Worst to Best Animated Films of 2019 Part 3

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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!)

Welcome back! Now, it’s time to get into the films that I enjoyed! This is the long part as we count down from 27 to 11! If you have yet to see the first two parts, make sure to use the tags in this editorial to get to Part 1 and Part 2. Now then, let’s keep counting down!

27. Son of the White Mare

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While this is a film from a few decades ago, it was never fully or officially released in the states until last year and will be coming out on Blu-ray this year. That’s a bloody shame, because this movie is awesome. The visuals are striking; the storytelling is straight-forward, but really, you watch this movie to see the amazing visual experience that it offers. Otherwise, it’s a simple fairy-tale-style story that relies way more on its abstract visuals to comment on certain topics. However, sometimes, you want to sit back and take in a film that offers outstanding visuals and enjoy the ride! I can’t wait until more people see Son of the White Mare.

26. This Magnificent Cake

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I honestly contemplated whether I would include this film on the list. Not because it doesn’t count as one, but I just find it odd that a 45-minute or as it’s called, a mid-length feature, is a film. Still, outside of that personal opinion, this is a very poignant and very dark piece about colonialism in the Congo. It obviously could have used a longer running time for everything to be a bit more impactful, and the ending fizzles out into abstract weirdness that is symbolic and meaningful, but it’s still one of the most unique experiences you can find in animation. I can understand why Barry Jenkins loved this film.

25. Abominable 

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It’s always a gamble nowadays on whether a DreamWorks release will be good or not, and that’s a shame because when they release something like Abominable, it shows why people still support them. Sure, it might not have the strongest characters or the beefiest story, but Jill Culton and her team were able to still bring a solid story with some gorgeous visuals to life with a way more interesting villain and tone that you don’t see a whole lot from the studio. I still have my issues with this studio, but Abominable shows that they still have a better sense of talent and storytelling than most animation studios.

24. Teen Titans Go! vs Teen Titans

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While I’m not a huge hater on the current iteration of the teen superhero team, I’m starting to get a little tired of it all now. It’s still a delightfully funny experience, the action is decent, and they were able to make the chemistry between the two different versions of the characters work. It’s always funny to see the same voice actor play two different versions of the same character. This iteration of the franchise might be losing its steam now, but if you enjoyed 2018’s Teen Titans Go! To the Movies, then you will find a lot to enjoy in this one.

23. Aya of Yop City 

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Produced by the director of 2013’s The Rabbi’s Cat, and directed by the creator of the comic series it’s based on, Aya of Yop City is easily one of the hidden gems of foreign animation. Not only is it one of the few animated films I have encountered that star an all African cast of characters, but isn’t about any of the major turmoils that are set in that country in a manipulative way. It’s more of a slice-of-life story, as Aya and her family and friends go through the challenges of relationships, love, jobs, and life. It can be surprisingly funny, endearing, and has a great visual look. It’s a shame that it wasn’t released until this year. Sadly, the story flounders in the end, and Aya herself is not the most interesting character, but people should still really check out this film. Just be ready to experience a film that doesn’t have a traditional story.

22. Wonder Woman: Bloodlines

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It’s rather sad that we finally got a second animated feature after 10 years, but the wait was worth it. The drama between Wonder Woman and one of the villains was compelling, the action was stellar, and it was nice to see a superhero film with a mostly female-lead cast. It’s also a bummer that there are a few moments where you can tell a guy directed the film, and the final act falls into generic action fare, but for a direct-to-video DC animated film, I enjoyed this one!

21. How to Train Your Dragon: The Hidden World

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It might be the weakest of the three DreamWorks Dragon films, and it 100% shows that DreamWorks doesn’t know how to handle its side characters, but it’s still a pretty stellar finale with downright stupidly good-looking animation, fantastic scenes with Hiccup and Toothless, and it shows how to somewhat properly cap off an incredible franchise.

20. I Lost My Body

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This shouldn’t be a big shock. Yes, I was not as huge of a fan as everyone else in the world with this multi-festival winning film. I didn’t think the film balanced out both stories well, I found the humans to be the biggest issue with the film, and I felt like other films should have been nominated. With all that said, this is easily one of 2019’s most unique films. It’s ethereal and mesmerizing watching the sequences with the hand and how the story unfolds. It also has a unique visual style that no other film in 2019 can copy. While I do not have the same love and support of it, I still found the experience to be enthralling from beginning to end.

19. Batman versus TMNT

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It seems like that my love for the DC animated films that go direct-to-video always leans to the non-Action 52-style storyline going on right now. I adored the art direction, the action was thrilling, and due to the two properties getting combined into one movie, the story goes bonkers with some sequences. It’s 2019’s Batman Ninja, and I am all here for it.

18. Frozen II

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The first film was lightning in a bottle, and Frozen II was going to have to go through some hurdles to overcome the giant challenge of trying to be as good or better than the first film. To a degree, I do like Frozen II better. I like the songs better, I like the tone, I like the commentary, and the film still does show why Anna and Elsa are great. It’s also a film that feels like the last act got changed due to probably being too dark. I don’t know if I’ll ever know what exactly happened with the third act that rubbed me and others the wrong way, and how Sven got the short end of the stick in terms of plots, but despite the rough spots, I still enjoyed my time with Frozen II.

17. Spies in Disguise

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It’s rather refreshing to sit here and type out the fact that I absolutely loved a Blue Sky Studios film. Seriously, outside of The Peanuts Movie and to an extent Robots and FerdinandSpies in Disguise feels like Blue Sky’s most cohesive film. The animation, the lighting, the designs, the characters, and the themes it tackles with how it handles aggressive and defensive tactics in spy work is rather ambitious for a film from a studio that has a mixed reputation. It doesn’t do it perfectly, and certain casting choices are distracting/bad, but overall, I would absolutely watch Spies in Disguise again in the future.

16. Mai Mai Miracle

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Don’t worry, this is the last of the “we didn’t get this movie until now” films on the list. Honestly, it is shocking that it took until 2019 to get one of the more charming animated features from Japan. It’s very much a film in the same vein as My Neighbor Totoro or the director’s recent work, In This Corner of the World. The story is about two girls from different financial classes enjoying and exploring the countryside post-World-War II. It has the same kind of problem as with the other films listed, where it seems like they had to have some kind of conflict, but if you love films like My Neighbor Totoro, you will love Mai Mai Miracle.

