Archive for the Animation Category

Kahlil Gibran’s The Prophet

Posted in Animation, Drama with tags on August 20, 2015 by Mark Hobin

Kahlil Gibran's The Prophet photo starrating-2andahalfstars.jpgKahlil Gibran’s The Prophet is a cartoon, yes. However before you rush out to see this movie with the kids in tow, you really should read this review first. It’s not that there’s anything here that young minds shouldn’t see. On the contrary, it’s filled with inspirational life lessons that are perfectly acceptable. It’s just that it is not something a child would find particularly entertaining nor, dare I say it, most adults.

Kahlil Gibran was a Lebanese-American artist, poet, and writer. Born in the Ottoman Empire on January 6, 1883, he immigrated with his family to the United States as a young man. He is best known in the English-speaking world for his 1923 book The Prophet which is an English collection of 26 prose essays. It was wildly successful and has been translated into over 40 different languages. In the Arab world, political leaders considered Gibran a literary rebel. In Lebanon, he is a literary hero to this day.

Kahlil Gibran’s The Prophet doesn’t have a strong narrative per se. Rather it’s a succession of animated poems, each one taken from his seminal work. The subjects are freedom, children, marriage, work, eating & drinking, love, good & evil, and death, with different animators for each. Segment directors include Tomm Moore (The Secret of Kells, Song of the Sea), Bill Plympton (Guard Dog, Cheatin’), Joan Gratz (Mona Lisa Descending a Staircase), Nina Paley (Sita Sings the Blues), Joann Sfar (The Rabbi’s Cat), Paul and Gaetan Brizzi (“Firebird Suite” in Fantasia 2000), Michal Socha (Simpson’s couch gag from “What To Expect When Bart’s Expecting”) and Mohammed Harib (Freej). The displays are loosely strung together by the tale of an imprisoned poet named Mustafa (Liam Neeson), who has just been released. He’s on his way to board a ship that will take him home. Along the way, he gives the advice that forms the foundation of the various segments.

The obvious audience for this are devotees of Kahlil Gibran. He is the third best-selling poet of all time, behind Shakespeare and Lao Tzu, so he obviously has his admirers. If an array of animated shorts depicting his words sounds captivating, then I’d surely recommend this to you. The series of 8 videos presented here are all of noble quality – pretty images with spoken word narration. A couple have music to accompany them. My favorite was Nina Paley’s “On Children”. The shadow puppets of Indonesia inspire a mesmerizing visual tableau accompanied by a song by Damien Rice. It presents a pregnant female archer who shoots an arrow into the belly of another pregnant woman, thus giving birth to another human being. It’s utterly hypnotic. The entire movie was produced by actress Salma Hayek, who also gives voice to one of the characters, and supervised by director Roger Allers (The Lion King). The talent behind the camera is considerable and the intentions are clearly heartfelt. It’s a pleasant diversion, but far from necessary viewing. For die-hard fans of Kahlil Gibran’s poetry, however, it should prove enchanting.

Shaun the Sheep Movie

Posted in Adventure, Animation, Comedy, Family with tags on August 11, 2015 by Mark Hobin

Shaun the Sheep Movie photo starrating-4stars.jpgDelightful confection about a sheep who simply dreams about having a day off at the farm. Shaun (Justin Fletcher) is the de facto leader of a flock of sheep. He hatches a scheme so they can have a break from their daily routine. Naturally things don’t go quite as planned.

Despite the title, Shaun the Sheep is actually an ensemble piece. There’s the oblivious bespectacled Farmer (John Sparkes). His odyssey after accidentality winding up in the Big City is just as important as Shaun’s narrative. There’s the rest of the flock too, some of whom get distinct personalities. This includes Nuts, Hazel, Shirley, the largest member and little Timmy, Shaun’s nephew. There’s Bitzer the Sheepdog, who bears more than a passing resemblance to Gromit, another Nick Park creation. Bitzer is loyally devoted to the Farmer and the calm yin to Shaun’s wild yang. Their adventures allow them to meet a variety of animals including Slip, a lovable little stray dog with the longest eyelashes ever. But it’s not all fun and games. They must contend with Trumper (Omid Djalili) an animal control officer who is the traditional nemesis of any stray pet.

