The kids I took to see Big Hero 6 were convinced that the film was actually called Baymax. It’s easy to see the confusion: all the marketing has focussed on the big marshmallow-esque robot, and the film sort of does, too. The implied team of the film’s title feature, but at the end of the day, there is one thing that everyone, children and adults alike, will remember from Disney Animation’s latest, and that is the studio’s greatest animated character of their CG era.
The friendly healthcare robot was designed by Todashi, the brother of the prodigiously talented and subtly named Hiro. When Todashi dies in a tragic accident, and a villain starts to roam the streets of San Fransokyo, Hiro, Baymax and their science-genius friends form the titular group to defeat the mysterious masked man and find out what really happened to Todashi. As plots go, it’s fairly uninspiring, the central mystery having been likened by some critics – not unfairly – to an episode of Scooby Doo. The big finale, where the whole team work together and use their tech to intelligently battle a billion tiny bots, would not feel out of place on a Saturday morning cartoon, either; it’s a fairly disposable Disney denouement.
Except for when Baymax is involved.
There is much to admire about the film aside from Iron Man’s cuddly cousin. Where many superhero films are content to let thousands of civilians die and have whole cities erased for the sake of a BIG final act – ironically making them all uninteresting and indistinguishable from one another – Big Hero 6 is a superhero film with almost zero collateral damage. The team focus their skills and technology on protection, not violence, and this emphasis is crucial and refreshingly different. The animation is impressive, too, rendering the hybrid city of San Fransokyo in vivid colours that would make Christopher Nolan tut in disapproval. The whole film is just a lot of bright fun, and goes some way to restoring a light touch to the tired and serious superhero subgenre.
It is, however, all about Baymax. You are probably already familiar with his look: white airbags; a low centre of gravity; a face like an emoji. It’s a beautifully minimalistic piece of character design, making the most of Disney’s age old animation principle of Squash and Stretch (exactly what it sounds like), while maximising one of their other twelve principles, Appeal (the idea that every character should be animated in a way that appeals to an audience), simply through its movement. It’s textbook stuff – literally, in that the principles are laid out in The Illusion of Life, as close as Disney gets to a textbook – used since Snow White but here being applied with equally cutting edge technology. From the way that he waddles along, even when in a dramatic chase, to the way the tilt of his bulbous head can evoke emotions, Baymax shows that Disney are still masters of character animation, and that no matter how new and shiny your programmes are, you still have to use them well.
Baymax is more than just an object lesson in how to animate a character, he‘s also a perfect example of how to use character to explore themes in interesting and new ways. Grief and loss are weighty topics for a kids‘ film to tackle, but also important ones; kids all have to confront death for the first time at some point in their lives, so using cinema to explore that is a great idea. The first act gives Todashi enough screen time to really make his death felt by the audience, and the rest of the film is about coping with that loss. The directors use Baymax to explore this by the literal-thinking robot seeing Hiro’s sadness as something that can be cured and so the internal process of Hiro’s grief is externalised in a deft manner, managing to be light-hearted and funny without ever detracting from the seriousness of the topic. The themes are, therefore, inextricable from the two characters at the centre of the story.
The result is a character who, in a Disney film in the early ‘00s would have been a comedy sidekick, is now the emotional heart of the film. It’s a such a simple but effective concept it’s amazing it hasn’t been done that much before (something like Robot and Frank is the closest comparison). The finale only transcends its familiarity when it focuses on the relationship between Baymax and Hiro, and creates something special. Big Hero 6 as a whole, while a lot of fun, will not go down as one of the studio’s revered classics, but Baymax will be remembered as one of their greatest creations.
The first How To Train Your Dragon film ended on a surprising note for a big studio animation in that the main character lost one of his legs. Contrary to just about every other animation out there, the action sequences in the spectacular finale had actual consequences. It’s a bold move, and was one of the many elements that made it stand head and shoulders above everything else Dreamworks animation – and most other CG studios – has released. There is a scene in the middle of that film’s stunning sequel that takes such consequences to a new level that is, again, completely surprising for studio animations of the CG era. This is just one aspect of the first film that has been carried over into the second film, not in a lazy, same-but-bigger approach, but in a way that it keeps everything that made the first so good, all while telling a different story. In that sense, it’s up there with Toy Story 2 & 3 as one of the best animated sequels ever.