15. Okko’s Inn

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Technically, I saw this film two years ago at Animation is Film, and I still stand by my opinion that it is easily one of 2019’s hidden gems to check out. It’s a delightfully low-key coming-of-age drama that despite having a more simplistic art style, was able to really invest you into Okko’s trials of losing her parents. It also has some set pieces that are a wonder to the eye to see unfold with the power of animation.

14. I Want to Eat Your Pancreas

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I perfectly get why people would absolutely be on the fence with this one. It’s another one of those teen dramas that has one of the teens with a deadly disease and, yeah, sometimes it milks it a bit too much, and the film is a touch too long, and the designs aren’t all that memorable. However, In terms of these types of films, it’s easily one of the best versions of it. The animation is great, the characters have actual chemistry, and I was able to be fully sucked into the drama and romance. Your reception to this film will vary, but one thing we can all agree on is that this film costs way too much to purchase, Aniplex! Lower the blu-ray’s price!

13. Penguin Highway

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For a first time directing gig, Penguin Highway is a smart and creative coming-of-age story about a boy going through puberty and wondering about the world around him. Granted, I don’t know if your journey through growing up included a random infestation of penguins, but still. It overstays its welcome a tiny bit, and I can understand people having an issue with the boy’s fixation on an older woman character, but other than that, I really enjoyed it. I can’t wait to check out Studio Colorido’s future projects.

12. The LEGO Movie 2

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It’s truly a shame WB decided to burn through too much of the LEGO IP and it’s understandable as to why this film underperformed. I think it deserved to do better because it’s still a fantastic film with a great theme of boy vs girl mentalities, toxic masculinity, and identity. It’s still lighting quick with its wit, highly enjoyable comedy, and the characters are still strong, and I would argue are better than the first film. It might not have that lightning in a bottle hype the first film got, but overall, this film deserved to have done better.

11. Toy Story 4

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While I disagree with its Oscar win for Best Animated Feature due to it being the safest bet of the films nominated, and it runs into the DreamWorks situation of not being able to do anything with its side characters that aren’t the new ones, Toy Story 4 is still a stellar film in probably the most consistently high-quality franchise in animation. It might be an epilogue for Woody’s story, and Buzz gets short-changed, but the story is still strong, the characters are likable, the jokes are funny, and it still has a lot of that Pixar love that people adore about the studio.

Thanks for reading the editorial/list! 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!

The Other Side of Animation 181: Shaun the Sheep: Farmageddon 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!)

Listen, what I’m about to say may sound silly and ridiculous, but I think if stop-motion animated features want to be around, they need to stop being in theaters. Let’s face it, the film-going community and the casual audience have failed to keep stop-motion alive in theaters, and while some of the blame should be put on the marketing teams and release strategies, you have to go see these films in theaters for them to make money. If you want to see them in theaters in the future, then you should have made sure Early ManMissing LinkKubo and the Two StringsThe Shaun the Sheep Movie, and other stop-motion films that weren’t Coraline made money in theaters, and not just afterward by renting or buying the Blu-ray. That’s why I thought it was smart when Netflix picked up and released Aardman’s recent animated outing, Shaun the Sheep: Farmageddon.

Directed by Will Becher and Richard Phelan, this is a sequel to the previous Shaun the Sheep film and series, but you can simply watch this film without having seen the first film or the series. It helps that this series is as basic as can be in all of the right ways possible. So, what do I think about the newest Aardman film? Well, let’s find the crop circles in the fields and check it out.

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The story revolves around our lovable shenanigans-driven sheep Shaun. After getting into more trouble with the farmer and Bitzer, Shaun encounters an odd new addition to the farm in the form of an alien! This spacey individual landed on the outskirts of the town, and is trying to get back home. That won’t be easy for Shaun, since not only does he have to take care of an alien that’s a child, but the Ministry of Alien Detection, also known as M.A.D, is on the lookout for it as well. Can Shaun help out his new alien friend while also learning to become more responsible?

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So, let’s talk about the story as a whole because unlike the previous film, this one is focusing on Shaun himself. The rest of the cast is there, including the other sheep, Bitzer, and the farmer, but until a little later on for Bitzer, everyone else gets relegated to a side story. The main theme and arc for Shaun in this film is for him to be an adult and to take responsibility in life. It’s not a complex theme, but it is something you see throughout the entire film, as Shaun and the alien explore the town and avoid the hands of M.A.D. You can tell that Shaun is characterized more as a teen, while the alien is the kid as you see him try to keep the alien kid out of trouble and to mature throughout the story. Despite there being no dialogue in the film, the chemistry among the characters is relatively strong. I’m sure anyone watching this can relate to Shaun on some level as he acts like a big brother or sibling to the alien. Another step up from the previous film is that the villain is more interesting. Yes, it’s a generic FBI/Area 51 organization, but the leader of the group is way more interesting than the animal control person from the first film. It also helps that her goons and the little robot assistant are also given a lot of personality. Like I said a second ago, there is no spoken dialogue, so you have to rely on the performances of the characters, main and secondary, to give the individual characters personality and life.

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Animation-wise, it’s Aardman, and their stop-motion work is always top-notch. It might not reach the impeccable work that Laika does with their stop-motion, but the animators at Aardman are still masters of the craft. Every single character is so easily identifiable in who they are as characters. Even down to the most minor of characters, you can tell who they are by their movements. Like the previous film and the two TV series, the physical comedy and the visual gags are always funny. Sure, this film has some slightly childish humor, but it’s executed well, so it’s not as distracting as the fart joke in Early Man or the juvenile humor seen in Ne-Zha.

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My only real complaint is how the film handles the side characters with the farmer and the other sheep. Due to the fact that the story focuses on Shaun, the side story of the farmer wanting to bank on the alien phenomenon isn’t as great. Or, at the very least, it takes a little too long for the payoff to be funny. It feels like a sequel problem that they have all of your favorite characters from the series, but they have nothing to do. Don’t get me wrong, there are still some very funny visual gags with the sheep, but I missed their presence through a lot of the film. It even takes to about the halfway point for Bitzer to have more to do with the main story. I will say that at least the payoff with the side story colliding with the main story is very entertaining, and leads to a much more endearing and enjoyable third act than the first film.

