Tag Archives: Animated Film

Feb 28 2013
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Film

ParaNorman (2012)

So, there’s this kid named Norman (Get it? ParaNorman?). Stop me if you’ve heard this one before, but he’s different from other kids and that makes him an outsider. Worse, the thing that makes him different is that he can talk to dead people–think a significantly friendlier, less unnerving version of the kid from The Sixth Sense. This makes him an object of ridicule, with pretty much everyone at his school calling him a “freak.” Except for his one friend.

Could we cram a few more clichés in there? How about an emotionally distant, strict, traditionally masculine father? Oh, we got that one? Sweet. Can we pair him with a sympathetic but powerless mother? Okay, good. And, let’s see… a really shallow sister who can’t stand her brother because he’s so, like, whatever? Okay, sounds like we’re all set.

The film reveals Norman’s gift in a pretty clever way, having him watch TV with his grandmother, who it turns out has been dead for quite some time. It’s a very understated way of going about it. We then see him happily greeting people on the street that no one else can see. Most of his encounters with ghosts are of this nature.

Things take a dramatic turn, however, when Norman’s uncle passes away and he inherits the responsibility of protecting the town from a witch’s curse. This is actually when things start to get interesting. Norman decides that the solution that has been used for the past few hundred years isn’t good enough, and that he needs to do something that “no one else has done before.”

Actually, the entire sequence with Norman facing the witch is brilliantly animated, and heightened by an effective soundtrack. Norman makes good on his promise to do something “no one else has ever done before,” breaking the cycle of misery and demonstrating incredible empathy and maturity in the process.

This film successfully avoids becoming buried under all the clichés it sets itself up for by taking those cliches and making something new out of them. Ultimately, this film ends up having interesting things to say about themes like tolerance, being yourself, and all that familiar touchy-feely stuff.

Honestly? I was perhaps expecting a bit more from something that quite a few people were calling the best animated feature of the year (2012, that is). But it was smart, charming, well-written, well-animated… well-everythinged. While it may not be busting into the canon of animated features (but consider the exceptional quality that already exists there), I have no problem recommending it.

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Jul 28 2012
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My Favorite Superhero Films. #11: Batman: Under the Red Hood (2010)

#11: Batman: Under the Red Hood (2010)

It’s actually nearly impossible to believe Batman: Under the Red Hood was a direct-to-DVD release. It had a cinematic quality that would’ve made it excellent to experience in the theaters. This film is actually an excellent example of the fact that DC Comics’ animated features show much more fidelity to their characters than their live action versions, and arguably are just better films in general.

Batman: Under the Red Hood adapts both the similarly-titled Under the Hood and the one Batman storyline I never thought I’d see any medium of adaptation try to touch: A Death in the Family. I actually like this film’s version of Jason Todd’s return much better than Under the Hood‘s. While the essential elements were the same, and the conclusion is similar, it’s much more streamlined both structurally and in terms of the actual story.

The production values here are as impressive as they’ve ever been for the DC Universe’s animated features, and Christopher Drake turns in arguably his best performance as soundtrack composer. I was surprised by the choice to recast many of the voices for this film as I think the original voice actors would’ve been excellent reprising their roles, but I can hardly argue with who they got to replace them. Bruce Greenwood (as Batman) and Neil Patrick Harris (as Nightwing) bring serious Hollywood prestige to the cast, while veteran voice actor John DiMaggio (as the Joker) is, as ever, impressive.

The quality of this film stands out even among other DC Universe Animated Original Movies, which have been with few exceptions consistently excellent. I would love to see more major Batman storylines told in a similar vein. I’d love to see a (probably at least two-part) adaptation of Knightfall and Knightsend, largely glossing over Knightquest, and definitely a sequel adapting Prodigal. The Long Halloween and Dark Victory (still the best interpretation of Dick Grayson’s origin story ever) would be spectacular as well.

So far, though, the only additional storyline they’ve used is Year One (which was okay but not great), and there’s a forthcoming two-part adaptation of The Dark Knight Returns, which I must confess I’m not especially looking forward to. But then, my bias has always been for more exploration of the “Batman Family,” a concept which modern interpretations of Batman have largely tried to ignore. Under the Red Hood, on the other hand, plays into my prejudices by heavily featuring Bruce’s relationship with both Dick Grayson and Jason Todd. This is really what I’d like to see more of, just throw in some Barbara Gordon and Tim Drake and we’ll be all set.