Moving five years on from the events of the first film – itself a move that feels remarkably fresh – the protagonists of the first have grown up and Berk is now well established as a dragon riding village. Astrid and Hiccup are still a couple and nothing threatens that throughout the film, they just work consistently well together. Hiccup and his father, Stoick, are no longer just an awkward father and son but friends who have disagreements; their relationship has moved on so that the conflicts are different – now it’s about how to lead and who should lead. In short, there is real progress from the first film. Where the Shrek films repeated the same story four times in a row, what makes the world of Dragons so absorbing is that even though it is clearly fantastical, it’s a world where people grow up, where relationships develop and people are put in actual, real danger. In that sense, it’s more mature than most live action blockbusters where characters are stuck in a stasis of immortal, bland superheroics.
Thrown into the mix of these developing relationships to shake things up is a mysterious dragon rider wearing a spiked mask and formidable armour, whose identity was sadly given away in the trailer. If you don’t want to read about this early plot development and missed the trailers, skip to the next paragraph. She is Valka, the original dragon rider and, of course, Hiccup’s mother. The big family reunion is marked not by histrionics but by tender moments, for instance a wonderfully unprofessional duet is how a husband and wife rediscover their love for each other. This family unit is one of two relationships that form the core to a film that is regularly surprising in its emotional impact. Considering, again, where other Dreamworks films may have taken this subplot, the maturity of Dragons 2 is evident. There is no forced conflict, no big fall out to be followed by an equally trite resolution, but curiosity and happiness instead. It’s romantic in a restrained way, both heartfelt and believable.
The other key relationship is, of course, Hiccup and Toothless. Easily the highlight of the first film, here their bond is expanded and challenged in fascinating, sometimes heartbreaking ways. Toothless, now rendered with astonishing detail, is one of the greatest animated characters ever, every expression, every movement conveying a wealth of character without ever fully anthropomorphising him – he remains a dragon throughout. He’s a fully rounded creature, with a personality and tics that utterly sells him as real and tangible. It’s therefore immensely distressing when his relationship with Hiccup is tested to its extremes in the third act. This is a double act you are rooting for from the first scene they are in together, thanks in part to the work of the first film but also to the work done by the animators and Jay Baruchel as Hiccup to convince us of their bond as best friends.
It’s not just the animation on Toothless that is impressive, but the whole world is created with the kind of detail and flair that causes jaws to involuntarily drop and animation geeks to drool uncontrollably. Technologically there have been huge leaps, with Dreamworks pioneering new lighting and movement software that shows in the texture of a dragon’s skin or in the thickness of a fur coat. Yet technologically impressive animation does not make it necessarily visually interesting. Dean De Blois’ direction, however, assures this film’s place as one of the best looking CG animations of all time. As Hiccup narrates, ‘with Vikings on the backs of dragons, the world just got a whole lot bigger,’ and both the world and dragons are, indeed, a whole lot bigger; exploring this world is where Dragons 2 really takes off, as Hiccup discovers more about dragons, sees more types and tries to map the world. Some of the images that De Blois and his team creates are utterly breathtaking, from a montage of feeding and soaring on thermals, to a widescreen shot of solo flying that looks astonishing in IMAX.
It’s as though the creators of How to Train Your Dragon 2 set out to show us things we’ve never seen in the cinema before, such is the ambition and scale of some of the shots. Take, for instance, the introduction of Valka. Hiccup is having a small tantrum while flying high on the back of Toothless. Unknown to him in the background, a masked figure pierces the tops of the clouds and drifts by, standing proud and upright and seemingly floating, unassisted, through the pearlescent sky. It’s a powerful, strange image that’s almost scary it’s so compelling. When Valka introduces herself later on in a cave full of dragons, it happens to the burning light of a dozen dragons using their mouths as torches and once again the film makes you gasp at the beauty and invention of the image. Accompanied by John Powell’s score that sets hearts racing and lifts spirits, Dragons 2 is full of unforgettable moments like this that inspire awe and wonder, which is exactly what animation, and cinema in general, should be doing.
Michel Gondry, even at his worst, is a visually inventive film maker who can create memorable images from something as middle of the road as The Green Hornet. Animation plays a big part in The Science of Sleep and Mood Indigo, so for him to do a fully animated film was an enticing prospect. His choice of subject, however, is a strange one. Is The Man Who Is Tall Happy? is a serie
s of interviews with Noam Chomsky by the distinctive French director, animated, apparently, using felt pens and acetate.
