Archive for the ‘Animated’ Category

  • Shorts Program: Dr. Breakfast

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    I thought about holding this over for tomorrow’s Saturday Morning Cartoon, especially since it kind of mimics old-school cartoons to some degree, but I’m too excited that it’s online to wait even one more day. Dr. Breakfast was the last film in the animated shorts program at AFI Fest this year, and one of my favorite shorts of the whole fest (I saw three shorts programs this year). I’d just been wanting to check it out again and happened across director Stephen McNeary’s blog and discovered he’d put the whole thing online. Thanks, Stephen! It’s absurd and ridiculous, but awesome. Basically, the guy cooks a ginormous breakfast but doesn’t have anyone to share it with, then his soul breaks out through his eye (like I said, absurd) and gobbles up everything, then roams all over the earth and beyond in search of more breakfast. Meanwhile, a pair of deer care for the man’s catatonic body. It’s like 1960s cereal commercials got mixed up with A Town Called Panic and then just a little bit of Bill Plympton was sprinkled on top.

    “Don’t be difficult, man.”

  • Pixar’s Brave Gets a Full Trailer

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    After releasing a teaser trailer a few months ago, Pixar has just dropped the full theatrical trailer for their upcoming Scottish warrior princess film Brave. There’s been a lot of hype about this being Pixar’s first film with a female lead, and good on them for finally doing that and seeming to largely stay away from the Disney-esque princess mold, but that being said, there’s something very Mulan-meets-How to Train Your Dragon about this trailer. Obviously part of that is DreamWorks’ fault for choosing to have their Vikings speak with Scottish brogues – at least Pixar is using the Scottish accents honestly, and have grabbed some fine actors to provide voices, starting with the very underused Kelly MacDonald in the lead role, and also including Craig Ferguson, Robbie Coltrane, Billy Connolly, Emma Thompson, and Julie Walters.

    I frankly prefer the mysterious undertones and thematic weight of the earlier trailer to this one, but that’s pretty much par for the course for me and Pixar. I usually love the teaser trailers, dislike the longer trailers, then love the movie. So I’ve still got high hopes for this.

    Check out the trailer under the seats.

    » Read the rest of the entry..

  • Saturday Morning Cartoons: Deputy Droopy (1955)

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    There’s not much I like as much as classic Looney Tunes – unless it’s a solid Tex Avery-directed MGM cartoon. I particularly like this Droopy cartoon because it’s such a great example of taking basically a single gag and creatively milking it for all its worth over six and a half minutes. Very few animation directors were as visually inventive as Avery, even in this golden age of animated shorts, and he thinks of ways to skew this concept that I don’t think anyone else ever would.

  • Saturday Morning Cartoons: Hair-Raising Hare (1946)

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    What better way to celebrate Halloween weekend than with a little classic Chuck Jones animation? This is one of my absolutely favorite Bugs Bunny cartoons, with some of Jones’ best fourth-wall-breaking gags. Plus a Peter Lorre caricature, a robot paramour, a creepy Expressionist castle, and Gossamer’s best appearance. You don’t get better than that. The cartoon is really well-known, but it’s always worth watching again.

  • Shorts Program: THE SANDMAN

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    One of my all time favourite spooky short films was made in 1991 by a young protege of Henry Selick (The Nightmare Before Christmas, James and the Giant Peach) named Paul Berry. He snagged an Oscar nom for best animated short film (which is saying something, because it is creepy as hell – not your typical Oscar-fare even for short animated films) but shortly thereafter was stricken with brain cancer and passed on before any feature film career was realized. This is a shame, but he left us with The Sandman, a very dark take on the myth of a creature that puts children to sleep. Here the bird-like creature extracts a rather unique toll on its young targets. I saw this at an animation festival at a rep cinema in 1992, and not only was it the stand-out of that festival, this thing has haunted me in one form or another since; especially so after I had children of my own.

    Enjoy.