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While I don’t think it has the same charm and heart as the first film, I still loved Shaun the Sheep: Farmageddon. I wish this had a chance in theaters, but knowing how everyone has turned on stop-motion films in theaters, it’s for the best that it ended up on Netflix. They actually care to have different animated films with varied and creative animation styles. Since we are all under lockdown until further notice, I highly recommend watching this film, and the new Shaun the Sheep series on Netflix, Shaun the Sheep: Adventures from Mossy Bottom. It’s another feather in Aardman’s cap, and I can’t wait to see what they do next. Now then, it’s time to play a little catch-up before Trolls: World Tour and The Willoughbys, so let’s check out a film that I have needed to review for a while. Next time, we will be looking at Sword of the Stranger.

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!

Animation Tidbits: Blackheads 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!)

With the recent virus outbreak going around, multiple smaller filmmakers are getting the short stick if the festival they were planning on showing their film at was canceled. This is the current case with the South By Southwest cancellation. Multiple filmmakers who were able to get into the festival are now left in the cold, and if they want to try again at other festivals in the fall, they are dealing with the big studio award-season fodder.

It’s not a good year for smaller filmmakers, but if streaming services and critics can help out these hopeful filmmakers, then that would be stellar. That’s what I did. I put out on Twitter that any animation individuals were showing a film or short film at South By Southwest, I would be happy to help with reviews for their films, and an animation filmmaker got in contact with me. So, with all that said, I was able to see this short before its March 15-16th release on Vimeo, but that was all the access I was given. Anyway, this is my quickie review of Blackheads by director Emily Ann Hoffman.

The story follows a young woman named Sofia, voiced by Chet Siegel. She is currently dealing with the stress of being in a relationship that just ended with a guy named Mars, voiced by Doug Goldring. While talking to her therapist Dr. Blady, voiced by Robin Brenner, she looks back on the relationship and other sporadic thoughts while also dealing with a blackhead on her nose.

So, this short is a mix of drama, fourth-wall-breaking meta narrating, and subtle comedy about relationships and identity. Dealing with a breakup is tough, and it makes you look at yourself wondering what happened and what may or may not have caused the breakup. Oh, and it also has a little conversation about popping zits. It’s a fairly substance-filled short, as you watch Sofia try to talk to her therapist about the situation, but is constantly thwarted by Blady’s thoughts about relationships and the role of men and women. It’s also creative with how they tie in the whole popping zits thing with the relationship and the thoughts from both the therapist and our lead character. You would think it would be gross, but there is a lot to take away from it, including the fact that the act of popping a zit is destructive, but it’s also a way to start clean and to get rid of what might be built up inside of you.

I dig the animation as it mixes stop-motion, 2D animation, and 2D elements within the stop-motion. I adore seeing the faces and eyes being hand-animated on top of the stop-motion dolls, as it gives it a spike of personality that makes it stand out from the other shorts that I have seen this year.

My only complaint is that I wish the short was longer. Due to the short runtime, I was surprised when it ended, because my mind was engrossed in the story and Sofia’s situation. It would have also given more of the themes and ideas time to flesh themselves out. However, if I’m only complaining about wanting more, that’s a good thing! In general, I enjoyed Blackheads, and I hope this short can get some traction and support. It’s unique in its animation, it’s funny, intimate, and personal. If you can see it, please check it out!

The Other Side of Animation 154: Missing Link Review

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

SPOILER TALK HEADS UP!: Due to a certain joke occurring in the movie, I am going to be talking about one of the most important scenes of the film, and talking a little bit about where I stand with the situation.

As I sit here and type this review, a cloud of sadness and frustration looms over me. Not because of the movie I’m reviewing itself; it’s because of the current state of what thrives and dies within the current Hollywood theatrical film climate. It’s this uneven balancing act between the studios and the audiences to make this dance work, because when both forces aren’t synced up, good films end up falling by the wayside. People want original ideas and films, but then don’t go to see them, and instead, go see something that is based on a pre-existing property. However, studios need to know that not every film they release needs to be making billions, or cost $300 million. Because of the current climate, certain films seem to be popping up less and less on the big screen, but then flourish on streaming services. Maybe stop-motion animation should join that list due to today’s review, Missing Link. Directed and written by Chris Butler, Missing Link is the next film in Laika’s long line-up of beautifully-crafted stop-motion features that garner high praise, but sadly, underperform or bomb. Missing Link seems to be suffering from that scenario as of writing this review. Maybe this film’s box office was more elusive than the Missing Link himself. Let’s see what’s up!

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The story revolves around Sir Lionel Frost, voiced by Hugh Jackman. He is an explorer who seeks out legendary and mythical monsters to prove that they exist. His main goal is to join this Adventurer’s club, but is constantly rejected for lack of proof of his adventures. One day, after getting back from another adventure, Lionel finds a letter that says that the individual in the letter is Big Foot, and tells Lionel to meet him in the Pacific Northwest to find him. Once getting there, Lionel meets the Big Foot in question, Mr. Link, who later goes by Susan, voiced by Zack Galifianakis. Susan asks Lionel to take him around the world to where the Yetis live, to help him find his own kind, and to find his place in the world. Along the way, the two are joined by Adelina Fortnight, a widow and old love interest of Lionel, voiced by Zoe Saldana, and avoiding the grasps of Lord Piggot-Dunceby, voiced by Stephen Fry, and Willard Stenk, voiced by Timothy Olyphant. Can Lionel help Susan find his people? Will Lionel make it into the club?

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I think what I love the most about this movie, is how laid back it is. It’s a grand adventure, but it feels smaller in scale, due to how intimate the story is. For me, what makes the low-key charm of the film work is the chemistry between the three main characters. I know when the first trailer for Missing Link came out, people were worried, for some reason, that Laika was going to give up on their identity to be more mainstream. Well, to all of the skeptics out there, I was right, and had nothing to worry about! The character interactions in Missing Link always felt natural, especially the scenes with Lionel and Susan. They hold this movie together, and they work off each other well. Both characters have the same goal of being accepted and being a part of a community, but they cleverly show off the difference between the two. Susan wants to find the Yetis, because he is the last of his kind, and wants to find his way in the world, and being with the Yetis might help him, because they are “relatives”. Lionel wants to join this adventurer club for the sake of doing so, because he was told “no”. One is obviously more selfish than the other. Both characters though share that drive of wanting something so much, that it hurts when they aren’t able to get it. It also deals with themes of identity and looking at the bigger picture. While I know some were disappointed that Lionel is Laika’s first adult protagonist, because they think kids really want to see themselves as the heroes, I like him. He’s entertaining and enough of a jerk that you don’t just hate his guts throughout the entire film. Susan, voiced by Zack Galifianakis, is easily the most likable character. Either because of the writing or great directing, Zack makes Susan a very funny character. I know it’s easy to label Galifianakis as the inept weirdo comedy relief due to the Hangover trilogy and other films, but I think he has proven that he can be more than that, and this film is a great example of it. A lot of the humor is very witty and British in tone, and I think that makes it a more watchable film for the years to come. People will be coming back to this one more than any Illumination or Blue Sky comedy. It shows how smart comedic writing that’s not loud, fast, and pop-culture-focused can work. I also adored Zoe Saldana as Adelina Fortnight. She was a strong, fiery female who would always call out Lionel for his buffoonery, and it’s one of the few animated features that have the male and female lead not end up together. Good! Not every animated feature needs to have the male and female lead get together.