Chomsky is a popular liberal thinker and linguist whose work, for some reason, I hadn’t really encountered before, so I was approaching this as a Gondry and animation fan, rather than a Chomsky acolyte. Thankfully, the polymath is an engaging, worryingly intelligent subject, here discussing the development of language in childhood and how we come to understand signs and signifiers. More charming than the interviewee, however, is the interviewer; Gondry is marvellously self-deprecating, openly confessing when he doesn’t understand what is happening, or when he got tired of animating a particularly long sequence. His questions are thoughtful, his responses funny and he makes an excellent foil to the rather serious Chomsky. Together the two of them make an electric double act as ideas are thrown around and the audience are left feeling a little bit stupid.
At the beginning of the film, Gondry explains why he is animating it. All film – documentary included – is a form of manipulation where the director or editor controls how the audience receives the information. Gondry’s conclusion, therefore, is that animation is a permanent reminder that you are watching artifice, that the version of Chomsky we are seeing is one that is undoubtedly being presented to us via someone else (something that is reinforced by the repeated whirring of an old camera). Gondry then releases the viewer to engage with all the ideas without restraint. The animation is lo-fi but captures the energy of the discussion perfectly, often repeating movements and images to suggest the circularity of the language, and using crude drawings of the two talkers to depict the mood of the conversation; it’s not always gentle discourse. What really works is that the often difficult intellectual ideas to get your head around are given perfect clarity by Gondry’s perfectly judged visualisations of these big themes. The director’s humour seeps into his drawings, too, making this a surprisingly light and accessible film that can be enjoyed even by those who dread discussions about knowledge endowment and its expression through language.
Is The Man Who Is Tall Happy is playing at Edinburgh International Film Festival on the 20th and 27th June
With the Disney 52 reaching a conclusion that will inevitably be rushed, the powerhouse studio scupper my plans by releasing their 53rd animated feature film, Frozen. So in the middle of reviewing the latter films, I’m jumping ahead a few years to look at this immensely popular new film from the studio. It feels a bit defunct to try and assess its place within the canon as there are still a few I’m left to see. As such you won’t find any ‘the best Disney film since The Lion King/Snow White/Tangled style comments here – besides, I’ve enjoyed all of Disney’s most recent films so it wouldn’t go back far. I’m just pleased not that Disney are returning to form, but maintaining it.
Frozen tells the story of two sisters, Elsa and Ana, who are separated as children after Elsa accidentally injures her sister with her magic, ice creating powers, so she is sectioned off until she can control them. After their parents’ tragic death Elsa becomes Queen, but after Ana falls in love with the dashing Hans of the Southern Isles quite hastily, Elsa reveals her powers and casts the nation into deep winter. Ana must then go and persuade her sister to bring summer back. It’s (extremely) loosely inspired by Hans Christian Andersen’s the Snow Queen, but Disney have bigger fish to freeze than faithfully adapting the writer of The Little Mermaid once more.
Immediately Frozen establishes the central dynamic of the film as between the two sisters as opposed to between a man and woman. After an eerie, largely pointless opening about how great and dangerous ice is it cuts to Elsa and Ana as children, seeing their friendship play out before they are separated. The second song in a Disney film is often the one that reveals the central desire of the hero – think ‘Part of Your World,’ ‘Go The Distance,’ or ‘Reflections’. At first glance it may seem like that role is given to the third song in Frozen – ‘For The First Time In Forever’ is about how lonely Ana is and wants to meet people and, specifically, a man. It’s the kind of Disney song that would normally be the ‘hero’s desire’ song. The second song, however, is actually more fitting: ‘Do You Wanna Build A Snowman’ is about how Ana longs for a relationship with her sister. From the off, other relationships are secondary and so it is in the rest of the film where Ana’s romantic confusion is superseded by her love of her sister. It builds to a fascinating, dramatic finale that marks a noteworthy change of direction for a studio usually obsessed with romantic love, particularly in fairy tale settings.
With the focus on the siblings, the role of villain becomes less clear as well – is it Elsa? The Duke of Weseltown? The ice itself? Elsa battles with her dark side and – in the musical highlight of the film – almost succumbs to it, which is a refreshingly mature exploration of character for Disney. Obviously it is done in a way in which everything is spelt out for the young audience, but the tension between good and evil has become significantly more nuanced since the days of the Golden Age, as has the approach to romance, which similarly undergoes a knowing face-lift. On most narrative fronts, Frozen take significant steps forward for the studio.