  • Trailer: The Lorax

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    I shouldn’t be as offended by how grossly ill advised this trailer hints for the latest is Dr. Seuss film adaptation. I did quite like what Blue Sky Animation did with Horton Hears A Who, although they are not doing this one it is nevertheless is hard to tell from the animated look. It seems that Seuss and CGI are a pretty natural fit. Things look gorgeous and bright and beautifully rendered, clearly the ‘pre-industrial land’ is going to be the best looking part of the film. But the tone (oh the tone!) implied in the trailer is so radically wrong for this material. The Lorax is one of my favourite Seuss books, it boasts a strong environmental message; heck it is as close to a call to activism in a children’s book, in environmentalism and sustainability as you can possibly get, and still has that Seussian whimsy and Rube Goldberg mayhem. One thing that Seuss never had was a boatload snark and smugness and overall action (see also, Ron Howard’s awful Grinch adaptation). That this will be a smart-alec kid implied by the trailer causes me pain. A rather lackluster voice cast does not help. Danny Devito notwithstanding, it looks to be quite lazily voice-casted (Taylor Swift and Zac Efron? Really?) I never managed to get around to Despicable Me, its loose riffing on Austin Power-isms did not endear me, but my I was kind of excited for this film if only because the source material is as timely as ever.

    If ever an adaption of the work of Theodor Seuss Geisel deserved a little surrealism, an exaggeration of things between bright and colourful to exaggerated horror, it is this one. Apparently, they’ve decided to take the really easy one. Alas, I’d have rather see Ghibli tackle this material with far more sophisticated approach to this these types of themes than just another pandering bit of fluff. Maybe the final product will better articulate things, but the advertising stinks. This trailer only succeeded, in my particular case, in selling 3 or 4 fewer tickets to the film.

    The trailer is tucked under the seat.
    » Read the rest of the entry..

  • Trailer: The Secret World of Arrietty

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    Disney released the first trailer for the North American dub of Studio Ghibli’s adaptation of The Borrowers, The Secret World of Arrietty. While the American voice cast (Bridgit Mendler, Will Arnett, Carol Burnett, Amy Poehler) is not as high profile as the UK one (Saorise Ronan, Tom Holland, Olivia Colman, and Mark Strong), this new trailer gives a lot of more plotting and visual information than the previous UK trailer, but by some accounts, it is entirely misleading in tone. Nevertheless, things look like classic Ghibli to me. Hayao Miyazaki is not directing this one, but he did co-write the screenplay.

    The full trailer is tucked under the seat.

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  • Toronto After Dark Video Reviews: Redline

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    Check out all The Substream coverage for the Toronto After Dark Film Festival 2011, including the quite excellent print reviews by Mamo!’s Matt Brown.

  • Shorts Program: Une nuit sur le Mont Chauve (1933)

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    Cinefamily played this animated short last week before their feature silent presentation, and I loved it. It’s a bit on the experimental side, one of the earliest films (1933) from animation pioneers Alexandre Alexeïeff and Claire Parker using their pinscreen animation technique. I don’t really understand how the pinscreen thing works – apparently there’s a screen with thousands of pins, and you make the picture by pushing some in and others out, creating shadows of different lengths when lit from the side – but this is some of the most interesting, evocative animation I’ve ever seen. I’ve always found the Fantasia version of Mussorgsky’s “Night on Bald Mountain” pretty scary, but this one is incredibly disturbing and hauntingly beautiful.

    Watch the short after the jump. I do apologize for the obnoxious logo soundbyte at the beginning.

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  • LAFF 2011: Winnie the Pooh

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    (4.5/5)

    With Winnie the Pooh opening in theatres this week, we’re bumping our review from the LA Film Festival. Harry Potter isn’t the only film to see this weekend; if you’re over the Harry-hype or your kids aren’t old enough for Potter yet, please check out Winnie the Pooh.

    When it was first announced that Disney was going to do a hand-drawn Winnie the Pooh movie, specifically harking back to their 1970 Winnie the Pooh films (shorts collected as The Many Adventures of Winnie the Pooh), I greeted the news with both interest and apprehension. Interest because I’m a fan of hand-drawn animation and Winnie the Pooh, and apprehension because there are a lot of ways Disney could’ve screwed this up. As it turns out, the only possible criticism I could see leveled at the new Winnie the Pooh film is that it’s too perfect an imitator of the original films. However, I would not make that criticism myself, because I loved the originals, and I loved this new addition to the Disney Winnie the Pooh corpus.