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Of course, I can’t talk about this film, without talking about the gorgeous animation. This is easily the most ambitious animation Laika has done. You just see the blood, sweat, and tears put into the detailed environments, the characters, the movements, how smoothly everything moves, and the colors. It’s a beautiful movie to look at and be amazed how a lot of it was made by hand with very little CGI used. Even if you aren’t fully on board with the film or its characters, you can’t deny that the animation is well done. The voice cast is, to no surprise, good! I know there is this push for more voice actors to take lead roles, but you also have to understand that most casual movie audiences don’t know who famous voice actors like Tom Kenny, Jim Cummings, or Tara Strong are. That’s why they use celebrities, and while sometimes you can’t separate the actor from the character, here they do a good job with their respective roles.

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I think the biggest issues this film has can be attributed to a few different criticisms. The first one revolves around the villains. I get what they were going for with Piggot and Stenk, with them being villains that you would have seen back in the old action adventure movie days, but they are easily the weakest characters of the film. They are played well by Stephen Fry and Timothy Olyphant, but they are a touch too simple. There was also another tired male prisoner joke in the film. It’s short, but I’m getting tired of seeing this joke being used. I also wish they did more with the Yetis. They aren’t in the film much, but are more of an obstacle that the heroes have to overcome than actual characters. It’s a shame too, because Emma Thompson, who voices the lead Yeti, probably has the best joke in the movie. It seems like sometimes, Laika has a problem with their third acts with how they are paced. There is also a joke that I have seen split people down the middle about when Mr. Link decides to go by the name of Susan. It’s a touching scene, but I can see why it sparked some debate if it’s unintentionally hurtful due to the fact that Lionel will sometimes, either accidently or the script forgot to make that change, will call Susan, Mr. Link. I have heard many opinions on the gradient of this discussion, and I don’t really have a fully-fledged opinion. I don’t think it’s as bad as others make it out to be, but I’m not dismissing the fact that it could be taken the wrong way. I think it’s unintentional in its execution. While I loved the chemistry between the characters, I wish there was maybe one more scene with the characters bonding. It’s one of the few times a film that’s 95 minutes long, could be almost two hours due to how laid back and enjoyable it is.

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While I am mad that people are not seeing Missing Link, and are instead going to see Pet Sematary and Little, and Laika not having enough resources for marketing, I still love Missing Link. It might not be Kubo and the Two Strings or Coraline, but I love this movie. Heck, I love all of Laika’s movies. If people truly desire and want new or original stories and films, then they need to not hesitate on seeing films like Missing Link, because it’s stop-motion. Go see the film, and if you love it, that’s awesome, and if you didn’t find it to be impressive, then that’s okay as well! What matters is, is that you went to see and supported an original property. I can’t wait to own this flick on blu-ray when it comes out. Well, while we wait to see how enjoyable or cynical Ugly Dolls is in May, let’s check out one of DC’s newest films with Justice League vs. The Fatal Five. Thanks for reading the review! I hope you all enjoyed it, and I will see you all next time!

Rating: Criterion/essentials

My Two Cents on the Animation Submissions for the 2019 Oscars

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

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

The films that have a 100% chance

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

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

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

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

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

The films that have a 75% chance

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

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

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

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

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

The films that have a 50% chance

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

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

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

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

The films that have a 25% chance

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

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

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

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

The films that have a 0% chance

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

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

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

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

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

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

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

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

The Other Side of Animation 123: Isle of Dogs Review

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

I honestly won’t get tired of thinking this, but I’m surprised more directors in Hollywood don’t direct an animated feature. While there are pros and cons doing an animated feature or a live-action feature, one thing that always catches my eye about animation is that you can have literal control over a mass majority of the production. You don’t have to worry about sets, lighting, physical performances, and a lot of elements that plague live-action films. Really, the one major downside is that you then have to make everything from scratch. It’s why I love seeing directors known for their live-action films go into animation and vice versa. It’s fun to see them bring their personality into a new medium of filmmaking, and why today’s review is of Wes Anderson’s critically acclaimed Isle of Dogs. Released to the world on March 23rd, 2018, Isle of Dogs gained critical acclaim from film festivals, and won a couple of festival awards before starting its US release. While people did fall in love with this movie for a lot of good reasons, some critics have criticized it for its implementation of Japanese culture. As usual, it’s hard to talk about a movie, when there is some controversy attached to it. I will talk about it, but for now, let’s begin the review. Actually, before we begin, a friend of mine showed me a fun little secret about the title. Say it three times in a row quickly, and the title changes to a wonderful sentiment.

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Isle of Dogs takes place in Japan 20 or so years in the future. An outbreak of diseases affecting dogs has plagued the country, and the mayor of Nagasaki, played by Kunichi Nomura, has decided to ban all dogs to a trash island. Six months pass, and the dogs live there in small packs, trying to survive on scraps and garbage to get by. One pack includes Chief, voiced by Bryan Cranston, Rex, voiced by Edward Norton, King, voiced by Bob Balaban, Duke, voiced by Jeff Goldblum, and Boss, voiced by Bill Murray. One day, they see a kid named Atari Kobayashi, voiced by Koyu Rankin, crash his plane on the Isle of Dogs, who is there to find his bodyguard dog Spots, voiced by Liev Schreiber. Chief and his gang decide to help him as they try to find Spots, and try to uncover a grand conspiracy plotted by the mayor.