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Jul 15 2012
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My Favorite Superhero Films. #18: TMNT (2007)

Over the next few weeks I will be counting down my favorite (and least favorite) superhero films. For the purpose of this list, the only “rules” for what constitutes a superhero film will be that it reasonably seems like a superhero film. I won’t be applying any ridiculous standards that end up making Batman not a superhero because he has no super powers, or anything like that.

For those of you thinking, “Wait, 23? Isn’t that kind of a lot?” Keep in mind, the past few years alone have seen Sam Raimi’s Spider-Man films, Bryan Singer’s X-Men films, Christopher Nolan’s Batman films, and the unprecedented Marvel Cinematic Universe.

Thanks, and I hope you enjoy reading!

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#18: TMNT (2007)

Though it was not as well-received as other incarnations of the heroes, I felt the 2007 computer-animated film TMNT found the ideal “middle ground” in which the characters could really flourish, and to this day I consider it a bitter disappointment that the film didn’t serve as a launching point for an entire series of computer-animated Ninja Turtles films. Computer-animation brought the turtles to life in a way that both traditional animation and live-action costumed versions couldn’t quite match. It was with bitter disappointment that I heard the franchise was instead turned over to Michael Bay for a live-action reboot, though the status of that project is now in flux with production on indefinite hold. Despite my misgivings, I am doing my best to reserve judgment and hope for the best if and when work on Bay’s reboot resumes.

Rendering the turtles with computer-animation finally gave the filmmakers the ability to bring the turtles to life in a way that both the traditional animation and live-action version can’t quite equal. They were finally able to depict the adventurous turtles performing spectacular acrobatic and athletic feats that makes it possible to fully realize the fun, adventurous atmosphere of this franchise.

The plot strikes a balance in being refreshingly light-hearted in comparison to the first live-action film, but not quite as silly as the live-action sequels or the Saturday morning cartoon responsible for this franchise’s burst in popularity. I feel like the Ninja Turtles franchise really hit its true stride here, realizing that it can take itself seriously without being completely serious. The computer-animated film did tip its cap toward being a spiritual sequel to the live-action franchise, however, with a brief opening montage stating that Shredder had been previously defeated and several references to the original films visible on Splinter’s “trophy wall.” The film is not devoid of complication, however, and actually explores conflict between the turtles themselves on a much deeper level than arguably any other incarnation.

At the film’s opening, Leonardo is in seclusion in South America, sent there for training by Master Splinter. He has been gone longer than expected, feeling himself unequal to the task of leading his brothers. April O’Neil, now using her investigative talents as a treasure hunter rather than an investigative journalist, encounters him there and tells him about how his brothers have drifted apart in his absence. Michelangelo, now working as a birthday party entertainer, seems to be the only turtle to have retained their adventurous spirit, but this leaves him feeling lonely when he returns to the hideout every day to find Donatello working as a phone IT specialist and Raphael sleeping all day in order to maintain his violent vigilante career as “Nightwatcher.”

The way in which the turtles drifted apart without Leonardo is actually quite believable, and a nod to well-established individual character traits of each turtle. Leonardo is convinced that his brothers need him again, and returns to New York. Donatello and (especially) Michelangelo are overjoyed to see him, but Raphael simmers with resentment which is really building toward a culmination (finally) of the historical baggage between these two characters.

With Leonardo’s return, Splinter gives the turtles permission to go to the surface to train, but not to fight until they can act as a team. Naturally, the turtles encounter a situation they really can’t ignore, leading to the first action scene of the film. The turtles find a huge monster destroying part of downtown Manhattan, and an old enemy: the Foot Clan, now led by female ninja Karai. Leonardo argues for a truce, but the turtles soon find themselves fighting both the monster and their traditional enemies. Here, we find out for the first time that the film features well-choreographed, eye-candy action scenes which will continue for the rest of the film. With the turtles now aware of the scope of the threat their city faces, they return to the sewers to plan their next move.

Before they can make their next move, however, the tensions between Leonardo and Raphael finally boil over, with Leonardo confronting his brother’s “Nightwatcher” persona, and then facing his brother in the fight this entire franchise has hinted at but never until now delivered. Their rooftop fight is personal, nasty, and revealing. The brothers’ negative traits (Leonardo’s sense of superiority and Raphael’s anger issues) are on full display. The aftermath of the fight leaves Raphael shaken, even moreso when he witnesses Leonardo being captured.