It’s a shame, therefore, that it falls into some age old traps that have plagued the House of Mouse since day one. The female characters, whilst interestingly written, are still waistless waifs with big eyes, so generically fake that one wonders if they have used the exact same model for both sisters that was previously employed for Tangled. If Disney really want sassy, revisionist Princesses their next step is surely to animate some that look like humans. Then there is the Duke of Weseltown who is utterly extraneous to plot or theme, harking back to Disney’s occasional need to overfill a film with characters. Sven the reindeer, meanwhile, is just Maximus with antlers, leading some to say that Disney are resting on their Tangled laurels and that this film is simply par for the course.
Such accusers must be ignoring not only the steps forward with storytelling that Frozen takes, but also the artistry with which the story is told. Musically, Frozen is Disney’s most Broadway film yet thanks to songs by the people behind Avenue Q and The Book of Mormon. Vocals cross over each other, high notes are hit and there is even a comic song that doesn’t add anything to the plot. The cast, too, are veterans of the proscenium arch, featuring actors from Wicked, Spring Awakening and The Book of Mormon, belting the songs out with remarkable conviction. Even the way the shots are framed and the characters move feels ready-made to be put on the stage. It wouldn’t be surprising if a big budget production makes its way to New York in the near future.
Then there is the animation, which I’ve left until last because it’s probably the thing that most people care least about in terms of what makes it good, but I geeked out about in a big way. The texture of the snow itself is ludicrously detailed to the extent that you can see individual grains as the characters plough through it. Compare the fineness of detail here to the blockiness of landscapes in something like Ice Age and the difference in quality is immediately evident. It’s so good it will make animation nerds cry a little. If you didn’t notice how good the animation was that’s because they made it all seem so effortless.
Frozen is the real deal, featuring progress in storytelling, astonishing animation and great songs. It’s the best Disney film since…
This review is only turning up online after the film in question has left cinemas, but I thought I would very quickly share my two cents on it as that was the original purpose of the blog – to review animations that make it into cinemas. This isn’t really a review, just a jumbled collection of thoughts as I focus on finishing a certain project before January 1st.
The first Cloudy With A Chance of Meatballs film was an unexpected delight, blending puns, surrealism, slapstick and farce into one memorable comedy, throwing every joke possible at the screen and most of it stuck like well cooked spaghetti. Even the title was a great joke. This was combined with a father-son story that was more effective than most, and a nicely offbeat, colourful aesthetic. I’d personally rank it as one of my favourite CG animations. The news of a sequel was initially ominous as the title – simply sticking a ‘2’ at the end – seemed to display a lack of thought behind it. When plot details were revealed it became clear that the title didn’t even make sense in a new context. Add to that the fact that Phil Lord and Chris Miller were no longer directing and the signs were bad.
Thankfully, however, Cloudy 2 manages to be one of the best American animations of the year that, while immensely derivative of the first film, still succeeds at being one of the most consistently hilarious things to hit cinemas 2013. It loses some of the layers of humour from the first – it’s less farcical and surreal – but ups the ante in terms of puns and visual humour to compensate. The father-son subplot feels like a rehash of the first, but the visuals are once again good enough to make you immensely hungry. It also aims for a whole new level of cuteness, clearly skewing at a younger audience than the first with its smiling strawberries and baby marshmallows. So it’s not quite as good as the first, as suggested by the title, but it is hilarious.
The chief joy of Cloudy 2 is the way it turns punning into an art form. Any combination of food/animal names possible turns up over the course of the film, some spoken out loud, others left for the audience to guess. There’s one sublime moment, however, that builds up these expectations of intelligent(ish) puns before letting you down with a sad looking vegetable – it’s the kind of joke that I’ve left deliberately vague in the explanation as it requires the visuals to make you snort out your soft drink. The funniest moment in the film, however, is a glorious visual gag that involves a wide shot as Sam Sparks leaves Flint behind in a swamp of syrup. It’s daft but inspired, like the film as a whole. With all of these jokes, explaining it is pointless (making comedy really hard to write about), just go in expecting to have your gut busted. It really is funny, even if I’m not selling it as such.
One final thought – Cloudy 2 features a clear villainous Steve Jobs type figure and a giant, invention-crushing corporation not too dissimilar to Apple. It feels, at times, like Cloudy 2 is trying to fit in a bit of satire and critique of globalism and capitalism in amongst the feast of jokes. When you come for tasty humour, such moralising is bitter to swallow.
