid someone called The Nowhere King? 

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So, we are about a good decade or so past the premiere of shows like Adventure Time, Gravity Falls, and Steven Universe. These types of shows have brought into the animation and TV world adorable worlds with a very offbeat tone and edge that will spill out into something that kids can still enjoy, but are there for the adults as well. It might be made for “kids”, but you catch more fish with bait, if you know what I mean. So, since on the outside, it looks like a lot of other shows, how does this show differentiate itself from other ones? Well, let’s start with its visual look. It’s a gorgeous show with a cartoony look, with fun and expressive designs that take advantage of its setting and the creatures you encounter in this quirky world of half-man and half-animal creatures. One of my favorite little details is the centaur bird character played by Chris Diamantopoulos, who’s human half is the upper torso so he has to keep flapping with his human arms. The designs are all very creative and aren’t just straight-up half human half horse individuals. Like, if the basic definition is half human half animal, then why not go all out with how they look? That’s the beauty of animation, because with all of the different designs, they all mesh well together. If they tried to do these in realistic CGI, they would not work at all. Even our main character Horse has a bunch of fun little animation tricks on her that give her so much character despite how she was probably tough to animate. Yeah, I know some people have talked about the weird design contrast with Horse being wildly different than the other characters, but when you see the story unfold, it’s this brilliant bit of commentary and storytelling about Horse herself, and at the end of the day, the design difference never bothered me. I’m being vague because I find Horse’s arc to be fascinating, and creative with how her arc unfolds. I have also heard some people argue that the show’s visuals are aiming for more of a “let’s make meme-worthy looks” approach, but while that may be the case, it’s not as distracting as some other shows and films like Space Jam: A New Legacy and Powerpuff Girls 2016. 

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Speaking of arcs and story stuff, the story itself seems like it’s going to be a goofier take on what would almost sound like a cartoon from the 80s. Like HBO Max/Cartoon Network’s The Fungies, it almost has a vibe of those shows. However, once you start binging the series, Centaurworld does reveal that it has a lot of baggage with its characters. This is a show that anyone can watch, but the topics and themes are very much adult. You can look at me and not believe me, but the show does tackle themes of abandonment, dealing with trauma, depression, self-esteem, love, trust, loss, and while the show will get goofy at one point or another through a lot of the episodes, the story beats themselves will ease you into the obvious baggage these characters have. It’s a clever way to approach these topics, and you can see how they weave it through the episodes. It might look and feel like a more polished 80s show, but it’s got the edge of a more modern cartoon that you just love to see. It’s able to be story-driven, but still takes its time with getting to the destination. This is why I love modern animation. Could you imagine people pitching this show back in the 70s and 80s? You would never get this far without some very heavy amounts of studio interference. Netflix might not be perfect, and I have plenty of issues with them as a company, but the fact they are letting creators do any kind of show they want is impressive. It’s not based on some pre-existing property or a spin-off of a popular show. Plus, the voice cast is amazing. On top of having a bucket list of guest stars, the main cast is one of my favorites of the season. You have Kimiko Glenn, Megan Hilty, Parvesh Cheena, Josh Radnor, Jessie Mueller, and Chris Diamantopoulos. Now I will say that it is a bit weird to see a POC character voiced by a white actress, and while she does a great job as Rider, I would be lying if I didn’t find the casting a tiny bit distracting since we had the constant recasting controversies last year. Everyone is distinct and they bring in a lot of fantastic energy to their performances. For me, while the comedy in the show might be hit and miss with some viewers, they mostly landed at a rate of 95%, and the song sequences are a delight at every point. Seriously, this show is so much fun to watch if you are a fan of musicals. 