After Raphael admits his failure to Master Splinter, he, Donatello, Michelangelo, April, Casey, and Splinter himself set off to rescue the lost turtle. The rest of the film is an absolutely spectacular series of well-made action/adventure scenes in which the turtles finally rediscover their unified spirit and work as a team. After their victory, the film teases a sequel by having Karai warn the turtles to enjoy their victory while it lasts, claiming that they will soon have to face an “old enemy.”

There are a lot of things to love about this take on the Ninja Turtles franchise. I’ve already extolled the virtues of the computer animation, so I don’t want to overdo it, but I truly believe this was the best available medium for this franchise and am genuinely concerned about them taking a step back by returning to live-action (even more than I’m concerned about Michael Bay’s involvement, which is saying quite a bit.) This film also eschewed the franchise’s tendency to cast female characters exclusively in secondary roles, reimagining April O’Neil as a treasure hunter who can clearly hold her own in a fight and who fights side-by-side with the turtles during the endgame, while Karai fights Leonardo to a standstill, clearly a match for any of the turtles.

Many critics actually complained that this film lacked the “irony” of the live-action films, but I think that’s a silly complaint. I loved the unironic heroic vibe of this film, and I was looking forward to a revival of the Ninja Turtles franchise. Indeed, Karai’s last lines of the film tease a return of Shredder with her as a formidable new ally. I really couldn’t wait for hinted-at the series of computer-animated adventure films that (sadly) never came.

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Jul 14 2012
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My Favorite Superhero Films. #19: The Incredibles (2004)

Over the next few weeks I will be counting down my favorite (and least favorite) superhero films. For the purpose of this list, the only “rules” for what constitutes a superhero film will be that it reasonably seems like a superhero film. I won’t be applying any ridiculous standards that end up making Batman not a superhero because he has no super powers, or anything like that.

For those of you thinking, “Wait, 23? Isn’t that kind of a lot?” Keep in mind, the past few years alone have seen Sam Raimi’s Spider-Man films, Bryan Singer’s X-Men films, Christopher Nolan’s Batman films, and the unprecedented Marvel Cinematic Universe.

Thanks, and I hope you enjoy reading!

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#19: The Incredibles (2004)

With the 1995 release of Toy Story, Pixar established an entirely new medium of films that has since given us some of the most critically lauded animated films of all time. Until recently, Pixar itself was seen as a studio that could “do no wrong” with a string of universally acclaimed hits following Toy Story, including the superhero film The Incredibles.

The Incredibles‘ narrative is almost perfectly constructed with no wasted space. The film begins with a flashback scene that introduces Mr. Incredible (Craig T. Nelson), his relationship with Elastigirl (Holly Hunter), friendship with Frozone (Samuel L. Jackson), and the world of the film. The audience is also introduced to the main villain (though you might not realize it at first), Syndrome (Jason Lee). This functions to help the audience identify with the somewhat sympathetic villain, so that when he is dramatically revealed later in the film the audience can more easily understand his motivations.

In the transition from the flashback to the primary story, we find that the world’s superheroes have been forced into retirement due to lawsuits and media scrutiny. The government creates a “Superhero Relocation Program,” giving Supers normal human jobs and outlawing use of their powers. Mr. Incredible and Elastigirl have three superpowered children: Dash (Spencer Fox) and Violet (Sarah Vowell) who are in grade school, and Jack-Jack (Eli Fucile and Maeve Andrews) who is a toddler.

Not content with simply giving us a fantastic superhero story (which it also does), The Incredibles shows its incredible depth by exploring some surprisingly deep themes for a “kids’ movie.” Mr. Incredible is beginning to show classic signs of a midlife crisis, feeling stifled by being prohibited to use his gifts to help people. This, in addition to losing his job, leaves him vulnerable when he’s approached with an opportunity to use his gifts for a mysterious employer. Knowing his wife won’t approve, Mr. Incredible begins lying to her and secretly going on “business trips” that are actually superhero missions. When his wife uncovers his deception, she suspects him of having an affair, and is understandably distraught.

