Archive for the Animation Category

Waltz With Bashir * * * * 1/2

Posted in Animation, Foreign Language, War with tags on September 8, 2013 by Mark Walker

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Director: Ari Folman.
Screenplay: Ari Folman.
Voices: Ari Folman, Ron Ben-Yishai, Ronny Dayag, Shmuel Frenkel, Zahava Solomon, Ori Sivan, Dror Harazi.

The Israel & Palestine conflict never makes an easy topic for discussion and tends to bring passionate opinions to the surface. As a result, it’s difficult for anyone approaching the subject. Here, however, we are given a film that wisely doesn’t address the politics of the conflict, choosing instead to focus more on the atrocity and brutality of war.

On realising he has no memory of serving in the Israeli Army during the First Lebanon War in 1982, Ari Folman tracks down his old buddies to hear their stories of the conflict, and try to solve the mystery of his own psychological blindspot.

Thanks in large to it’s strikingly powerful artwork, this is a documentary that’s one of the most original of it’s kind. It consists of a serious of investigative interviews with director and war veteran Folman and his comrades who served with him during the conflict. Like the stories they relate, the interviews are also included in the animation and had this been done otherwise this may not have held our interest as much as it does. It helps bind the film into a coherent and visually stunning experience. Having served as an Israeli soldier, Folman wisely doesn’t justify his actions – if anything he abhors them. As he pieces the stories together, the revelation of his deep rooted memories are harrowing and it’s no wonder he developed temporary amnesia. He psychologically blocked his memories due to the atrocities and sheer brutality of the massacre – that he was involved in – of Palestinian men, women and children. Despite, this heavy subject matter, amidst the backdrop of war and barbarism, there are still many scenes of such power and surreal beauty.

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Deservedly Oscar nominated for Best Foreign Language film, this is a provocative, gruesome and visually stunning movie, that captures an eerie and haunting feel throughout. Within it’s shocking delivery, it carries a very important anti-war message while echoing the work of Oliver Stone’s “Platoon” or Francis Ford Coppola’s “Apocalypse Now”. Absolutely superb and quite unlike anything you’ll have seen before.

Mark Walker

Spirited Away * * * * 1/2

Posted in Adventure, Animation, Family, Fantasy with tags on September 3, 2013 by Mark Walker

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Director: Hayao Miyazaki.
Screenplay: Hayao Miyazaki.
Voices of: Daveigh Chase, Jason Marsden, Suzanne Pleshette, Michael Chiklis, Lauren Holly, John Ratzenberger, Tara Strong.

Having co-founded Studio Ghibli in 1985 and directed 11 films himself, the highly unique animator Hayao Miyazaki has unfortunately announced his retirement. The forthcoming “The Wind Rises” will be his last venture, so it now seems like a good time to look back at arguably his best film.

Chihiro is a 10 year old girl who is moving to a new neighbourhood when her father decides to take a short cut and gets the family lost in an abandoned theme park. Helping themselves to food that’s on display, Chihiro’s parents are transformed into pigs and it soon becomes clear that they have stumbled into an alternate reality. Chihiro is then forced to find a way to free herself and her parents and find a way back to the human world.

Quite simply, Miyazaki’s “Spirited Away” is a triumphant, fantastical, masterclass. Not only is his hand drawn animation as gorgeously refined and refreshing as ever, but his storytelling incorporates everything from the mythical to the magical, taking us on a truly breathtaking visual and intelligent journey. As his later film “Ponyo” would channel the likes of Hans Christian Andersen’s “The Little Mermaid“, here, Miyazaki has undoubtedly crafted his version of Lewis Carroll’s “Alice In Wonderland” and it’s in this similar realm of imagination that he is able to flourish. We are introduced to a myriad of fantastical figures from Gods, Spirits and Witches to a Sea Dragon, an enormous baby and strange little coal miners, known as “Sootballs”. Despite the rich hand drawn animation, though, it’s not all played for fun. It’s a rights-of-passage tale about the progression of a child to adulthood while finding the time to comment on the economic downturn of Japan and the increasing loss of it’s culture to the western world. It’s this very complexity that makes this Miyazaki’s near masterpiece. The only issue with the film is that it’s overlong, resulting in periodic disengagement – especially for younger viewers. It’s runs just over the two hour mark and this is with several parts of the story cut out- the original version of Miyazaki’s story would have run over the three hour mark. That being said, this is still one of animation’s true classics and thoroughly deserving of it’s Academy Award for Best Animated Feature in 2002.