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Centaurworld is another slam dunk TV series for 2021 and Netflix. It’s everything I look for in a show, and I was grabbed by the premise alone. I think it was creative and smart that Netflix got a bunch of super talented individuals and asked them to make their dream projects that you would have a hard time pitching in more traditional settings like on a TV channel. I hope they keep this up because this is how we get more great shows and stories. It might be goofy, but it mixes its darker elements and musical moments so well. The show might be a bit much at first, but keep watching it, and I’ll be patiently waiting for a second and third season if that happens. Seriously Netflix, make sure Megan Nicole Dong gets to complete this show! Next time, I will be talking about the third Sony Pictures Animation film this year with Vivo

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!





Rating: Essential!

The Other Side of Animation 225: America The Motion Picture 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!)

We seem to live in a world where many people seem to think film criticism is black and white. A film is either good or bad, and, well, that’s limiting to the world of art and film. Criticism should be more of a gradient. No one is ever like “yeah, I like and hate everything”. You all have films you love, like, think are good, okay, mediocre, bad, the worst, and you get the idea. Sometimes ya love a film because it’s uneven or maybe you hate it for the same reason. This is how I feel about Netflix’s newest adult animated film with Matt Thompson’s America: The Motion Picture. 


Written by Dave Callaham, directed by Matt Thompson, produced by Channing Tatum, Adam Reed, Matt Thompson, Will Allegra, Peter Kiernan, Reid Carolin, Eric Sims, and Christopher Miller, and Phil Lord, this 2D animated feature was produced by Floyd County Productions, Free Association, and Netflix Animation. This is their newest attempt to reign over the animation scene with a film that you wouldn’t see in the theaters or on TV. Well, what do I think of this absurd take on American history that sounds like it was a film made by Jake Peralta from Brooklyn 99 for a history report? 

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Our story revolves around George Washington, voiced by Channing Tatum. He lives in an alternate history where he was alive at the same time as Abe Lincoln and many other important and pseudo-important historical icons. As he is enjoying a show with his best pal Abe, it is interrupted by Benedict Arnold, voiced by Andy Samberg. Arnold pulls a, well, Benedict Arnold and has not only interrupted the signing of the Declaration of Independence but also killed Abe Lincoln in his plan to take over the United States for King James, voiced by Simon Pegg. George decides to rise against the evil tyrants and finds a team of individuals to take down the British. These include Sam Adams, voiced by Jason Mantzoukas, Thomas Edison, voiced by Olivia Munn, Paul Revere, voiced by Bobby Moynihan, Geronimo, voiced by Raoul Trujillo, and Blacksmith, voiced by Killer Mike. Can our rebellious group of rabble-rousers save the soon-to-be-titled United States of America? 

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Listen, when the trailer for this film came out, it’s understandable that the reception to it and its wildly free take on American history would be polarizing. When you make commentary about politics, you have to, well, take small careful steps. However, after finally watching this film, it’s not meant to be taken seriously as a political comedy. Don’t come into this thinking you are going to get a Death of Stalin. Like I said above, I joked, but this does come off like a history report made by Jake Peralta, which is fitting since Andy Samberg is in this film. It has some commentary and I’ll have some thoughts about that, but it’s meant to be this cracked-out take on history that reads more like a pulp action story. It’s a fast-paced action comedy that takes full advantage of its nonsensical period of history, as it keeps you moving to each quirky setup, punchline, and action beat. It has some themes about working together to take down hate and to support stuff like science, but you will be here to enjoy the high-octane action and absurd characterizations of historical figures. The action is creative, violent, and has some of the better laughs in the overall film. It also helps that the cast is delightful and how they all bounce off of one another. It’s not perfect character dynamics, but some of the angles they take with the leads are delightful. 