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Usually, when I love a movie, I want to talk about the positive aspects, because that is what deserves the most attention. I don’t see why I need to change tradition here. The stop-motion animation seen in Isle of Dogs is amazing. I mean, it’s the same studio that made Fantastic Mr. Fox, so I shouldn’t be surprised, but I was constantly impressed with the animation throughout the entire film. This includes making Trash Island visually interesting. Sure, it’s all garbage, but you would be amazed at how visually creative they got with the locations on the island. There are bright colors, terraformed landscapes, rusted out vehicles and buildings, and you get the idea.  Even down to little details, like how the dogs moved, reacted, their fur gently moving in the breeze, and even having little fleas running around at times shows that they paid very close attention to detail with the animals. I work at an animal shelter, and I see animals twice a week there, and dogs and cats there have their own spirit to them. No one animal is alike. The detail to the dogs is also shared with the humans. While moving like they did in Fantastic Mr. Fox, their animation was also fluid and full of little fun bits that made the artificial look of everything so alive. They even have some cool 2D sequences that are used when showing off characters on a TV screen.

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I love the characters. I mean, it’s a Wes Anderson film, what do you expect from the characters? They are quirky, they have their own personality traits, and when he decides to drop it on the viewer, can be emotionally engaging. While there are definitely a lot of characters, the bond that holds the entire film together is between Atari and Chief. Their bond is fantastic, and it was fun to see Chief grow fonder of helping Atari when he is shown kindness by the boy. Many of the characters work well off each other, as the entire cast of dogs is stacked with actors who felt very natural with one another. Edward Norton, Bob Balaban, Bill Murray, Jeff Goldblum, Scarlett Johansson, Harvey Keitel, F. Murray Abraham, Liev Schreiber, and Tilda Swinton all have their memorable moments and, of course, very funny lines. The human characters are also well acted, with Koyu Rankin, Greta Gerwig, Kunichi Nomura, Akira Yakayama, Yoko Ono, Frances McDormand, and Courtney B. Vance. They might have smaller roles, but they do not feel out of place with the overall weird world in which Anderson has put us. No one feels like they are simply playing themselves, and although some have very distinct voices, just because I knew who each character was played by, I was never taken out of the film. The story itself is simple, but it’s all in the execution, as the story carries themes of mass hysteria, government corruption, fear mongering, being outcasts, love, honor, friendship, and being against animal abuse. As in most Wes Anderson productions, the music is fantastic. It’s composed by Alexandre Desplat, who also did the music for Fantastic Mr. Foxand other Wes Anderson productions like The Grand Budapest Hotel, and recently won an award for The Shape of Water. Of course, much  of the music has plenty of Japanese musical flair that you would hear in old samurai flicks (figuratively and literally). The main song, I Won’t Hurt You by The West Coast Pop Art Experimental Band (that’s a mouthful), was quite wonderful.

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So, let’s talk about that controversy that this film is receiving. Multiple online articles by Asian/Japanese-American critics and online users are calling out the film for using cultural appropriation with Japan and the people of Japan for the backdrop, and the dogs, voiced by white actors, along with Greta’s character, are the heroes. There are other issues, but that seems to be the biggest problem that is causing an issue for some. Now, as I partly jokingly said in my Have a Nice Day Review, I am a white guy from Texas, what do I know? I will never have the full understanding of the pain and anger of seeing my culture misused or taken advantage of (though I wish reality shows would stop making Texas out to be nothing but ranch owners, and saying we all wear ten gallon hats). I can’t pull that card. I understand, to the best of my knowledge, why people are having an issue with it, and to an extent, I agree with some of the issues. However, if I had to look at the whole film from my perspective, I don’t think it’s not as bad as say, Ghost in the Shell or the incident with the Hellboy Reboot from last year. I felt like Wes Anderson did not intentionally set up this film to be punching down on the culture or its people. Even one of the actors who played the mayor was a consultant on the story. He said that he was fine with a lot of it, but did chime in from time to time. I also disagree with the criticism of how the script has the Japanese characters talk. Unless there is a translator nearby, all the Japanese human characters speak Japanese with very little English or subtitles. The issue I see talked about is that they are limited to saying simple, to-the-point lines. I don’t agree with this criticism, because if you aren’t going to be using subtitles 100% of the time, what the characters say needs to be short and to the point. I also feel like that just ties in with Wes Anderson’s style. In the end, I could break it all down from what I have seen, and all I can say is, I don’t fully agree with the backlash this film is getting, but I do understand that Wes Anderson does tow the line in paying respect and tribute in this fantastical setting, because he wanted to make a film that was set in Japan. If you have an issue with how he uses the culture, then by all means, have an issue with it. I do agree with some aspects of the criticism.

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So, what did I not like about the film? Well, I wish we had more time with the side characters. Chief’s group of friends vanishes at one point, and we don’t see them for a good, maybe 10-15 minutes before we see what happened to them. They could have used a bit more to them outside of certain quirks, like Rex wanting order among the pack, Duke being a lover of gossip, Boss being played by Bill Murray, and so on. They were really fun to be around, and I wish they could have been there more. The female characters are also not handled well. Not terrible, but underdeveloped. Scarlett Johansson is barely in the film, and is set up as this weak pseudo love interest for Chief. Though the one that people and I have an issue with is Greta Gerwig’s character, an American foreign exchange student who kicks the pro-dog rally into overdrive. She’s a strong character, and has her own personality, but I do think there is a problem with her ethnicity. I think a lot of the problems people have with the film would be gone if they didn’t make her American. Maybe instead, they could have made her a Japanese school girl, voiced by Rinko Kikuchi or another young Japanese American actress to play her. Because you can definitely see the whole, “Hey, the American student is brave, while the Japanese people are easily manipulated by their government and afraid to rebel” angle people have with her character.

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I respect the issues some are having with the film, but they do not detract from my personal enjoyment of the film. I love this movie, and until said otherwise, Isle of Dogs is the best animated film of the year. I loved the animation, the humor, the heart, and everything about it. Once it opens in wide release, please go see this movie. I want more people to see this film and support an original idea. It’s not like anyone here is going to go see Sherlock Gnomes or Duck Duck Goose. You shouldn’t see those, and again, go see Isle of Dogs. Well, speaking of gnomes, next time, before we get to Sherlock Gnomes, we shall look at Gnomeo & Juliet. Thanks for reading! I hope you enjoyed the review, and I will see you all next time!