Shaun the Sheep is the sixth feature from Aardman Studios and based on the BBC television show. The production almost exists in another world apart from other animated films. However the visual and comedic stylings are very much in line with the British animation studio’s other pictures. Located in Bristol, they are best known for using stop-motion claymation techniques. The company first gained fame with several shorts starring the adventures of Wallace & Gromit. In 2000 they released their theatrical debut with Chicken Run and it was a huge success.

Shaun the Sheep is warm, clever, witty, hilarious, touching, sweet, cute.  I could go on. A delight for those who appreciate a whimsical romp. It’s refreshingly slight clocking in at a mere 85 minutes. For those whose tastes run toward more electrifying fare, this placid tale may seem a bit soporific. There’s nary a word of spoken dialogue. Everything is expressed through gestures and vocal cues. I, on the other hand, truly appreciated this undemanding tale’s lighthearted take. It’s rather impressive how much story be conveyed through mutters and grunts and baas and bleats. As such, witty sight gags abound. Gentle G rated humor references Inception, Silence of the Lambs, Taxi Driver and The Terminator. Stick around for an end-credits homage to Ferris Bueller’s Day Off. Early on, the sheep lull Farmer to sleep by continuously jumping over a fence. But my absolute favorite interlude is a disguise sequence where the sheep dress up as humans and go out to a fancy French restaurant. It’s so visually brilliant it could only be described as Chaplin-esque.



Posted in Animation, Comedy, Family with tags on July 11, 2015 by Mark Hobin

Minions photo starrating-4stars.jpgIt was only a matter of time before the Minions, those breakout stars from the Despicable Me movies, got their own picture. You already know whether you’re going to enjoy this. If you appreciated their antics in the aforementioned films, then you should find this to be the bee’s knees. On the other hand, if you walk in begrudgingly detesting those lovable rapscallions, then you’ll undoubtedly just go on hating them with clenched fists and a closed heart. Theirs is a physical comedy part of a rich tradition that is an evolution of slapstick and farce. Buster Keaton begat The Three Stooges who begat Jerry Lewis who begat Benny Hill who begat the Minions.

The word evolution is particularly apropos in this case. Minions commences with the very dawn of time. Starting as single-celled organisms, we see the Minions evolve through the ages. In every era they unceasingly serve a litany of only the most despicable of masters. From Tyrannosaurus Rex to Dracula to Napoleon, they go through one boss after another, accidentally killing off each one due to their own clumsiness. Our proper adventure begins when the Minions (all voiced by director Pierre Coffin) find themselves without a master to serve. Then one Minion named Kevin decides to change things. He has a plan to find a new master. He’s taking two buddies, Stuart and Bob. These three, who bear a striking style similarity to Gru’s 3 daughters, travel cross the ocean. They visit New York City first – circa 1968 or 42 years B.G (Before Gru) – before winding up in swinging mod London.

The setup lays the groundwork for a nonstop silly fun fest. Granted, the Minions are not known for their sophisticated wit. In fact most of their communication is a dialect that is mixture of English words peppered with foreign phrases. It’s a creative amalgamation of vernacular where syntax is key. Humor is derived from being able to interpret their Minionese within the right context. Although you don’t understand the vocabulary, you feel what they’re saying. It’s not hard to grasp. Kids in particular appreciate their lighthearted ability to adapt to whatever situation they must face. It’s an admirable quality.

Their business takes them to something called Villain-Con in Orlando. The city is presented as swampland in 1968 but it’s perhaps no small coincidence that the studio responsible for this, built a resort there in 1990. Villain-Con is clearly based on San Diego’s Comic Con but functions as sort of a delegation for the most evil supervillains ever assembled. Look carefully and you’ll notice Dr Nefario from the previous films. Gru and his mother are there too. With a nod to female empowerment, the undisputed leader in the field is Scarlet Overkill (Sandra Bullock), the baddest criminal of them all. With her perfect 1960’s flip, she recalls Mary Tyler Moore. Her husband Herb (Jon Hamm) suggests Ringo Starr…or is it Pete Townshend? I’m not too sure. The rocking 60s soundtrack features both The Beatles (“Got To Get You Into My Life”) and The Who (“My Generation”) so I suppose it could be either. Which leads into my next point.