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A breathtaking tour de force from one of the finest and most imaginative storytellers that animation has ever seen. Sadly, there will only be one more outing from Miyazaki but thankfully we’ve had to the pleasure to enter into his creative genius at all. Such accomplished cinematic experiences will be sadly missed.

Mark Walker

Frankenweenie * * * *

Posted in Animation, Family, Horror with tags on March 25, 2013 by Mark Walker

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Director: Tim Burton.
Screenplay: John August.
Voices: Charlie Tahan, Winona Ryder, Martin Short, Catherine O’Hara, Martin Landau, Atticus Shaffer, Robert Capron, Conchata Ferrell, James Hiroyuki Liao, Dee Bradley Baker, Frank Welker.

Tim Burton has occasionally been involved in animated movies throughout his career, having served as producer on “The Nightmare Before Christmas“, “James & The Giant Peach” and “9“. However, the only time he’s actually been behind the camera on any of them was “Corpse Bride” in 2005 and his animated short in 1984 “Frankenweenie” – of which this is a feature length expansion of. Some may feel that he’s treading old ground here but there’s no doubt that this is still a highly successful endeavour.

Victor Frankenstein is a lonely young boy who’s best friend is his energetic dog, Sparky. When Sparky is run over and killed by a car, Victor is devastated but he refuses to give up hope of spending time with his beloved friend again. Inspired by his science teacher, he decides to rig up a laboratory and harness the lightning to bring Sparky’s corpse back to life. His attempts are successful but it soon causes havoc within his neighbourhood.

Burton has came in for a critical panning from many people of late (myself included). The major issue being his seeming inability to change his idiosyncratic style. With this latest venture into stop-motion animation, he has answered his critics with aplomb and it makes you wonder whether he even should change his approach when the results can be as good as this. Here, his gothic idiosyncrasies are entirely suited to this homage to director James Whale and his classic horror movies “Frankenstein” and it’s follow-up “Bride Of Frankenstein“. He also throws in some references to horror stars Boris Karloff, Peter Lorre and Vincent Price and includes a whole host of quirky characters – the one that stood out for me the most was ‘Mr. Whiskers'; a cat who can predict the future of others by the shape of the shit left in his litter tray.
Burton’s decision to film in gorgeous monochrome also adds to the proceedings, meanwhile, giving Mary Shelley’s classic literary tale his own spin and he (and us) has a lot fun in doing so. It also has a similar off-key suburban setting like Burton’s earlier film “Edward Scissorhands” and shares the same balance of that film’s darkness and humour. Younger children may balk at the unravelling of the darker tale but older kids and adults can revel in it’s decent into a reanimated, monster B-Movie which is entirely fitting and in doing so, never loses it’s sense of fun or feeling for the macabre.

A lot of animated films these days have an appeal for children and adults alike and the balance that Burton achieves here is proof that that’s not about to change anytime soon. One of 2012’s very best animated films and one of Burton’s best for quite a while.

Mark Walker

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Fantastic Mr. Fox * * * * 1/2

Posted in Adventure, Animation, Comedy, Family with tags on September 13, 2012 by Mark Walker

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Director: Wes Anderson.
Screenplay: Wes Anderson, Noah Baumbach.
Voices of: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Wally Wolodarsky, Eric Anderson, Michael Gambon, Willem Dafoe, Owen Wilson, Helen McCrory, Brian Cox, Garth Jennings, Roman Coppola, Wes Anderson, Jarvis Cocker, Adrien Brody.

Director Wes Anderson’s quirky indie humour and off-beat dysfunctional characters have been very appealing to me over the years. Upon the news that he was adapting a classic children’s novel, using animation, I thought he might have been going a little too far outside his comfort zone and wondered if his idiosyncratic style would actually transfer to a different medium. Thankfully, my curiosity was put to ease as this did not dissapoint.

Based on Roald Dahl’s story about a sly and egocentric fox that always strives for better things for himself and his family, while seemingly oblivious to the dangers his quest for status brings to his family. He sets out to rob the three local farmers Boggis, Bunce & Bean of their possesions and attracts a lot of unwanted attention for everyone in the process.