The two biggest problems with Turbo, the latest animation from Dreamworks, both revolve around a word that is fatal to the success of a film: boring. The first is a surface problem, in that snails are boring. They are boring creatures, regardless of whether you pimp their shells or inject them with nitroglycerine. So a film in which the main character is a snail is onto a loser already. They are especially boring to look at, amorphous blobs of flesh with shells plonked on top that have to be jazzed up by the animators by making them all different colours. Only, the animators didn’t go that far in that each of the snails are just one colour, not dappled and slimy like the invertebrates in Epic. No, these are just smooth splodges of purple and orange with googly eyes tacked on. One of them has a moustache made of moss. This painful want of inventiveness becomes particularly problematic when the design of the humans is similarly uninspired, resulting in a film where not one single character holds your attention visually. In spite of using the latest animation technology, it’s an aesthetically dull film and far less interesting to the eye than A Bug’s Life or Antz, which work at a similar scale but were released well over a decade ago. This boringness suggests laziness, which is disheartening to see in animation.
The second boring aspect of Turbo, a thoroughly soporific film, is the story, which involves a plucky outsider wanting to compete above his league in a racing tournament. This is the same plot as Planes. He does this in order to save a run down area of shops run by some stereotypes by bringing business back. This is the same plot as Cars. When you mix the plots of Planes and Cars, two of the most snooze-inducing animations of the 21st Century, the result is a dull, thudding familiarity lacking any conviction. There are a few good jokes, mostly involving crows, but at the end of the day it’s difficult to enjoy a film that is about a snail saving a taco stand. Once again I return to this one word that summarises the film best: boring. Boring, boring, boring.
Everything about Planes feels cheap and lazy. The animation looks like a TV cartoon you may find on CBeebies (US readers, google a show called Kerwhizz for reference), with no sense of texture or detail to the landscapes and characters. The character animation in particular is woeful, stiff mouths barely reflecting the dialogue being spoken. It is even lazier narratively than it is aesthetically, cobbling together elements of Cars and Cars 2 to create the story of a plucky young plane who wants to race round the world in spite of just being a crop duster (who is he dusting crops for?). He follows his dream, races round the world and – spoilers! – wins. It’s a tension free, repetitive story with a grumpy old timer as a coach thrown in for good measure. The world building makes no sense and is inconsistent, which is more likely to irk adults than children but reinforces the sense that very little thought has gone into creating the world and film. Then there’s the action, which never really soars in the way it could or should. If you think of flying scenes in How To Train Your Dragon or Porco Rosso, you quickly realise how lacklustre this effort is. It may be just for kids, and this skews towards the under-10s, but that isn’t really an adequate excuse. A good film is a good film whoever it is aimed at, and My Neighbour Totoro – made with five year olds in mind – is one of the best films ever and a testament to this.
‘IT’S NOT PIXAR!!!’ a legion of dedicated lamp-fans cry every time someone mistakenly describes Planes as made by the same studio that created Cars, which this is a spin-off of. It’s distressing to think that the studio responsible for the ingenuity of Monsters, Inc and Wall-E could lower themselves to a spin off of their worst franchise. And sure enough, this isn’t Pixar but ‘DisneyToons,’ an offshoot of Disney responsible for their DTDVD sequels. However, one name is emblazoned over the end credits as exec producer, story by and writer: John Lasseter. The man who led Pixar in its glory days, decried sequels and spearheaded the attempted resurrection of their hand drawn department, is the man who is in charge of the weakest theatrical animation of the last five years, a spin off featuring low grade CG and a plot rehashed from Cars and Cars 2, which also rank among the worst things Lasseter has put his name to. It’s lazy and boring enough to make you forget that the man was once a trailblazer and ingenious storyteller. It may not be Pixar, but it is, to an extent, a John Lasseter film, and that’s upsetting enough.
Prequelitis is a disease that affects many films that are made after but set before a well known and loved film. Monsters University shows signs of this condition, and below is the diagnosis of how badly it is suffering. NB: This condition can be deadly to a film’s artistic success when suffering too much from all of the following symptoms at once:
1. Lack Of Invention – When a film relies on a world that has already been established instead of creating something new. C.f. The recycled score and plot structure in The Hobbit: An Unexpected Journey
Monsters University is an inventive film in many ways. Like the best Pixar films, it has a vast array of visual jokes that you’ll only be spotting on the second or third time you watch it. The Monsters universe is one of the studio’s best for doing this, too, as the totally alien world allows for hilarious inversions of more familiar sights on earth. So in University there is, as with all college films, a societies fair where new students can sign up to the debate team, art society etc. Only in Pixar’s monstrous version of this staple event, the debate team is a two headed creature that argues with itself and the art soc use their own heads instead of paintbrushes. Ignoring the pertinent question of why a film aimed at children is sending up a genre that will go over all of their heads, this film succeeds at inverting classic college tropes and making them fresh and funny once more.