On the surface Minions is silly fun, but the narrative highlights a lot of delightful in-jokes that should entice hip viewers. Kids won’t get them and frankly many adults won’t either. The floor in Scarlet Overkill’s abode resembles the carpet in The Shining. Stuart greets the fire hydrant he fancies with “Papagena” which sounds like nonsense unless you realize it’s a character in The Magic Flute. Kevin whistles a tune from Mozart’s opera later. Scarlet Overkill’s bedtime story about a big bad wolf is underscored by Prokofiev’s Peter and the Wolf. But it’s not all classical music. Baby boomers should dig the 60s fan service. Minions pop up out of a manhole cover just as the Beatles are crossing the street à la Abbey Road. The minions sing “Revolution”, the “Theme from the Monkees”, and “Hair”. They watch TV while flipping past The Saint, Bewitched & The Dating Game. Alas there are instances where toilet humor shows up like an unwelcome house guest. In those brief moments, taste takes a regrettable detour. However, more often than not, Minions is a feast for savvy pop culture aesthetes and their children as well.


Inside Out

Posted in Animation, Comedy, Drama, Family on June 20, 2015 by Mark Hobin

Inside Out photo starrating-4stars.jpgPixar’s ode to the emotions of a little girl, Inside Out is a sophisticated journey into the physical expression of the psyche. Sounds pretty philosophical for a cartoon, right? However Pixar brilliantly distills the idea into an interpretation that is surprisingly lucid.  It manages to be gracefully enlightened in what it conceptualizes too. OK but just how many emotions are there really? In the 4th century BC Aristotle came up with 14: Anger, Calm, Friendship, Enmity, Fear, Confidence, Shame, Shamelessness, Kindness, Pity, Indignation, Envy, Emulation, and Contempt. Whew! That’s a lot of characters. Experts say it’s your facial muscles that tell the real story. As a result, many scientists have since agreed to reduce the core number all the way down to 4. Well Pixar chose 5: Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader) and then granted Disgust (Mindy Kaling) and Anger (Lewis Black) their own separate entities.

In the physical world, a girl named Riley (Kaitlyn Dias) is born to a loving mother (Diane Lane ) and father (Kyle MacLachlan) in Minnesota. When her dad gets a new job, the family must relocate to San Francisco. Moving is a particularly troublesome experience for the by now 11 year old: new home, new school, new people. On the outside, we see the facial expressions that belie her feelings. On the inside, we see the emotions argue, persuade, pressure and praise in the “Headquarters” of Riley’s mind. Joy is an effervescent pixie with a haircut to match. She is most often in control of Riley’s memories which are housed in glowing color coded orbs. Each one the shade of their overriding emotion. The spheres considered the most relevant are known as “core memories”. These power five “islands” in Riley’s subconscious, each highlighting a different aspect of her personality.

Then one day, Riley’s emotional world falls apart. Everything comes to a head on her first day of school. Sadness is a blue bespeckled awkward girl with bad posture. Sadness inadvertently touches a happy memory and turns it “sad”.  So Joy tries to eliminate the negative recollection.  Complications arise causing Riley’s 5 core memories to get knocked from their container. Joy and Sadness are accidentally sucked through a tube and displaced along with Riley’s essential thoughts into the far reaches of Riley’s mind.  Disgust, Fear, and Anger become the de facto masters at the control of decisions that could ruin her life.

As a saga, Inside Out is The Incredible Journey or it’s Fantastic Voyage. Joy and Sadness must navigate their way across this bizarro world back to the command center. Indeed navigating the subconscious mind is pretty surreal. It’s not unlike the Beatles trying to get to Pepperland in Yellow Submarine. Inside Out isn’t anywhere near as psychedelic, but it still includes the realm of Abstract Thought, an Imagination Land, Dream Productions, and a dizzying labyrinth of Long Term Memory. Denizens include a clown, a unicorn and Bing Bong, Riley’s imaginary friend from early childhood. Voiced by Richard Kind he is a cotton candy colored creature that fuses the trunk of an elephant with the tail of a cat and the squeal of a dolphin. A fun loving fellow wearing a porkpie hat and a purple bow tie, this hybrid creature is one of the more surreal entities on the Pixar roster. Anyone remember Jeremy Hillary Boob? That’s another reference to Yellow Submarine, a character that was also a bit of a nowhere man. Now a forgotten friend, Bing Boing consistently radiates joyful exuberance, although his selfless act later in the narrative has an elegiac quality.