The children are presented as similarly well-rounded, believable characters. Dash’s storyline resembles his father’s to a certain extent, as he wishes to participate in sports but is prevented from doing so because of his powers. He reacts by acting out at school, and receives mixed messages from his sympathetic father and more pragmatic mother. Violet lacks self-confidence and is presented as rather shy in the early portions of the film’s narrative. And, predictably, super-powered children are just as prone to sibling rivalry as any other children, but their fights manifest themselves much differently with each child using their powers (Dash’s super speed and Violet’s ability to project forcefields) in the conflict.

The marital conflict between Mr. Incredible and Elastigirl comes to a head when Elastigirl rescues Mr. Incredible on Syndrome’s island. With their conflict resolved, Dash finally given the opportunity to use his gifts, and Violet gaining the self-confidence she needs, the family finally stands united, and rushes back to Metroville to stop Syndrome.

This film has everything you need for a great superhero film: a well-constructed story with well-developed character arcs and conflict, “deeper” issues to explore, compelling heroes and villains, great action scenes, great character interactions, an excellent score by Michael Giacchino (this guy is everywhere!), and Samuel L. Jackson. (Okay: not every great superhero movie has Samuel L. Jackson, but it really seems to help.) It’s one of those times “fun for the whole family” isn’t just a tired cliche.

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Jul 13 2012
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My Least Favorite Superhero Films. #15: Wonder Woman (2009)

Parallel to my countdown of favorite superhero films (though not perfectly so as there are far fewer noteworthy in this category), I will also be counting down my least favorite superhero films. As with the other list, the only “rules” for what constitutes a superhero film will be that it reasonably seems like a superhero film. I won’t be applying any ridiculous standards that end up making Batman not a superhero because he has no super powers, or anything like that.

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#15: Wonder Woman (2009)

If it seems like an overreaction to have this film on this list, it’s because I haven’t done an adequate job of explaining just how bad it is. Or how good it should have been. The DC Universe Animated Original Movies have included some of the best animated superhero features I’ve ever seen (Superman: Doomsday, Batman: Under the Red Hood.) Despite being one of DC’s “Big Three” along with Superman and Batman, every attempt to make a live-action Wonder Woman film has fizzled out in development hell. With that in mind, this film had a great deal more responsibility than your average animated feature to be a definitive interpretation of the character.

It wasn’t an unreasonable expectation, really. The DC animated features have consistently featured excellent production values, as this one indeed did. The animation has been consistently great, Christopher Drake’s soundtracks have been so great they almost seem out of place, and the voice acting has included a great blend of established DC talent and outside professionals like Alfred Molina, John DiMaggio, and Nathan Fillion (all of whom were actually in this film.) Given the resources DC is willing to put into its animated features, this film clearly had a lot of things going for it. All it really needed was an excellent story to go along with that. Something that dealt with Wonder Woman’s origin story, and established and showed her as an iconic hero on par with Batman or Superman.

Or, you know, an incoherent, unfocused mess that couldn’t juggle the various things the writers tried to cram into 74-minute film even if some of them hadn’t been horrible ideas in the first place.

To be fair, it’s nearly impossible not to be sympathetic to the creative team here. While many of their ideas were wrongheaded, it’s pretty easy to see why they made a lot of the mistakes they made. For one thing, having a star like Nathan Fillion involved in the project is both a blessing and a curse, as it practically demands that he be given a huge part. Steve Trevor, Wonder Woman’s traditional love interest whose accidental landing on the Amazons’ secret island is responsible for Wonder Woman’s entrance into the outside world, seems to fit the bill, but the film pushes too hard to actually make that role larger than it should be.

That also helps explain the nails-on-chalkboard awkward approach this film takes to gender issues. It’s clear that the filmmakers decided that, as this was a Wonder Woman film, they had to “deal with” gender inequity in some fashion. A fairly obvious way to go about this would’ve been to have Diane encounter a few egregious examples of sexism (which really wouldn’t have been too difficult) and get upset about them. Unfortunately that might “offend” people, so instead the film opted to take an extremely bizarre approach. When a coworker of Steve’s drops her pen behind her desk and asks him to help her move it, Diane becomes outraged and lifts the desk over her head with one hand. Before you can even say, “Wait, that’s how we’re dealing with this?” Steve takes Diane to a bar and started ranting about reverse sexism. The film’s handling of gender is inept at best, mildly offensive at worst. I would’ve much rather seen the film not broach the issue at all than address it in such an incoherent fashion.