    After a live-action opening introducing us to Christopher Robin’s room and his stuffed animals (almost the same opening that tied together The Many Adventures of Winnie the Pooh), the narrator jumps us straight into the Hundred Acre Wood, reading from an on-screen storybook about Pooh waking up and feeling a rumbly in his tumbly. But what initially seems to be just a literary framing device, tying the film we’re about to see to A.A. Milne’s original tales, turns out to be a much more involved conceit, as Pooh and the other characters talk back to the narrator and the actual words on the page of the book often become part of the story. This is rather precious, to be sure, but blurring the lines between stories and narrators, or between the story on the page and the written material itself, is an element of storytelling that grabs me every time, and I was charmed immediately.

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  • Trailer: Tin Tin and the Sec… er … Snooze, uh, What were we Talking About Again?

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    Considering the the talent behind this project: Steven Spielberg, Peter Jackson, Edgar Wright and team WETA, the trailer has a curious lack of wow in the visuals, or pop-sizzle in the story or flow. This is supposed to be a commercial that makes me want to see a property that has little traction in North America; it is however, startling popular in Europe though and its International grosses are all but assured. Back to what counts: Story. Adventure. I hear see words in this trailer but completely fail to hear the music.

    Should I be more excited for this? Will the motion capture be better than the last 3 Robert Zemeckis productions? Does Spielberg have it in him to do this sort of Amblin/Kid-friendly adventure any more? Sound Off.

    The full Tin Tin trailer is tucked under the seat.

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  • Two Trailers from Studio Ghibli: Arrietty and Kokurikozaka kara

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    Being gone for the Canada Day long weekend, into cottage country and fantastic weather, these two items got by me, so I will bundle them into a single post.

    Pixar or Ghilbi? For my money, Studio Ghibli is putting out better films (even if both studios have their duds), only because they rely less on the sense of humour and slapstick (even the two Brad Bird Pixars rely heavily on this crutch), and more on sweeping epics, often from the point of young folks who are thrust into the world of danger and maturity and consequences with little life-lines or the other extreme of My Neighbor Totoro the most pure children’s film that has no plot to speak of, but still builds interesting characters with a compelling story. I’m not pitting east vs. west on this one, I’m glad both studios exist, and I’m glad that Pixar is really looking to take the Ghibli road with Brave, but in the mean time, Ghibli has two films in the can that have trailers.

    The first, Arrietty (The Borrower) feels like the sort of classic golden age Disney film from source material resembling, vaguely a brothers Grimm tale or other folklore out of Europe. Indeed, it is adapted from Mary Norton and has several film and TV adaptations to date. Note the tone of the trailer plays like a bed-time story. Not directed by either of the studios venerable directors (Hayao Miyazaki or Isao Takahata), this one is helmed by Hiromasa Yonebayashi, one of the studios key animators for the past 15 years. I’ve got the UK trailer which features a solid voice cast from the British Isles (apparently the US version will have an different, American, dub) featuring Saorise Ronan, Mark Strong, Tom Holland and Olivia Coleman.

    14-year-old Arrietty and the rest of the Clock family – people sized no larger than a mouse – live in peaceful anonymity as they make their own home from items “borrowed” from the house’s full sized human inhabitants. Life changes for the Clocks when a human boy discovers Arrietty.

    The second film, Kokurikozaka Kara, is directed by Miyazaki’s son Goro who made the disastrous Tales from Earthsea (Bob’s Review) but appears to have gone back to the traditional old-school nostalgia of his father with this one. In fact the teaser trailer tells nothing of the actual story, but evokes the sort of emotions and images that the studio is known for.

    A group of Yokohama teens look to save their school’s clubhouse from the wrecking ball in preparations for the 1964 Tokyo Olympics.

    Both the trailer for Arietty and teaser for Kokurikozaka kara are tucked under the seat.
    » Read the rest of the entry..

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