Inside Out is a dazzling manifestation of the emotional mind, both visually and aurally. Last time director Pete Docter and composer Michael Giacchino collaborated, it earned them both Oscars (for Up). It could easily happen again. Pixar has long been the animation studio that combines the weight of poignant drama with dazzling visuals. Inside Out’s greatest gift is the presentation of the psyche as a landscape for which thoughts and memories are accounted and sorted. I realize Pixar didn’t invent this construct. The early 90s Fox sitcom Herman’s Head (It followed Married… with Children on Sunday nights) did a variation on this theme over 2 decades ago. But Pixar gets credit for expounding on the abstraction in a way that makes you question the way you experience your own life. The “Personality Islands” are a nice touch in making concepts tangible. That’s just one example of an idea that could be taught in the field of psychology.

After a series of perfectly adequate films that began in 2011, Inside Out is a welcome return to cinema par excellence for the Pixar studio. First and foremost, the adventure is an affecting story. Anthropomorphic emotions in red, yellow, green, blue and purple hues articulated as individual characters we can embrace. Joy and Sadness are the real stars here. They dominate the narrative with their odyssey back to the central hub. Call it Journey to the Center of the Mind. However Disgust, Fear and Anger all have their their moments too. Every emotion is key to a well adjusted human being. Pixar staddles the line between presenting it all as something a young child can comprehend but allowing just enough depth to captivate the adults in the audience. It’s still pretty straightforward, but there’s beauty in simplifying a complicated subject. Inside Out makes it all seem effortless.


When Marnie Was There

Posted in Animation, Drama, Family with tags on June 13, 2015 by Mark Hobin

When Marnie Was There photo starrating-3stars.jpgThe difference between what this chronicle suggests it might be, and what it truly is, are night and day. Anna Sasaki (Hailee Steinfeld) is a 12 year old girl that has yet to find her place in this world. An orphan, she is being raised by loving foster parents Yoriko (Geena Davis) and her husband. Unfortunately Anna still suffers from the emotional scars of the past. “I hate myself” she cries out early on. Indeed she begins from a very dark place. Her reclusive state lends the narrative a grim context not often associated with animation. One day at school she collapses from an asthma attack. Her parents decide to have Anna spend the summer with her aunt (Grey DeLisle) and uncle (John C. Reilly) in Kushiro, a seaside town with fresher air. There she meets a mysterious girl named Marnie (Kiernan Shipka).

When Marnie Was There has similar national ties that sort of make it a spiritual successor to The Secret World of Arrietty, a 2010 Studio Ghibli film. The story also began as a British young adult novel.  This one published in 1967 by author Joan G. Robinson. Studio head Hayao Miyazaki had it among his recommended list of 50 children’s books. The same director of Arrietty, Hiromasa Yonebayashi, then adapted it with help from Keiko Niwa and Masashi Andō, into a movie of the same name.

When Marnie Was There is an extremely slow saga but I am reluctant to call it plodding. I admire the gradually unfolding nature of the drama. Its reflective nature allows the viewer to kind of luxuriate in its mood. This is a plot that earns its drama from the heartbreaking turmoil of a teen going through adolescence. At first you want to embrace Anna. She feels isolated and alone. Yet she isn’t beyond reproach for her current circumstance either.  Anna is rather nasty at times, calling one of her new friends a “fat pig” out of nowhere. However Anna responds differently to the beautiful blonde Marnie, a friend her own age who lives in the dilapidated mansion across the pond. Except it isn’t in ruins whenever she visits her. At night there are even parties where Anna is invited to attend disguised as a flower girl. “You look like a girl from my dreams” Anna confides in Marnie.  Does Marnie really exist or is she merely a figment of Anna’s imagination?

When Marnie Was There never fulfills on its grand promise of something profound. Anna and Marnie strike up a friendship and their interactions allow the previously withdrawn Anna to open up. The two frequently abscond away together in clandestine meetings that suggest a rapport that is far more intimate. It reaches an apex when a jealous Anna questions Marnie about dancing with a boy. You’re certain that something more will come of this. But nothing does. Later there is a scary interlude that resembles a Gothic tale involving an old abandoned silo that terrifies Marnie. More suggestions of something grander than what is actually presented. The denouement ultimately ignores all of these plot threads and settles into a resolution that doesn’t effectively address the issues with which this poor kid is struggling. She was really messed up and the reveal is totally disconnected from what this girl had been feeling. Sill, the picture is too visually hypnotic to ignore. The soundtrack, both the music and the sounds of the environment, create a lavish atmosphere that is spellbinding. I liked When Marnie Was There. I just didn’t love it.