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Animation-wise, it’s a bigger budgeted production of Archer, I think it looks better than Archer due to how much more movement and polish the character models are given. It helps that the film has a more comic book cartoony look that makes it stand out from Archer. They move fluidly, and they do have dynamic movements and much more expressive facial animation than the studio’s usual work. Hopefully, the studio that animated this film Floyd County Productions unionizes because animators should have better working conditions, but the team that worked on the film’s visual look did a fantastic job. I also enjoyed the voice cast. Channing Tatum, Will Forte, Jason Mantouzkas, Olivia Munn, Bobby Moynihan, Judy Greer, Raoul Trujillo, Killer Mike, Simon Pegg, and Andy Samberg put in some fantastic performances. It comes off like everyone had a ton of fun acting in this film since it’s not a traditional project for these individuals. The music by Mark Mothersbaugh is fun, but I wouldn’t call it his best work. It helps fit the tone and the mood, but outside of the mix of rock and hip hop thrown into the story, I don’t remember much. 

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I wish the music was the only thing I had criticism about this film. Like most comedies, I found some of the jokes to be hit and miss. It’s more of a dumb popcorn flick than a groundbreaking political comedy. The political jokes that are there are familiar and nothing you haven’t heard before. It’s like this movie wanted to be a pulpy schlocky action flick, but then also had to deal with the question of people overthinking this film with how it was going to handle its political themes. To me, it’s very basic in its views. It’s pro-science, anti-racism, and the ending is fairly funny and cynical in a realistic way of how America turned out in the end. To be clear, it doesn’t love or support the far right. Even the POC characters are constantly calling out George or Sam Adams on their shenanigans and insults. However, I don’t think it balances out its cynical political comedy and the violent pulp action elements very well. I wouldn’t call it the sharpest comedy or action film that Lord and Miller have helped produce. A good handful of the main characters are also not that interesting. Some of them are more fleshed out than others. It’s also a bummer that Blacksmith sits out for a major chunk of the second act alongside Geronimo, but I am happy that the two have some of the best lines and the best moments in the final battle. America: The Motion Picture is also very macho-driven. Outside of Olivia Munn’s Edison, the female characters do not get as much support and love as the male characters. 





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While it is extremely uneven in its execution, I enjoyed it. I can also understand if other critics and animation/film fans do not tolerate this one. It’s, at the very least, an interesting film to come out and doesn’t feel as boring and boilerplate as Spirit Untamed. If you are in the mood for something a bit different than the usual family-focused animated films out right now, then give it a watch. I’m glad something like this exists even if it’s not perfect, because more distinct animated films deserve to be made and either succeed or fail. If you want more diversity in what stories are told, then you need to support the ones trying to stand out. For now, though, let’s travel to Germany as the next film I will be reviewing is Snotty Boy.

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!




Rating: Go See It! 

My Journey Through Annecy 2021

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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!)

What can I say about the Annecy 2021 Online experience? Well, it was a mixed bag. While I can overall say I had a good time, their move to being both an online and in-person event is what dragged it down for the online customers. Sorry, I don’t have the time or money to spend on going to France during a pandemic. It was a real botched attempt to satisfy the people who could go in person and the people from around the world who wanted to attend. It had some great elements to it, but I would also argue it didn’t do enough for people who wanted to experience it online. Here are my pros and cons of what I took away from the festival 



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Pro: WIP section was fruitful and interesting! 

As with last year, my favorite part of the festival was watching the work-in-progress panels. I loved seeing what films were getting made and how they were tackling the animation process. It’s so cool to get these behind-the-scenes looks at animation production because otherwise, not many people get to see this side of animation. Granted, some of them were in French, so it was a disappointment to watch and not understand parts. A few of them also didn’t seem to have a whole lot done. It made me wonder if these are part “Here is what we are making” and part “We are showing off what we have made so far to look for funding”. That’s not a bad thing, but I think I always want to see films that I can check out sooner than later, but that’s just me. I wish the ones in French all had subtitles or a different making-of video for online viewers so they don’t have to wait to watch them when they are finally dubbed or subbed. 

Favorite Panels: The House, Maya & The Three, Princess Dragon, Little Nicholas, Unicorn Wars, The Peasant, Fena: Pirate Princess, Robin Robin, Perlimps, Nayola.


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Con: None of the feature films were watchable online! 