Anyone familiar with Anderson’s idiosyncratic style will know that, despite this being animation, his approach hasn’t changed at all. It still possesses his wit and charm in abundance. The stop-motion animation takes a little getting used to but once you’ve attuned yourself to it, there’s no let up in the pace of, not just, Anderson’s visuals but also the characterisation and his daring in not being constrained by the medium itself. His eclectic use of music and screen captions are also present, making this every inch a Wes Anderson adventure. Credit must also go the voice cast; each and every single one of them inhabit their characters and deliver the sharp and intelligent dialogue to perfection, bringing the little stop-motion animals to life. These little creatures have more zest and life than most live-action movie characters are ever afforded and they add to another odd collection of dysfunctional family members that seem to be Anderson’s forte and feature regularly in his oeuvre.
For many, this is actually their favourite Anderson film. Personally, mine still sits with “The Darjeeling Limited” but this is certainly one of his finest, eccentric and most unique moments.

Not only does this foray into animation not disappoint, it actually thoroughly impresses. This is how it should be done. A subversive, cerebral treat for adults and children alike. “Fantastic” indeed.

Mark Walker

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Brave * * * * 1/2

Posted in Adventure, Animation, Family, Fantasy with tags on August 7, 2012 by Mark Walker

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Directors: Mark Andrews, Brenda Chapman.
Screenplay: Brenda Chapman, Mark Andrews, Steve Purcell, Irene Mecchi.
Voices: Kelly Macdonald, Billy Connolly, Emma Thompson, Robbie Coltrane, Kevin McKidd, Craig Ferguson, Julie Walters, Steven Cree, Callum O’Neill, Piegi Barker, Steve Purcell, John Ratzenberger.

Ever since “Toy Story” in 1995, Pixar Animation Studios have consistently delivered the goods. The only possible exceptions being “Cars” and it’s sequel. On the whole though, they have gained a reputation for delivering high quality and innovative story-lines. However, they have now reached a point where they are in danger of becoming victims of their own success. Nothing but the best is expected. This one attempts to go against their usual standard of storytelling and although some have criticism for it’s change of direction, I personally found it as appealing as ever.

In the Scottish highlands, bold young princess Merida (Kelly Macdonald) defies and rejects the services of her mother Queen Elinor (Emma Thompson), who has arranged for her to be married. Merida would rather hunt in the forests with her skills in archery and when her mother refuses to back down on her betrothal, Merida flees from the kingdom where she seeks the help of a witch (Julie Walters). This impulsivity brings a curse upon Merida’s family and one that she must undo before it’s too late.

Not only have Pixar changed their formula in having their first female protagonist in Merida, but they also had their first female director in Brenda Chapman. It was Chapman who conceived the project under it’s original title “The Bear and the Bow” but due to creative differences she was replaced by Mark Andrews. Added to which, Merida was originally to be voiced by Reese Witherspoon, who declined due to scheduling constraints. These post production issues could be the very reason why some critics claimed this film to be uneven. However, one of the silver-linings was the dropping out of Witherspoon as that meant that Scottish actress Kelly Macdonald could replace her. As it is, she’s perfectly fitting. What aids this film immeasurably is it’s authenticity in terms of it’s language and voice cast. It’s predominantly filled by Scottish performers and their delivery is pitch perfect. There are Scottish words and references peppered throughout, that although it’s not a requirement to understand them, the “patter” and idiom are well served and add a very personal touch that strike a chord and deliver many good laughs. Some characters are certainly stereotypical but they’re fun and endearing nonetheless and surprisingly, for a Pixar movie, there’s a lack of furry animals and cuddly toys to grab the attention of children – although Merida’s three little brothers are adorable. What this mainly has, is heart, passion and the welcome change of a leading female character with a strength and independent spirit. The mother/daughter relationship at the films core, possesses a real depth that Pixar are not usually known for. 2009’s “Up” touched upon it but human relations don’t tend to feature heavily in their films. This is a different direction Pixar have taken but it’s not, altogether, an unsuccessful one. Admittedly, the story is a tad light and formulaic and ultimately, it gives way to the films colourful pallet. But what a pallet it is; it’s simply astounding. The whole film is exuberantly done and visually it’s an absolute kick in the eyeballs; from Merida’s flowing, fiery red hair to Angus her mighty Clydesdale steed and the vast, abundant, Scottish landscapes. The attention to detail is near flawless and it marks a highly impressive new achievement in Pixar’s animation.