Song of the Sea

Posted in Animation, Family, Fantasy with tags on March 20, 2015 by Mark Hobin

Song of the Sea photo starrating-3andahalfstars.jpgThe setting is Ireland but this period piece sort of exists in a magical land that seems almost otherworldly. The environment relies on folklore as it concerns the ancient legends of the selkie, mythological creatures that live as seals in the sea but become human on land. Song of the Sea is the second film from Cartoon Saloon and Tomm Moore, the creators of The Secret of Kells. Like that film, it received a nomination for Best Animated Feature.

This fantasy involves a little girl names Saoirse (Lucy O’Connell) who lives in a lighthouse by the sea with her brother Ben (David Rawle). Six years after the child’s birth, their father (Brendan Gleeson) still laments the loss of their mother (Lisa Hannigan). Saoirse herself has yet to utter a word. But they have other issues. After the girl is found sleeping on the beach one night, she and her older brother are sent to live with Granny in the supposed safety of the city. The story is fashioned as an epic journey where Ben and Saoirse must embark through a mysterious world of Giants, Rock Fairies and an Owl Witch to get back to the sea. The latter creature is named Macha and her ability to turn people to stone has foreboding qualities. At one point the two become separated. Young Ben’s journey to find her is rather touching.

This mythic tale stars two kids and is pitched at a young audience. However this unfolds at a much slower pace than the cartoons of today. The narrative is more of an experience. It’s quiet and gradually takes its time to unfold. That’s fitting given the bewitching atmosphere of the production. It’s a gorgeous, hand drawn delight that is rich in color. The minimalist design is made up of visually bold shapes. Their simplicity is extremely pleasing to the eye. The soundtrack is haunting which evokes an ethereal mood. Irish singer Lisa Hannigan contributes several exquisite melodies including the title tune. She also happens to be the voice of the mother. With Hollywood studios dominating at the multiplexes these days, Song of the Sea is a beautiful anomaly amongst the current computer graphics landscape. Young children and animation fans will be enchanted alike.


The SpongeBob Movie: Sponge Out of Water

Posted in Adventure, Animation, Comedy, Family on February 12, 2015 by Mark Hobin

The SpongeBob Movie: Sponge Out of Water photo starrating-3andahalfstars.jpgSpongeBob still matters. Perhaps this movie’s lasting legacy will be that he was the one to finally take out American Sniper at the #1 position at the box office. Granted director Clint Eastwood’s production held the spot for 3 weeks but still you’ve got to hand it to the little sea dwelling invertebrate. The Nickelodeon TV series, currently in its 9th season, has been around since 1999 so the novelty factor is gone. A first feature, The SpongeBob SquarePants Movie, was released in theaters in 2004. Now 11 years later we get a sequel that thankfully doesn‘t rely on having seen the original feature. Regardless of what naysayers griped about the supposed decline of the TV show, it didn’t seem to affect reception to the film. A $55 million debut weekend is pretty impressive. Even the final installment of The Hobbit debuted to less.

The plot is totally ridiculous. It starts off in the real life world with a human pirate (Antonio Banderas) who obtains a magical book. As he starts to read we enter SpongeBob’s animated world and begin another story. Fans acquainted with the series will be greeted with familiar elements: the city of Bikini Bottom, fast food chain – the Krusty Krab, his friends: Patrick Star, Squidward, Mr. Krabs, Sandy Cheeks. Arch nemesis Plankton wants to steal Spongebob’s secret recipe for tasty Krabby Patties as per usual. They have a tug of war over the paper containing it and it magically vanishes because uh, because uh, it just does. If you’re asking how or why then you might have an issue with this nonsensical adventure.

All things considered, Sponge Out of Water is an entertaining flight of fancy. I couldn’t follow the story but then again I don’t watch the cartoon. I’m clearly not the target audience. It’s not that it’s complicated. It’s just that it’s a really slapdash, haphazard affair. This is one of those films where you must put your brain in neutral and delight in the pure zaniness up on the screen. For example, the absence of delicious Krabby Patties thrusts the town into a post apocalyptic state. The plot includes time travel and meeting a talking dolphin named Bubbles. Pharrell Williams contributes 3 songs to the soundtrack including “Squeeze Me” which plays in the background whenever they zip through time. The two worlds, one featuring Burger-Beard the pirate and the other, SpongeBob, ultimately intersect. It spoils nothing to reveal this because the title, the poster and trailer all promise this event. The extended sequence where SpongeBob and his pals take to dry land in the physical reality of real people is indeed enjoyable. I must admit that in the beginning, I was thinking too much for this story. However once I had bought into the craziness, then I was up for anything. That’s when I enjoyed it.