I think this was the biggest issue, as while it was an issue last year, at least last year’s Online experience let you watch some films that were competing. I know and I get that there is a lot of legal and copyright stuff that kept some of these films out of the online portion of last year’s event, but since some of the films in competition waltzed right in with distributors, like Deer King got picked up by GKIDS and Viva Kids picked up Ape Star, why wouldn’t they be a part of the online part of the festival? I know last year’s batch of watchable films were mostly films with no real widespread value or appeal, but they decided this year that none of them were going to be watchable! I’m sure ya had to be there to see films like Snotty Boy or Mount Fuji Seen From a Train, which didn’t look like an animated film at all! The worst part is that they promised three films were going to be watchable online, but they just never showed up. You could watch the shorts and two old films from 1979 and 1981, but that was it. What is the point of having an online form of the festival when the online viewers can’t watch the features?! It doesn’t help either that Animation is Film 2021 was announced during Annecy, and will (for now) have an in-person and virtual experience with none of the hiccups that Annecy keeps having. Also, Animation First and the NYICFF had films that were fully watchable online! I don’t understand why they are so stingy outside of the obvious legal stuff, but if they aren’t going to have some feature films watchable online in an online version of the festival, then I would rather not participate at all. I was lucky to get a screener for one film, but that was it. Please, Annecy, I beg of you to make the films watchable online for online viewers next time! 

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Pro: Bubble Bath is a trippy film! 

Well, of the two older animated features they had to offer to the online viewers, I was excited to see Bubble Bath. This was a 1979 Hungarian film that had one of the wildest character designs and animation style out of any animated film from back then and even now. It was a film that said, “going off-model is the entire point.” It was also a musical, and while I don’t remember the songs, I thought it was charming! The story was decent enough, but I think the wild visuals and the story got lost within said visuals. Still, it was an experience I rather enjoyed, and once I see it become available in the US, I will buy a copy of the film. 

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Con: A majority of the French Annecy panels did not have subtitles on them! 

Listen, I would love to have all of the time in the world to learn other languages, and I know there are plenty of ways to learn said languages, but when a good chunk of the online viewers are from the US, well, I would just assume not everyone can speak or knows French. They have said the panels will get translated subtitles or dubs, but it makes me wish they did subtitle videos like they did last year. I could generally get what they were talking about, but fully getting it would have made some of them better experiences. 

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Pro: The Inu-Oh Preview. 

One of the highlights was seeing the first five minutes of Masaaki Yuasa’s new film, and boy, was it a ride. With the beautiful animation, the different tone, and the character designs, it’s always exciting to see what Yuasa and his team have come up with next. I’m sad this will be his last film for a while since he’s going to be on break, but if the rest of the film was as good as these first five minutes, then I can’t wait to see how the rest of the film unfolds.

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Con: Should have had more previews! 

I loved the Inu-Oh preview and admired the unknown horrors we will be stepping into with Space Jam: A New Legacy, but those were the only two? You couldn’t do previews of the films that were being shown off or upcoming films? What about the ones that were premiering there as screenings like Luck Favors Nikuko? I don’t know, it reeks of the online consumers not having a proper experience, while the in-person stuff got all of the love and support. 

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Pro: The Panels were a lifesaver

Seeing the Netflix, Ron’s Gone Wrong, and other informational animation panels were a nice addition to the Work-in-Progress panels. Being able to see new shows and upcoming films for services like Netflix was fun! 

Favorite Panels: The Netflix ones and Ron’s Gone Wrong

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Con: There needed to be more for the online attendees than just the shorts

Let’s be really frank here, the online viewers got the short end of the stick. The shorts were great! The panels were great! However, that was it. Again, I get that they wanted to focus on the in-person event, but if you aren’t going to offer an equal experience to the online filmgoers, then maybe don’t do an online experience. I still enjoyed my time at Annecy, but I want Annecy to do better. I want to talk about more of these films that everyone might want to know about, but when you don’t give me access to them, well, I don’t know if I can get the word out and maybe drum up some attention.

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!