Okay, it might not reach the heights of the “Toy Story” trilogy in terms of imaginative storytelling but this is visually beyond anything Pixar has done before. At one point in the film, a character lifts up his kilt and playfully exposes his arse to another clansman, taunting him with the words “Feast yer eyes“. These are the very words that I would choose to recommend this sumptuous film… “Feast yer eyes” indeed.

Mark Walker

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My Neighbour Totoro * * * 1/2

Posted in Adventure, Animation, Family, Fantasy with tags on July 19, 2012 by Mark Walker

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Director: Hayao Miyazaki.
Screenplay: Hayao Miyazaki.
Voices of: Dakota Fanning, Elle Fanning, Tim Daly, Pat Carroll, Paul Butcher, Lea Salonga, Frank Welker.

Anyone familiar with the animated works of Hayao Miyazaki will be aware that he takes you into a fantasy world full of imagination and delight. I’ve managed to work my way through a lot of his film’s but this one had always eluded me. However, maybe it was my anticipation for this that left me feeling more underwhelmed than I normally am with his films.

Satsuki (Dakota Fanning) and Mei Kusakabe (Elle Fanning) are two young sisters who move to a rural house in Japan to be closer to their ailing mother in hospital. Upon their arrival, they begin to explore their new surroundings and find that there are strange little creatures who inhabit the old building and further exploration into the forest brings them closer to a giant furry sprite named Totoro, who they go magical adventures with.

Miyazaki’s film takes it’s time to get going. It starts off positively and there is an early introduction to his fantastical nature but he never fully explores it. It was more of a human drama than it was a fantasy adventure. However, no-one does it quite like Miyazaki and his film’s always possess a refreshing vitality. This still delivers on that front but isn’t as accomplished as “Spirited Away” for example. I think the main problem rests in the pace of the film; it too lethargic for children and a little too heavy on the drama. The fantasy element is wonderful when it gets going but it’s not explored as in-depth as I would have liked, leaving my concentration to wander. The fact that this is included in the IMDb top 250 is high praise indeed but it shouldn’t be held any higher than “Howl’s Moving Castle“.
I also found the English language version a little off-putting. I mean, how hard can it be to add dubbing over hand drawn animation? It’s not as if there should be a problem with lip-syncing but for some reason, this didn’t seem to fit. Speaking of the animation though, it is quite exquisitely crafted and proof that Miyazaki has been at the forefront of hand drawn material for quite some time now.

Not as entertaining as I would expect from Miyazaki but still a wonderfully endearing and affectionate tale from the hand-drawn Sensei.

Mark Walker

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Mary And Max * * * * 1/2

Posted in Animation with tags on June 6, 2012 by Mark Walker

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Director: Adam Elliot.
Screenplay: Adam Elliot.
Voices: Philip Seymour Hoffman, Toni Collette, Bethany Whitmore, Eric Bana, Renee Geyer.
Narrator: Barry Humphries.

Back In 2003, director Adam Elliot released an animated short called “Harvie Krumpet“. It went on to win an Oscar and like most animators after receiving this accolade, he went on to make a feature film. If this little film is anything to go buy, then it won’t be the last we’ll be seeing of this talented artist.

It tells the story of two, not so different but very unusual, pen pals; Mary, an 8 year old Australian girl living in Melbourne and Max a 44 year old man from New York. They both struggle to get on in life and have difficulty connecting with people yet miles apart, manage to strike up a heart-warming friendship that spans 20 years.