Rating: Criterion/Essentials

The Other Side of Animation 119: Early Man Review

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

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There is something always exciting when Aardman makes a new film. While not financially successful here in the states for some sadly understandable/annoying reasons, I always get excited, since it brings something fresh and interesting to the table, even if the films have elements that we have seen before. I make sure to always see their films, because I want to support the studio. That’s no different here, with their newest film, Early Man. Directed by Nick Park, Early Man was his first theatrical directing gig since his Oscar-winning Wallace & Gromit: The Curse of the Were-Rabbit. It was released on February 16th, but is not doing well at all in the box office. It is getting positive reviews, but its financial take is discouraging. Granted, when you go against something like the important Black Panther and the decently reviewed Peter Rabbit, you are going to get into some trouble, especially if you are Lionsgate/Summit Entertainment, and you don’t market your movie! I can get into that bit of stupid, but I’ll save that for a different article. For now, let’s review Early Man!

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Eddie Redmayne plays our hero Dug, a caveman living with his tribe in a crater that, generations ago, was formed by a meteorite. He’s getting complacent about how his tribe only hunts rabbits. One day, after a successful rabbit hunt, their tribe gets invaded by a more evolved group of humans. This evolved group of individuals is led by a man named Lord Nooth, voiced by Tom Hiddleston. Dug accidentally gets himself “taken” to the new civilization, meets a woman named Goona, voiced by Maisie Williams, and finds out that his entire valley is being mined out for its metal. After interrupting a soccer game (and yes, I am going to call it soccer), Dug challenges Nooth to a soccer game. Unfortunately, Dug and his tribe don’t know how to play soccer. Dug then enlists the help of Goona, and they train to win their valley back!

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Let’s talk about the positives.  Since this is Aardman, the animation is fantastic. Each character has a unique design, and they each move beautifully. The sets are also vibrant, lush, and huge. These might even beat out The Curse of the Were-Rabbit and Pirates: Band of Misfits. As with most British comedy, it’s well-written, clever, and there are lots of foreground and background jokes. I found myself laughing at multiple points in the movie, along with others in my audience. I think a lot of the jokes flew over the kids in my group’s heads, but they still laughed quite a lot. Much of the humor works because the characters are fun to be around. While some are simple, which is a problem to a degree, I never found myself getting annoyed by them. They were fairly likable. Dug is a kind optimist, the tribe leader played by Timothy Spall is delightfully daft, Nooth is a blast as a villain who seems to enjoy being a villain, Goona is the strong female archetype, and Dug’s tribe all have their own amusing moments. I know the film’s humor is mostly pun-related, but if you can execute them properly, then I don’t mind it. I can understand if it’s not your type of humor, but I loved it. They even stay away from the more modern-style of humor you would see in films from Illumination and Blue Sky Studios. It’s great that they did that, since it makes the film more enjoyable to watch as time goes by. The performances were also really good. Eddie Redmayne captures the hopeful and maybe ignorant optimistic side of Dug, Tom Hiddleston gives Nooth a wonderfully cheesy and not-at-all accurate French accent that leads to many of the film’s best jokes, Maisie Williams does a good job at being a tough individual, and the rest of the cast, including Richard Ayoade, Selina Griffiths, Johnny Vegas, Mark Williams, Gina Yashere, Simon Greenall, Richard Webber, Rob Brydon, Kayvan Novak, Miriam Margoyles, all have humorous performances.

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As much as I love Aardman and the fact we got a stop-motion film this year, I am going to criticize this film a bit. The film is, for the most part, hugely entertaining, clever, funny, and well-written. However, it does start to lose steam, when you get to the actual soccer part of the plot. It goes through a few sports clichés and puns that don’t work unless you know the sport, and it goes into sports film territory with the underdogs versus the champions. You can pick up on what’s going to happen very easily during this part. While I love a lot of the tribe members, many of them don’t get much development. About half of them get stuck with a single character trait. That also goes for the champion team that they compete against.  I also felt like the story could have been a bit more complex. I love that Aardman keeps things simple, but sometimes, that hurts them, since some of their stories become predictable. I know I can blame some of this film’s underperformance to Lionsgate/Summit Entertainment, since this should have been a big deal for their animation output, but they treated like it was just another direct-to-video animated film. However, Aardman is also partly to blame for a couple of this film’s problems. I just wonder how much better this film would have been received if they had chosen a more…world-loved sport, since the US doesn’t really care about soccer, or simply stuck with the caveman and Bronze Age civilization meet-up. I didn’t mind it being about soccer, since I caught a lot of the soccer jokes, but I know that won’t be for everyone.

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While I think I prefer Shaun the Sheep The Movie and The Curse of the Were-Rabbit, I did love Early Man. Personally, it’s the first good animated film of the year, and even if you didn’t fully care about it, you know deep down, it’s going to be better than Sherlock Gnomes.  Early Man is a film that gets better the more I think about it. I definitely recommend checking it out. It’s an original film that’s not based on any pre-existing properties, and if you really want more original films to succeed, then you need to actually go see them. Well, it’s time to get to the 120th review, and I have a lot to say about that movie when we get to it. Thanks for reading! I hope you enjoyed the review, and I will see you all next time!

Rating: Go See It!

The Other Side of Animation 97: Anomalisa Review

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

Warning/Parental Heads Up: This film is absolutely not for children and includes nudity and a really realistic and awkward sex scene. This film is truly and 100% adult. Do not show this to kids. This is your only warning and if you do any of the things I listed in this warning, you are responsible. Oh, and I’m going to be spoiling elements of the movie, since it’s hard to talk about it without talking about the entire movie. Enjoy the review!

For a while, adult and animation was never a really promising combination. When you hear those two words together, you usually think of the animated shows shown on Fox or Adult Swim like Family Guy, The Simpsons, and you get the idea. It was never really a match made in heaven when it came to animated films. Sure, you had your adult indie animated films, but not much else. For better or for worse, Sausage Party’s success opened the door for more adult-focused animation. Hopefully, they aren’t just stoner comedies, and can be something like today’s review, Anomalisa. Directed by Charlie Kaufman and Duke Johnson, and based on a play that he wrote, Anomalisa was a surprise critical hit, and was even nominated for Best Animated Feature in 2015, but lost to Inside Out (big surprise). After its release, I decided to see what people thought about the movie, and while it is definitely a well-received film, I can understand and relate to the detractors who couldn’t get into it. What do I think? Well, let’s take a look and see what we find.