As I alluded to earlier, by far my biggest problem with this film is that we never see Diane being Wonder Woman. The entire film focuses on her origin story and battle with Ares. Although this is a very important part of Wonder Woman’s story, the net result is that we never get to see her as Wonder Woman. Being an amazon warrior out of place in the outside world has always been part of Wonder Woman’s narrative, but what about Wonder Woman the superhero? We actually only get a glimpse of her in the last thirty seconds of the film, in which the audience is teased with a battle between Wonder Woman and her archnemesis, Cheetah. I couldn’t help but walk away with the impression that we got about thirty seconds of what the entire movie probably should’ve been about.

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Jun 24 2012
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Pixar Still Knows How to Make Non-Sequels

Alright, let me get this out of the way first. Pixar: teasing me with a Finding Nemo trailer that turned out to just be for the 3D theatrical rerelease? Not cool. Okay, yes: the rational part of my brain should’ve taken over and gone, “Hey, Kat? If there were a Finding Nemo sequel in any stage of production, you would’ve heard about it long before there was a teaser for it. You know they’re rereleasing the film in 3D, so that’s pretty clearly what this is for.” Yes, okay, but what you’re doing there is assuming that I can think rationally when a trailer comes on, and I immediately recognize a scene from Finding Nemo. Just saying.

Contrastingly, having a prominently displayed dedication to “friend and mentor” Steve Jobs toward the beginning of the ending credits? Awesome, awesome, all kinds of awesome. I teared up a little, I’m not going to lie.

Now that that’s out of the way, Brave is Pixar’s newest effort to grace the big screen. After a pair of sequels (Toy Story 3 and Cars 2), it was sort of a breath of fresh air to see Pixar doing something different again. (Oh, their next film is a prequel to Monsters Inc.? Sigh.) The rendering in this film is just absolutely gorgeous, especially the landscapes. The very first thing you see is a snow-covered mountain that just absolutely looks photo realistic. I love that Pixar’s movies, while nearly always excellent movies in their own right, almost always also seem to have this secondary quality of, “Look what we can do!” It really makes you feel like the studio feels joy about what they’re doing.

The film’s characters certainly fit certain archetypes (the rebellious daughter, the demanding mother, the friendly father), but not uncomplicatedly. The mother’s motivations are much kinder than they might initially seem. The daughter, though certainly right to want to determine her own destiny, doesn’t go about it in a very good way and escalates the conflict. We see a relationship in which both mother and daughter fail to communicate with each other. The film finds a dramatic way of showing this when the two have separate conversations–the mother with the father, the daughter with her horse–and the film cuts back and forth between the two conversations so that they answer each other. They argue with each other while physically separated in completely separate conversations. The only characters who come anywhere close to being one-dimensional are the male characters, and, honestly? I’m kind of okay with that. There wasn’t any huge reason for them to be explored more, and there are plenty of beloved films where the opposite happens, so you guys can afford to take one for the team.

The film’s first act reaches its emotional climax in the competition for the princess’s hand in marriage. After the three suitors have had their turn, she defiantly shoots for her own hand in marriage. The iconic moment here is when she literally has to rip her dress in order to draw back an arrow. She then proceeds to hit the bullseye on all three targets, and splits the arrow on the third target. The third is done with her pulling back the arrow and releasing it in slow motion. The entire scene is just a sort of, “Oh, wow,” moment that you don’t see in films every day. My only complaint is that I’m not sure there was enough buildup to it. If you’ve seen the trailer, you’ve basically seen the entire buildup to this scene. Nevertheless, it was brilliant.

The film also features a transformation scene which is pretty incredible. A human turns into an animal, but retains all of their human faculties. This character has great difficulty adjusting to their animal body, which is something you don’t really see often enough in film’s that depict transformation.

The heart of the story is that the conflict between mother and daughter must be solved from both sides. The two come to understand each other and step back from their conflict, rediscovering the special relationship they once had and coming to an understanding about the future.

Though I can’t describe it in any detail without completely spoiling the rest of the story leading up to it, the film’s climax features an unbelievably epic rescue/battle scene in which the daughter rides in on horseback, leaps into battle, uses arrows, swords, and in general fights with incredible intensity.