The Tale of The Princess Kaguya

Posted in Animation, Drama, Fantasy with tags on February 5, 2015 by Mark Hobin

The Tale of The Princess Kaguya photo stars-3_zpsdbd867b4.gifA bamboo cutter find a tiny nymph inside a plant stalk. The child grows at a rapid rate into a beautiful young woman, desired by many. The Tale of The Princess Kaguya is the latest offering from Studio Ghibli. This is rumored to be Director Isao Takahata‘s swan song who hasn’t directed a film since 1999’s My Neighbors the Yamadas. You’re forgiven if you don’t remember that one. He co-founded the legendary Japanese animation house with long-time collaborative partner Hayao Miyazaki. Savvy moviegoers will likewise remember Miyazaki’s farewell The Wind Rises.

The animation is unlike the majority of what is being produced today. The look is reminiscent of the delicate approach of pre-war Japanese watercolor artists.  Hand drawn minimalist style – read unfinished – recalls the preliminary sketch cartoons that Disney commissions before making the actual feature. You know the ones. They’re often featured in the DVD extras in those behind-the-scenes featurettes. It is steadfastly old fashioned when compared with the cartoons of today. In fact the visuals have a traditional quality that make linking it to our contemporary times seem like an anachronism.  Takahata certainly doesn’t rely on comic relief either.  The saga is taken from an ancient Japanese text so it makes the timeless design most appropriate.  The story’s seeming existence in another time and place is one of its most positive attributes.

There is a magical credibility to the drama which is based on The Tale of the Bamboo Cutter, a Japanese fable.  Princess Kaguya has moments of genuine poignancy. There are also long stretches where the languid narrative is simply allowed to rest. There’s something admirable about an account that is unconcerned by time.  It’s akin to watching the undulating ripples of a pond. If gazing at the quiet beauty of nature can captivate you for 2 ½ hours this will surely enchant your senses.

The chronicle is a legend full of fanciful flourishes that myths are known to have. Princess Kaguya is a mysterious protagonist compete with a secret back-story like the heroine of any good yarn. However she isn’t a particularly warm person. When her childhood friend Sutemaru is beaten in front of her, she does nothing to help him.  She gives would-be suitors false hope by demanding they fetch items to court her favor. The kicker is she has no interest in any of these men to begin with, so her requests are for impossible to get items. One even dies in the process. At least Kaguya gets depressed about it. At first she seems to praise the simple value of her previous country life over her more exalted existence in the big city, but then the fantastical ending kind of throws that idea out the window. Fairy tales always have a moral and I’m sure this one is no exception. I just have no idea what that is given the bizarre resolution. I still enjoyed The Tale of The Princess Kaguya. It’s different and that’s saying something in today’s cookie cutter world.


The Oscar Nominated Short Films 2015: Animation (Part 1 of 3)

Posted in Animation, Awards, Shorts with tags on January 25, 2015 by Mark Hobin

Oscar ShortsShortsHD™, the Short Movie Channel (, celebrates its 10th anniversary of its Oscar shorts release by opening “THE OSCAR® NOMINATED SHORT FILMS 2015 in a record 450+ theatres across the United States, Canada, Europe and Latin America on Friday January 30, 2015.

I really appreciate these programs because it gives the public the opportunity to see the Oscar nominated short films in the categories: animation, live action and documentary. I’ve decided to list the animated shorts in the order that I enjoyed them from great to merely good. I dug them all so I’d at least recommend each one to a certain extent, although it’s a shame Glen Keane’s Duet didn’t make the cut.