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The story of Anomalisa is about a middle-aged man named Michael Stone, voiced by David Thewlis. He’s an author and customer service expert arriving in Cincinnati for a big speech. Michael is a very miserable individual who doesn’t have a spark for life. Everyone he sees or speaks to all sound similar, have pointless conversations, and have the same faces. That is, until one day after a failed attempt to reconnect with an old fling, he hears a unique voice down the hallway. He ends up meeting this woman named Lisa Hesselman, voiced by Jennifer Jason Leigh. After talking a bit, they form a bond. Does Michael have a new view on life, or will be fall right back into his own sad world?

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So, where to begin with this movie? Let’s talk about Michael as a lead character. Something that many may not pick up on the first time watching this movie is the fact that Michael literally sees everyone else around him with the same face and the same voice. His life has no passion. He just goes on business trips, and has a rather middling marriage with his wife and son. I can understand this kind of mentality as sometimes, life will come crashing down and everything will just feel so mundane, and there is nothing there to raise up your spirits. The film also has little tidbits that help expand on his mindset, like the name of the hotel he stays at called Fregoli. The name is based on the Fregoli Delusion, where people think everyone is actually just one person. He doesn’t see the passion in life and everyone sounds and looks the same. It’s rather interesting, because then you mix in his mood and demeanor with the female lead, Lisa. She also has self-esteem issues, and doesn’t see herself as anything amazing, but Michael sees her as this beacon of beauty and rainbows, because she stands out to him. It then helps her arc by the end of the film to feel better about herself, and not fall into the same fate as Michael.

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This film does such a good job at bringing out raw real emotion out of the actors, since that’s really another big part of this film. You might have seen the phrase used in the trailer that essentially says it’s the most human film of 2015 and it doesn’t star real humans. While some could find that kind of comment pompous, I agree with it. The film has subtle realistic movements in the characters, how they talk, interact, walk, and so on. Combine that with our characters, and you have a film that’s mature, and shouldn’t be shrugged off because it’s animated. Let’s just say this, there is a reason why Michael is lonely, and his intentions are definitely not 100% okay.

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Speaking of animation, while not Kubo and the Two Strings level of wow, the animation is really good. Like I said, it has incredible detail in how the characters move, and it’s truly awe-inspiring. You can tell they broke their backs making sure this movie looked good. It even has some creepy surreal moments that play with the fact that they don’t cover up the different face parts of the models. The voice cast is great. For only three people, they found a way for the chemistry to work. David Thewlis, Jennifer Jason Leigh, and Tom Noonan all do a great job delivering raw and organic lines, and that’s saying something when Tom Noonan is playing 98% of the cast. Everything feels real, and even though they are all models, and it’s stop-motion, I was never really taken out of the experience.

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If I had to complain about something, I think the film could have been better in a few ways. While I like the idea of this being a smaller story, I wish there were a few more locations instead of just the hotel. I would have liked to have seen Michael and Lisa bond, and go to a few different areas. I found myself enjoying the film’s first two-thirds more than the last third, but I understand that they probably only wanted this to take place in only a few places. Since this was originally a play, it definitely has that Fences vibe, where there wasn’t anything done to adapt it to film, and everything felt like it was meant to be on a stage. It’s not a bad thing, but I wish the world the film takes place in felt bigger.

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While I can definitely understand people being split about this movie, I like it. It’s definitely a film that you need to watch twice to maybe get the overall idea that it’s tossing at you. I wish the third act was handled better, but it’s a unique movie to check out. If you like smaller stories, and an animated film aimed at adults, then definitely check this out. Well, this was fun, but I must get back into talking about more current movies. Next time, let’s talk about the “controversial” film of the century with The Emoji Movie. Thanks for reading, I hope you enjoyed this review, and I will see you all next time.

Rating: Go See It!

The Other Side of Animation 94: My Life as a Zucchini Review

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

I am very fortunate with my family life. My family is pretty healthy, we have a good life, I am close to everyone, and I wouldn’t want to trade it for the world. Sometimes, it’s good to remember how fortunate you are, if you have a good family situation. Not everyone can get that, and I can’t even begin to understand or imagine myself growing up in a broken home, or as an orphan. I’m never going to relate to it, and I’m not going to try and act like I can. I think that is what’s interesting about today’s review of My Life as a Zucchini. This is a stop-motion animated film from last year, that was directed by Claude Barras, and was distributed here in the states by the always-amazing GKids. It picked up a lot of critical acclaim and award nominations. While only 60 minutes long, you would be amazed at how mature this film can be.

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The story revolves around a young boy named Zucchini. He does have a real name, but he would rather be called Zucchini. After the death of his mother, he is brought to an orphanage by a police officer named Raymond, voiced by Nick Offerman. While there, he befriends the other kids who live there, and gets to learn a bit more about each of them as time goes on. One day though, a young girl moves into the orphanage named Camille, and changes Zucchini’s life.

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So, what’s so amazing for a movie that’s no longer than an episode of Game of Thrones? Well, there is a lot to love about this little movie. It has a laid-back atmosphere, and while the kids can get rowdy, and there are some dramatic moments, the movie is very quiet. It lets the kids be the main focus. It’s definitely a smaller story and is not epic or sweeping, but it doesn’t mean it sacrifices quality storytelling. You get little details, like how Zucchini keeps the memory of his parents in the form of a beer can and a kite, or how while not told specifically what happened to one of the girls, her gestures and outward mood says everything. It’s a film that tackles what these kids probably feel like being parentless. The world is scary, and they don’t really trust anyone, or feel like there is any real hope outside the orphanage. I don’t blame them. The film knows really well how to balance the darker themes of unconditional love, family, being alone, with more positive moments of finding a way to help each other stay optimistic. You get to learn a bit about these kids as the film goes on, and they act like real kids. You know how you watch a family movie or a movie in general where kids are a focus? You know how rare it is to find child characters or child actors who are actually good? In My Life as a Zucchini, they act and talk like little kids. Even how they interact with the adults feels genuine.

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The animation is just beautiful. The stop-motion movements are all gorgeously handled, and while having some interesting designs, they find ways to make the movements fluid, and expressive. The voice work is probably one of GKids’ best dubs. Not only because of the celebrities that they hired, like Nick Offerman, Ellen Page, Will Forte, and Amy Sedaris, but the child actors for the English dub do a perfect job. One of the charms of the film is that they had all child characters in the original dub sit in one room to make the interactions with one another realistic. I’m sure trying to work on a dub to do such a thing would be very daunting for child actors who may not have a lot of experience voice acting, but they found a way. The music reminds me of a lazy Sunday afternoon, with a more indie tone to the background music when it pops up.