As we are introduced to young Mary Daisy Dinkle (voiced by Bethany Whitmore as a child and Toni Collette as an adult), we are told she has eyes the colour of muddy puddles and a birthmark the colour of poo. She gets teased at school and her parents are always busy. Her father is either working on taxidermy or attaching the strings to teabags and her mother is constantly ‘testing’ the sherry and listening to Cricket on the radio. The people around her have very little time for her. As a result, she randomly chooses a name from an American phonebook and writes a letter to Max Jerry Horovitz. Max (voiced by an unrecognisable Philip Seymour Hoffman) is just as lonely and finds the world very confusing and chaotic. He has trouble understanding people, is hyper sensitive and has trouble expressing his emotions. However, he decides to respond and an unlikely friendship develops between them. It’s the commentary on their individual lives and personal experiences that provides this film with some off-beat and darkly humorous ideas. Mary is able to ask questions like: Do sheep shrink when it rains? Why old men wear their trousers so high and if a taxi drives backwards does it save you money? She also tells Max of her neighbour who’s scared of going outside – “which is a disease called homophobia”. She’s sweet and innocent and like Max, shares that inability to fit in. Max is also allowed a rare chance in his life to open up. He tells her of his top five favourite-sounding words; “Ointment, Bumblebee, Vladivostok, Banana and Testicle”. He also informs us, that when he was young, he invented an invisible friend called ‘Mr. Ravioli’. His psychiatrist said that Max didn’t need him anymore, so ‘Mr. Ravioli’ now just sits in the corner and reads self help books. The humour is easy-going and possesses a freshness and originality. The use of animated clay dolls and monochrome and sepia settings are also brilliantly done, helping the humorous characters and dialogue perfectly compliment each other. Despite a lightness of touch though, it also addresses some deeper themes; alcoholism, mental illness, body image, suicide and depression which make this a film more suited to adults but that doesn’t stop it from being a delightful and highly inventive piece of work.

It’s been a long time since I seen Adam Elliot’s short “Harvie Krumpet” but I’ll be keeping an eye out for it again after this creative, emotional and poignant little treat.

Mark Walker

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A Scanner Darkly * * * * 1/2

Posted in Animation, Drama, Mystery, Science Fiction with tags on April 25, 2012 by Mark Walker

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Director: Richard Linklater.
Screenplay: Richard Linklater.
Starring: Keanu Reeves, Robert Downey Jr, Woody Harrelson, Winona Ryder, Rory Cochrane, Melody Chase, Alex Jones.

In 2002, director Richard Linklater delivered a, little-seen, gem of a film called “Waking Life“. In this, he used an animation technique called ‘rotoscoping’. Basically it was animation added over live actors. The results were highly effective and he decided to use the technique here, on this adaptation of Philip K. Dick’s paranoid science fiction novel. Once again, the results are superb.

In the near future, Bob Arctor (Keanu Reeves) an undercover cop, is given the assignment to bring down a vast network of drug distribution, dealing in “Substance D” – which is highly addictive and mind altering. He fully immerses himself in the lifestyle, to the point were he has become an addict himself and even his superiors don’t know his cover story. As a result, they order him to spy on himself. Being under the influence regularly, it causes him to lose his grip on reality where nothing is clear anymore.

This was a film that had gained interest from a couple of notable players in the film business. Director Terry Gilliam (“The Fisher King“, “12 Monkeys“) was interested at one point and screenwriter Charlie Kaufman (“Being John Malkovich“, “Eternal Sunshine Of The Spotless Mind“) had actually drafted a screenplay that was eventually unused. One can only wonder at what might have become of this adaptation had they been involved but that doesn’t lessen the fact that Linklater has done a sterling job here. For a start, his decision to implement the “interpolated rotoscoping” animation again was a stroke of genius. On “Waking Life” it complimented the existential dream-like story and it is used similarly on this film. It’s a technique that could be in danger of overuse but when the story and characters themselves are operating from an occasional surreal point of view, rotoscoping is perfectly fitting. It serves as a metaphor for the characters’ drug induced alternate realities and allows us to identify with their paranoia and personal identity. You’d be forgiven for thinking that it might take away from the actors’ performances but it doesn’t. In some ways it enhances them. Reeves is an actor that has came in for some criticism throughout his career but he’s really rather good here and the support, from Harrelson and especially Downey Jr, is excellent. Who better to be included in a film of substance abuse than a couple of actors who have dabbled in their time? The script is also very faithful to Philip K. Dick’s writing. You can tell Linklater has invested a lot of his time in adapting, what is essentially, some of Dick’s own paranoid thoughts – he was heavily involved in the abuse of amphetamines and psychedelics – and explores the usual themes involved in his novels; the sociological and political aspects of human society under the control of an authoritarian government. If your a fan of Dick’s musings then you’ll find them all here. The only fault with the film could be found in it’s slightly lethargic pace but the visuals and thought provoking content are so astounding that the pace is forgiven. Sometimes Philip K. Dick’s stories are not given the proper treatment in movies. There are stinkers like “Next” and “Paycheck” but this ranks very highly alongside the successful ones like “Total Recall” and especially “Blade Runner“.