Yet for all of this – plus some clever character design – University is hampered by its lack of originality; many of the positives of the film are simply riding on the coat tails of its predecessor. Monsters University is only funny because Monsters Inc. was. There’s a lot to laugh at throughout the film, but it’s all tinged with the memory that a world this creative and exciting to explore used to be an original idea for Pixar, not a prequel
2. Predetermined Conclusion – when the outcome of the prequel is already determined by our knowledge of the original, like a more boring version of dramatic irony. C.f. Anakin becoming Darth Vader
The most curious and unique aspect of Monsters University is the overall message of the film, and in order to try and pick apart what that is, I’ll have to discuss the film’s plot in some depth, so feel free to ignore this section if you haven’t seen it yet. Right at the start of the film the audience is introduced to school aged Mike on a trip to the big factory where scares create energy and dreams are made. His eye widens as he witnesses scarers at work and meets one of the best. In many ways this is the most touching scene in the film, as the young monster struggles to make friends with his peers and is told he’ll never be a scarer. Yet anyone who has seen Inc. knows that Mike doesn’t become one at all – he becomes the assistant.
Once at University and on the scaring courses, Mike becomes more determined than ever, but the naysaying voices get louder, too. Dean Hardscrabble tells the class that a monster who isn’t scary isn’t a monster at all. Sully tells Mike he just doesn’t have it. The frat house jox tell him he doesn’t belong. Mike reads all the books and wants it more than anyone else on the course. He puts in the time and he really cares about it. The fact is, he isn’t scary, and we know from Monsters Inc. that he won’t become everything he wants to be – in short, all those voices telling him he won’t amount to anything are proven right by this film. So the entire drive of the plot – Mike entering the scare games to prove he has what it takes – is undermined by our knowledge of what lies in store for him. The result of the predetermined conclusion to Mike’s story is a dramatic arc that feels curiously muted. As Mike is propelled inexorably towards his life of admin and as we witness him giving up on his dreams, Monsters University becomes Pixar’s most morose film yet.
The message is this: get more realistic dreams. Aspiring film makers, you’ll never finish your screenplay so accept your Starbucks-bound future; writers, you are not James Joyce and you aren’t even Dan Brown, so give up the dream of getting published or paid and settle down as an accountant; kids who want to be astronauts, your chances are astronomically slim. Whilst this may be the most realistic moral message in a kids film ever, it’s a bitter pill to swallow.
3. Outcome Necessity – When a prequel feels the need to reach the specific outcome of the earlier film’s set up, often rushing the finale in the process. C.f. The ‘now they hate each other’ conclusion of X-Men first class, the virus credits in Rise of the Planet of the Apes.
Loads of people know and love Monsters Inc. and they all know that in that film, Mike and Sully both work on the scare floor. The film makers of Monsters University felt it necessary to make sure that University linked up entirely with Inc. by having a rushed series of photos right at the end that show us how they got there. It skips out a massive chunk of their story in under a minute. This is entirely unnecessary as the audience can deduce as much if they have half a brain. Stories don’t always need loose ends tied up, especially prequels, and I, for one, would have much preferred a film set in the mail room of Monsters Inc. than the one we did get. The desire to reach the familiar set up of Inc. comes at the cost of an interesting story.
4. Inevitable If Unfair Comparison – When, however good a film is, it will always be compared unfavourably to its predecessors. C.f. Every prequel ever.
It’s just not as good as Monsters, Inc., is it?
Diagnosis: Survivable. This is only a medium strength case of Prequelitis, thankfully the disease hasn’t spread too far. It survives on the strength of its precursor, but the film’s primary carers Pixar need to be more careful in future.
Monster’s University is better than any other big studio animation that has so far been released in 2013. That it is merely decent and not amazing goes some way to showing how disappointing this year has been so far, especially given some of the strong films released in 2012. It’s an amiable, unremarkable comedy from a studio that, in the past, have left audiences with jaws dropped and tears in their eyes. Nothing here is likely to do that and although it is unfair to judge a film on something it isn’t, Monsters University frequently feels like it could have been so much more.