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If I had to really complain about something, the film probably could have been longer to maybe 80 minutes instead of 60. I loved every moment, and the film does use that time wisely, but I would have liked to have spent some more time during certain areas. Sometimes, there is a comment that doesn’t land, but in general, the run-time is my only major complaint.

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I really loved watching this movie, and if you saw my Worst to Best of 2016, you saw that it was my 4th favorite movie of the year. It’s deceptive in how mature and quiet the film, considering it stars a bunch of kids, and it does a great job tackling what an orphan feels like, along with the sad reality that some children grow up in broken households. I’m happy this film got so much love with the Golden Globes and the Academy Awards. If you haven’t seen this movie, then you should. I want to keep this “theme” of family going, as next time, we will review Wolf Children. Thanks for reading! I hope you enjoyed the review, and I will see you all next time.

Rating: Criterion/Essentials

The Other Side of Animation 66: Fantastic Mr. Fox Review

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

With animation becoming more of a big deal in the film industry, I think it would be cool to see some directors known for their live-action dramas, horror, action, romance, and indie films try to tackle animation. I mean, how cool would it be to see QuentinTarantino make an animated action flick? Or how about James Wan make an animated horror film, or the Duffer Brothers make an animated sci-fi film? When I got more into films, I found an early love for Wes Anderson, for his unique stories and characters. It’s why I was amazed to see that he made an animated film based on the book by Roehl Dahl, Fantastic Mr. Fox. This stop-motion film was released on October 14th, in 2009, to many an animation fan the best year of animation. It received critical acclaim, was nominated for multiple awards, and is easily one of the best book-to-film adaptations of all time. It might have only made $46 mil on a $40 mil budget, but I’ll say this. This might be my favorite movie from 2009. Why? Well, let’s find out.

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The story is about, well, a fox named, well, Mr. Fox, voiced by George Clooney. He used to be a bird thief, but after an incident with his wife, Felicity Fox, voiced by Meryl Streep, he retires and settles down with Felicity, and has a child named Ash, voiced by Jason Schwartzman. Mr. Fox decides to move his family to a new home, and discovers that there are three farmers. He starts to get those stealing urges back. After doing a couple of heists from the farmers, Mr. Fox ends up getting his entire family and friends in trouble, due to the farmers creating a plan to destroy them. The story also deals with Mr. Fox essentially going through a mid-life crisis, and his son Ash being jealous of his cousin Kristofferson, voiced by Eric Anderson. Can they make it out alive? Will Mr. Fox learn from this horrifying, albeit hilarious situation?

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Right off the bat, when you watch this movie, the imagery is striking. The animation definitely stands out among anything released in 2009. It has an old-fashioned stop-motion style that has characters with actual fur. Normally with stop-motion, they make everything out of the same material, like in Laika or Aardman-made films. However, the stop-motion in this film is very retro in terms of the visuals. A lot of stop-motion used to have characters with actual fur or fur-like material on them, but it’s something you don’t really see a lot of anymore, unless you look at indie projects. Even with its retro look, the animation is smooth, communicative, and it’s an incredibly gorgeous movie. The entire movie screams the fall season, with its mixtures of browns and oranges. It gives off a calm and cool atmosphere where you can feel the leaves falling around you, and a slightly chilly breeze dances in the air. Wes Anderson also gets the characters and the “quirk” perfectly, since you can clearly get the motivations between the characters. Whenever you see indie films that have a personality, you always hope it feels natural, like in Dope or another Wes Anderson film, Moonrise Kingdom.  Being quirky doesn’t necessarily mean a good character. You get why Mr. Fox is having a midlife crisis, or how his son is angry that his cousin is more popular, and how the wife is constantly worried about Mr. Fox’s angsty ambitions.

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Even in this world, you never feel like the combination of stop-motion, humans, and bi-pedal animals wearing clothes are distracting. With Wes Anderson’s signature style and personality, it all gels well, due to how down-to-earth the dialogue comes off. Yes it has its moments of indie quirk, but due to how well defined the characters are, it doesn’t come off as gimmicky. It’s a film that anyone and everyone can get into, which is something animated films should strive to be, instead of “oh, we are just making this for the kids, since kids are dumb and don’t know any better” crowd.

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I enjoyed the voice cast. Usually when you see big names in an animated film, it raises concerns of how into it they will be with their characters. Some studios like Blue Sky Studios don’t get why people hate it when there is “celebrity mugging”. Luckily, everyone who is in this movie really put their all into it. I mean, it should be no surprise when you have actors like George Clooney, Bill Murray, and Meryl Streep, but I never once felt like I was taken out of the experience because an actor was just being themselves. The cast was just perfect, and Wes Anderson usually has an eye for who he wants in his movies. You have, of course, the already mentioned George Clooney, Meryl Streep, and Bill Murray, but the rest of the cast includes Jason Schwartzman, Willem Dafoe, Owen Wilson, Helen McCrory, Wallace Wolodarsky, Eric Anderson, and some cameos from celebrities like Mario Batali. It’s one of the best casts in animated form that I have reviewed. The movie is also very funny, with some great gags and jokes thrown in that the actors pull off perfectly.

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Now then, what would I say is “bad” or “distracting” that may detract from the film itself? Well, nothing major. I don’t really care if some elements of the book were not put into the movie. I’m not one of those people who think that the book is always better than the movie. To me, I look at all movies based on something as a stand-alone experience. If I happen to know the source material, then I’m going to add that into my judgement of the end product.

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Fantastic Mr. Fox is witty, funny, touching, engaging, and overall, enjoyable. It shows how good Wes Anderson can be, and I wish he could do more animated films like this one. If you haven’t checked this film out, you can either get it on DVD, Blu Ray, or even Criterion. If you like stop-motion films with an indie personality, or want a film that will be timeless, you should definitely check this film out. Well, now that we are heading into the holidays, before we head into the Christmas-themed reviews, let’s get into one of my favorites from 2016, The Boy and the Beast. Thanks for reading. I hope you all had a good Thanksgiving, and I will see you next time.

Rating: Criterion/Essentials