The Dam Keeper
USA/18MINS/Directors: Robert Kondo and Dice Tsutsumi
The Dam Keeper
Touching tale about a young pig, his important job, the kids who bully him at school and the new classmate that changes everything. This saga tugs at the heartstrings more honestly than any nominee this year. My personal favorite. (9/10)


USA/6MINS/Director: Patrick Osborne
Latest offering from Walt Disney studios was shown before Big Hero 6 in theaters so chances are you’ve seen this one at least. Sweet feature recounts the love life of a human man as told through the meals he feeds his beloved dog. Succinct, remarkably emotional saga in just 6 minutes. The front-runner, although this category can be unpredictable. See last year’s winner: Mr. Hublot. (9/10)


The Bigger Picture
UK/7MINS/Director: Daisy Jacobs
The Bigger Picture
Two brothers argue over whether to put their mother in a home. Visually interesting design combines traditional animation, stop motion techniques, life size 3D models and wall paintings. Director Jacobs creates a tableau that elevates its simple narrative with arresting visual style. (7/10)


Me and My Moulton
CANADA/NORWAY/14MINS/Director: Torill Kove
Me and My Moulton
Quirky story of three sisters living in an artsy Norwegian family who yearn for a bicycle. A Moulton is an English bike manufacturer by the way. Bright color palette and simple style highlights Torill Kove’s 3rd nomination. She won in 2007 with The Danish Poet so perhaps she has history on her side. (6/10)


A Single Life
THE NETHERLANDS/2MINS/Directors: Marieke Blaauw, Joris Oprins, Job Roggeveen
A Single Life
A record gives a woman the power to time travel through moments of her life. At 2 minutes this is the shortest entry this year. It’s cute but not enough time to elicit more than a chuckle by the time it’s over. (6/10)

Big Hero 6

Posted in Action, Adventure, Animation, Comedy, Science Fiction with tags on November 12, 2014 by Mark Hobin

Big Hero 6 photo starrating-4stars.jpgMeet Baymax – a personal healthcare robot invented by gifted university student Tadashi Hamada. He looks a like an inflatable Michelin man without the definition. With a quick and easy full body scan, Baymax can determine your vital stats and subsequently treat any ailment. He’s a polite, nurturing fellow of pure innocence. Baymax is the heart and soul of Big Hero 6. He makes this film soar….literally. Indeed he can fly, thanks to some creative enhancements.

Big Hero 6 starts off on a very serious note. Professor Robert Callaghan and Tadashi Hamada are killed in a fire at the university. After falling into a depression, younger brother Hiro Hamada strengthens Baymax with armor and a microchip programmed with martial arts moves. The relationship between Hiro and Baymax is at core of this adventure. It’s an engaging friendship and they are an absolute delight together.  Although only 14 years old, Hiro has created a brilliant new invention – microbots – tiny robots that can link together by swarming into any arrangement imaginable.  Hiro is now on the hunt for a mysterious man wearing a kabuki mask who has stolen his invention. The baddie wishes to exact retribution on those who wronged him.

Hiro gets support from his older brother’s four friends at the university.  Their personalities mesh well, although the screenwriters have taken a few shortcuts. The characters falls into clichéd archetypes easily discernable for young viewers. Nevertheless they have nice camaraderie together. There’s Honey Lemon (Génesis Rodríguez), a chemistry whiz who uses a designer handbag like Batman uses a utility belt. Wasabi (Damon Wayans, Jr.) is a solidly built neat freak that screams like a little girl when he isn’t slicing people with lasers. Tough chick GoGo Tomago (Jamie Chung) skates on magnetic levitation discs like something out of Tron. And lastly there’s fan boy Fred (T. J. Miller) a laid back dude with an alter ego that breathes fire. The four of them team up with Hiro and Baymax to save the city.  They are a lively bunch.

Big Hero 6 isn’t particularly innovative in the narrative department. The Incredibles kept popping up in my mind. The story is pretty standard: get the bad guy out for revenge. Yet the beginning grabs the viewer’s attention with an enticing set-up. Too bad the ending does not live up to all the excitement that precedes it. Nevertheless the production is bright, colorful fun and the animation is a joy to watch. Big Hero 6 actually bests its influences in this area. Hiro Hamada (Ryan Potter) is a 14 year old engineering wonder. His affinity for Baymax is palpable and his upgrades to his brother’s creation inform the chronicle. Baymax is a great physical comedian. He conveys so much with so little. I mean his face is two dots connected by a line. He’s expressionless, but his sweet innocence comes through in every scene. His character is such a refreshing change of pace from the in-your-face, amped up, hyperactive personalities that often plague kiddie cartoons. His pacifist stance explores the futility of vengeance and power of forgiveness. Child Hiro emotionally matures as a human being as a result of knowing Baymax. I found their kinship genuinely touching.



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