Since starting this blog, the only truly negative review for a new release that I’ve written has been for Hotel Transylvania and even that was balanced with some praise for certain aspects such as the humour. In general I like to write positive reviews – I started this blog because I love animation, and writing something negative doesn’t feel like the best way to express that love. In fact I actively didn’t want to write anything negative, so in the run up to writing this I’ve spent a good portion of time playing Candy Crush Saga to avoid the inevitable negativity that is going to pour fourth when it comes to writing about Despicable Me 2. But I’ve come to a realisation: writing negative reviews also shows my love for animation – film fans should not be blindly accepting of everything that is put in front of their eyes. Some sharp criticism of bad film making should give us a keener appreciation of when it is done well. So I write about the dull, formulaic Despicable Me 2 not because I enjoy tearing things apart (I don’t) but because as an animation fan I want better than this by the numbers dross. I write this because I’m still holding out for an animated masterpiece of 2013. Miyazaki and Takahata it’s over to you, because it’s not Despicable Me 2.
The problem seems to be that the first Despicable Me was incredibly popular and made over half a billion dollars worldwide. Not without good reason – the first film had a great central character with a brilliant concept – he was a villain whose heart was being softened by three young girls who he was looking after. He still had a bit of bite to him, and the balance between his meanness and innate goodness provided a strong if familiar core to the film. Yet the two other big successes of the first film – and the ones that seem to be remembered by film makers and marketers alike – are the youngest girl Agnes and the army of small, stupid and yellow minions that populate Gru’s underground lair. Although many were inclined to hate them and their pointless existence, they were, by and large, hilarious. The 5 year old I was looking after actually referred to the minions as ‘despicable mes,’ and they stole the show right out from under Gru’s nose.
In the sequel Agnes’ cuteness and the minions’ stupidity is pushed front and centre even if it is utterly irrelevant to the plot. Now, plot may not be what you want in a daft comedy for kids but the film tries desperately to cram a plot in where it is largely unwanted, and the daft comedy quickly becomes tiresome. The film moves mindlessly from minion pratfall to cute Agnes moment then back to minion pratfall without developing anything, be it characters, plot, humour, or our brain cells. This is stupid, lowest common denominator film-making. Is that such a big problem if the children are entertained? Well Pixar, Disney and Ghibli have shown that you can put humour in films that still has interesting story telling and good craftsmanship. Arguing that if children are entertained then it doesn’t matter how bad the film is is like saying that if children are full then it doesn’t matter how bad the food is. Despicable Me 2 is the cinematic equivalent of force feeding your children Macdonalds when you could give them fresh, home cooked food for the same price next door, and even the toy they get with their happy meal breaks immediately. We can demand better from the films our children watch.
Even if ‘as long as the kids are happy’ is a valid argument for the existence of a film, then it can only be applied dubiously to this Chicken McNugget of a film. Laughs were scarce in the cinema I was in, which was equal parts children and adults. Perhaps it is the confusing plot, which sees Gru employed by the Anti-Villain league so he can set up a cupcake shop (?) in a shopping mall to try and find a villain who is in hiding there (for unexplained reasons) while he mixes a concoction that can turn things big, purple, furry and evil. Gru has to stop the villain, rescue minions, stop his oldest daughter from falling in love and work out his own feelings for his AVL partner Lucy (voiced by Kristen Wiig). The action whizzes indiscriminately from location to location while the kids watching struggle to keep up and, more importantly, struggle to care. At one point the minions turn evil, so even the most accessible element of the film to children ends up alienating them. It seems to go on forever, stretching the patience of everyone watching as it tries and singularly fails to be funny.
Humour, however, is subjective, so saying it’s not funny is a matter of opinion, granted. But nothing else works either. Gru has been tamed, none of the original venom is there so that now he’s just a good father – which is nice to see but here doesn’t make for compelling viewing. Don’t get me wrong, I’d love to see more good fathers in cinema, but when the principle plot point of the first film is that the guy is a villain, to strip that from him in the sequel leaves the humour and story feeling painfully muted. Once again out of the three children only one – Agnes – is given anything approaching a character and even she is just there to be cute. There’s no emotional investment, the plot is boring and predictable and the finale isn’t even particularly dramatic. The animation is unimpressive and the character design is ugly. This is such a painting-by-numbers film that not one element of it feels original or new or exciting or funny. We’ve seen it all before and, Chris Meledandri if you please, we never want to see it again.