This film is about the mending of relationships, about the tension between tradition and an individual’s needs, and about self-determination. It’s nice to see Pixar playing with big themes in a unique way again, rather than another prequel or sequel. Hopefully they’ll get back to that after Monsters University. Or (and I own my hypocrisy here) at least their next sequel will actually be for Finding Nemo, since they teased me with that.

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Jun 21 2012
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Amazon Woman Who Eventually Becomes Wonder Woman, Later, Offscreen

Wonder Woman (2009) is a pretty interesting movie about reclusive Amazon warrior women and their struggle against the Greek god Ares. It’s a rather fascinating reinterpretation of Greek mythology, including the creative decision to make the struggle reach even into the modern day, and have their separate world interact with the more familiar one.

Oh, one odd thing: for some reason one of the women wears a costume that looks remarkably like Wonder Woman’s.

Okay, you caught me. From what I can tell, Wonder Woman’s origin story is retold pretty faithfully in this film. The thing is… that’s the entirety of the film. While I realize that was probably the intent, it’s a really frustrating creative choice, because we never really get to see Wonder Woman being Wonder Woman, except for about thirty seconds at the end of the film, which teased a fight between her and one of my favorite antagonists (Cheetah.) It really seems like about half of the film should’ve been that, considering it’s called Wonder Woman, not Amazon Woman Who Eventually Becomes Wonder Woman, Later, Offscreen.

Even in the story the writers/producers/director did decide to tell, something felt more than a little “off.” The final battle in particular felt very out of place, with the President randomly being shown ordering the military to defend Washington, D.C. despite not having appeared in the rest of the film. (Protip: don’t bring the President of the United States into a movie he hasn’t appeared in at all just so you can show him ordering the military to defend the nation’s capital. When the military shows up, we’ll figure out someone ordered them to show up. And no, we don’t need to cut back to him to show some advisor telling him the battle isn’t going well. You can also establish that by showing the battle not going well.)

Before I get into more bad, this is a DC Universe animated feature, so you know you’re getting high production values. The art and sound were excellent, and the voice acting was strong. I truly believe you can never go wrong having Nathan Fillion involved in any production. Christopher Drake’s soundtrack was, of course, a strength as well. This is a small thing, but I’m pretty disappointed there were no opening credits, as Drake was not afforded the opportunity to shine with a sweeping theme song ala Batman: Under the Red Hood or Justice League: Doom. I think Wonder Woman is iconic enough that she deserves an iconic theme, right?

Alright, now I guess I have to talk about the elephant in the room. Being a Wonder Woman film, you know this film has to deal with the whole gender “thing.” I’d like to blame the fact that any film about a female superhero will inevitably be forced to address gender in ways that no male superhero film ever is, but I will admit that Wonder Woman in particular is a hero who was conceived in such a way that any adaptation of her story is going to have to address gender issues.

Faithfully adapting Wonder Woman for a general audience requires a certain amount of bravery. I mean, this is a character who was originally conceived not with female equality in mind, but female supremacy. On the other hand, that idea was never portrayed by making her openly hostile toward men. She was simply better. Obviously this film had to tread very carefully, balancing the character’s spirit with the issues she brings out.

What? Oh, they did the opposite of that? I guess that’s cool, too.

There’s a rather clumsy attempt to portray Wonder Woman as being confronted with sexism (“You don’t have your women lift desks over their heads with one hand when they have to move them? You sexist pigs!”) and reacting negatively to it, but it’s jarringly out of place and it makes Steve Trevor come off as the more reasonable of the two. He’s portrayed as a fairly egalitarian man, and there’s really nothing shown to give any of Diana’s complaints any real weight. If you’re going to bring gender issues into a superhero film (especially, especially Wonder Woman), I feel you have a responsibility to handle them much less clumsily than this film did.

The last thirty seconds of the film (the part where Wonder Woman actually was Wonder Woman…) were pretty promising, and seemed not so much to suggest there might be a sequel as hit you over the head with the fact that there would absolutely, definitely be a sequel. Thus far, however, D.C. has not announced any sequel to this film, which is deeply frustrating to me. Because if this movie had to be the way it was, the upside very easily could’ve been, “Oh well, now that that’s out of the way they can actually make a Wonder Woman movie.” Instead, the payoff was about thirty seconds of what I was hoping the entire film would be like.

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