A thought-provoking head-trip of a film that delivers both intellectually and visually.

Mark Walker

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The Adventures Of Tintin * * * *

Posted in Action, Adventure, Animation, Family with tags on February 3, 2012 by Mark Walker

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Director: Steven Spielberg.
Screenplay: Edgar Wright, Steven Moffat, Joe Cornish.
Starring: Jamie Bell, Andy Serkis, Daniel Craig, Simon Pegg, Nick Frost, Toby Jones, Mackenzie Crook, Daniel Mays, Gad Elmaleh, Joe Starr, Kim Stengel, Sonja Fortag, Tony Curran.

Herge, the writer and creator of “Tintin” apparently once said that Steven Spielberg was the only director who could truly capture his creation on the big screen. Thankfully for him then that Spielberg has got himself involved, along with visionary support in Peter Jackson.

Uniting elements from Herge volumes ‘The Crab With The Golden Claws’, ‘The Secret Of The Unicorn’, and ‘Red Rackham’s Treasure’, valiant Belgian reporter Tintin (Jamie Bell), along with brainy mutt Snowy, is on the trail of a lost family fortune, involving future friend and rambunctious soak Captain Haddock (Andy Serkis).

I do hope that when (or if) Indiana Jones 5 arrives that Spielberg has a better story to work with. The story here by Steven Moffat, Edgar Wright and Joe Cornish is familiar Indy fare for Spielberg but it doesn’t have enough in the tank to grab you, leaving him to stage one action set-piece after another to keep the excitement flowing. These set-pieces are undeniably exhilarating though and his handle on the animation side is entirely successful. Before him, director Robert Zemeckis tried (and failed) with similar motion-capture animated features “The Polar Express” and “Beowulf” but Spielberg and Peter Jackson have cracked it. The motion capture is flawless and every pixel of animation is refined to perfection. The problem that Zemeckis had was achieving believable and realistic eyes in his characters. That problem is now gone here. It’s so good that it’s hard to accept that real actors are responsible for the performances. Jamie Bell is impressive as the eponymous man-boy reporter and Daniel Craig is a delight as the villain Sakharine, but the real treat here is Andy Serkis as Captain Haddock the bumbling seaman, complete with Scottish brogue and drunken mishaps.

Classic boys-own adventure and the stuff that Spielberg has been churning out for years. Unfortunately, the script doesn’t hold up to the exquisite visuals and rollicking action but it’s still a treat nonetheless.

Mark Walker

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Rango * * 1/2

Posted in Adventure, Animation, Comedy with tags on February 2, 2012 by Mark Walker

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Director: Gore Verbinski.
Screenplay: John Logan.
Voices: Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Stephen Root, Harry Dean Stanton, Timothy Olyphant, Ray Winstone.

When director Gore Verbinski and star Johnny Depp collaborated before they brought new life into the swashbuckling genre with “Pirates of the Caribbean”. This time they bring a different take on animation, with very mixed results.

A pet lizard (Johnny Depp) falls out of a car in the desert, and earns himself a heroic reputation in the makeshift animal town of ‘Dirt’ as gunslinger “Rango”. Dirt’s water-supply is controlled by a turtle mayor (Ned Beatty) and his gang, but Rango rallies the decent folks when it seems the community will be destroyed.

Partly the problem I had with “Rango” was it’s stunningly good opening. For the first 10mins or so it looked like it was going to be something very special indeed but as it progressed it fell somewhat flat and ended up as dry and barren as the landscape in which it was set. The voice cast were impressive, particularly Depp. He has a good range and if you didn’t know beforehand, you probably wouldn’t know it was him. The animation was also very well done but the desert creature characters were so realistic that they were also a bit freaky, leaving them less endearing than they should be, which has you wondering why Verbinski chose the style he did. Choosing the great cinematographer Roger Deakins as visual consultant was a good move though, as the landscapes and western style were brilliantly achieved.

A valiant effort to produce something different but the characters were just a bit too far gone and the story seriously ran out of ideas early on.

Mark Walker

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