From The Castle of Cagliostro onwards, Hayao Miyazaki’s films have felt thoroughly Japanese yet also indelibly influenced by the director’s love of Europe. For instance, Laputa: Castle in the Sky is set in a mining village inspired by the Welsh countryside, yet the character animation and bonkers final act are undeniably Japanese. With Princess Mononoke and Spirited Away, the master of the medium went firmly into the realm of Japanese mythology and landscapes, but before that he made his two most overtly European films, 1992’s Porco Rosso and this, Kiki’s Delivery Service from 1989. The non-specific setting of Miyazaki’s fourth feature film is one of its strongest assets – this is one of his gentler, almost plotless films so the great joy of watching it simply comes from spending time in the wonderful world he creates. Kiki’s is a tale of a 13 year old witch who leaves home for a year on her own to train as a witch, and during this year she has to make friends, set up a delivery service and try to balance the two, all whilst exploring a beautiful city by the sea.
This city that Kiki flies to and spends her time in is deliberately not named. Ostensibly, it is based on Visby, a picturesque coastal town in Sweden that has similar tall tenements and quaint clock towers to its animated counterpart. Yet Miyazaki confesses to cheating slightly, as he put in a mishmash of influences from all around the continent: a French classical fountain here; a Mediterranean sea-front there. The great director points out that any Europeans watching it will notice the incongruous styles, but to a Japanese audience it will just look like their perception of a typical city from anywhere in Europe. That’s a telling admission from Miyazaki, as it shows he is more concerned with creating something deliberately idyllic than anything in the realm of reality. This idea is further confirmed by the lack of definite period detail: this is a film set in a world that could have been, the 1950s if WWII had never happened. Japanese post-war guilt lingered long in the collective memory and whilst sometimes Ghibli confronted this guilt – such as in Grave of the Fireflies – or moved on from it – as in the recent From Up On Poppy Hill – the studio also used their animated films to escape it, and Kiki’s is an example of pure escapism.
The timeless, location-less nature of Kiki’s world makes such escapism hugely enjoyable and imaginative. If My Neighbour Totoro – a children’s film similarly untroubled by ‘plot’ – is an example of magic being found in the countryside then Kiki’s Delivery Service uses the city, instead, as the site of the supernatural. A lot of time is just spent travelling around the city, on broom or bike, and taking it in through the wide, innocent eyes of the newcomer. Joe Hisaishi, as ever an integral part of creating the awe and wonder in Miyazaki’s films, is playful here, experimenting with traditional European instruments like the accordion, to create a particularly lighthearted score that perfectly compliments the jovial tone of the film. It all looks and sounds incredible on Blu-Ray, too, bringing out the amazing levels of detail in each shot that were previously muted beneath the pastel colours on DVD. Kiki’s particularly benefits from this as the city setting – rare for a Miyazaki – means that the frame is often a lot fuller than in his other more rural films.
Beyond the visuals, this is still an absolute delight, thanks largely to Kiki herself. This is a kind of coming of age story, only there’s no big revelation moment, it’s more about her developing friendships and slowly gaining a bit of self-confidence. She is the model of good behaviour when many of the other girls are spoilt, yet she is still real because her teenage problems are immediately relatable. At times she feels the weight of responsibility that comes with work, but often she is more concerned with her friendships with the people in the town, much like many teenagers. With short dark bob, red bow and plain black dress, Kiki feels plain and not very beautiful, but as a character she has become iconic, and there is a lovely note in the credits when a little girls walks past dressed like she is. Ghibli are famed for their strong heroines, but Kiki’s determination, kindness and charm make her one of their best. The dramatic conclusion to her story, both thrilling and thematically satisfying, cements this claim for her.
Taking in themes of pleasure and work, responsibility, friendship and self-confidence, Kiki’s Delivery Service is a great film to show young children, but a wonderful, inspiring heroine, jaw-droppingly beautiful animation and the occasional hint of magic make it one to be enjoyed by adults, too. Like all Ghibli films, then.
Extras: As ever, it’s always great to see the man himself, Hayao Miyazaki, expound a little on his work. It comes in little nuggets about different aspects of the film, but each little extra is a fascinating insight into the machinations behind the film – Miyazaki didn’t feel he could make a story about an adolescent girl, for instance. It’s lovely because, although he wasn’t originally set to direct the film, you can see that he puts his heart into it. He speaks of the daughter of one of the producers who was getting to the age where they can become ‘a bit of a handful.’ This was what inspired him to make the film, as he says ‘I was very determined to make a movie that would win over the hearts of spoiled girls like that.’ Insights like this are what extras were made for.