Category Archives: Animated

SIFF 2019: Fantastic Planet (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 25, 2019)

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Director Rene Laloux’s imaginative 1973 animated fantasy (originally  La planete sauvage) is about a race of mini-humans called  Oms, who live on a distant planet and have been enslaved (or viewed and treated as dangerous pests) for generations by big, brainy, blue aliens called the Draags. We follow the saga of Terr, an Om who has been adopted as a house pet by a Draag youngster.

Equal parts Spartacus, Planet of the Apes, and that night in the dorm you took too many mushrooms, it’s at once unnerving and mind-blowing. SIFF is adding a unique twist: Seattle DJ “NicFit” will provide a live, “carefully curated soundtrack” of Flaming Lips tracks as accompaniment. Mushrooms not included.

I hate my sister: Mirai no Mirai (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 22, 2018)

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If you seek a family-friendly film for the holidays that doesn’t involve Grinches or umbrella-powered English nannies, the Japanese anime Mirai no Mirai (“Mirai of theFuture”) may be the ticket. The latest effort from writer-director Mamoru Hosoda is a fantasy-drama that plays like a cross between Where the Wild Things Are and Labyrinth.

The story centers on 4-year-old Kun and his busy parents (Dad is an architect and Mom is an executive). Not unlike many 4-year-old boys he’s a wrecking ball, but he seems like a happy kid, doing happy kid things like cavorting with his dog, playing with his toy trains, and generally enjoying all those perks that come with being the Center of the Universe.

Sadly, poor Kun has little clue that the dynamic of this pretty sweet deal is about to shift.

The thing is, Mom and Dad haven’t just been busy at the office. One day, Mom comes home with a little surprise for Kun. It’s a baby sister. Initially, Kun appears excited about the family’s new addition, much in the same manner a 4-year-old gets excited about a shiny new toy before the novelty wears off. His excitement soon changes to consternation when it becomes obvious that the novelty of “Mirai” isn’t wearing off for Mom and Dad. 

In fact, this little Mirai character is starting to suck all the air out of the room. Why are his parents treating Kun like he’s persona non grata? He was here first! What’s so special about her, anyway? She can’t even form a sentence. All she does is eat, cry and sleep. For this, she gets a medal?! In a fit of pique, Kun takes one of his toy trains in hand and menacingly looms over her crib. Luckily Mom stops him, then gives him a scolding.

Confused and angry, Kun pitches a major tantrum. He flees into the garden, where he bumps into a man lurking in the trellises, who imperiously introduces himself as the “prince” of the house. Or at least he was…until Kun dethroned him simply by being born (long story). This kick-starts a reality-bending journey through the time-space continuum for Kun, who learns the importance of unconditional familial love and ancestral bonds along the way (whether a 4-year-old is capable of such an epiphany…is open for debate).

Mirai no Mirai is less complex than Hosoda’s previous films (The Girl Who Leapt Through Time, Summer Wars) Still, its heart is in the right place. Kids will identify with the child’s-eye perspective, and adults may be transported back to that period of the life cycle when worries are few and everything feels possible (before your mental carousel gets clogged up with excess baggage, if you catch my drift).

As beautiful as you: Loving Vincent ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 21, 2017)

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If I liken the experience of watching Dorota Kobiela and Hugh Welchman’s first feature film Loving Vincent as akin to staring at an oil painting for 95 minutes, I could see how that could be misinterpreted as a negative. But I am only making you aware that their Vincent van Gogh biopic is literally a collection of the artist’s paintings, brought to life.

It’s actually an ingenious concept. Utilizing over 120 of van Gogh’s paintings as storyboard and settings, the filmmakers incorporate roto-scoped live action with a meticulously oil-painted frame-by-frame touch-up to fashion a truly unique animated feature. The screenplay (co-written by directors Kobiela and Welchman along with Jacek von Dehnel) was derived from 800 of the artist’s letters. It is essentially a speculative mystery that delves into the circumstances of van Gogh’s last days and untimely demise.

Our “detective” is Armand (Douglas Booth), the son of an Arles postman (Chris O’Dowd). A year after van Gogh’s suspicious death, Armand’s father entrusts his son with an undelivered letter from van Gogh to his brother Theo. Armand sets off to the bucolic countryside of Avers-sur-Oise that inspired many of van Gogh’s best paintings. As he encounters an ever-growing cast of characters ranging from the periphery to the inner circle of van Gogh’s daily life, Armand’s journey becomes a Rashomon-like maze of conflicting accounts and contradictory impressions regarding the artist’s final chapter.

While this is not the definitive van Gogh biopic (Vincente Minnelli’s colorful 1956 effort Lust For Life, featuring an intense and moving performance by Kirk Douglas, takes that honor), it is handily the most visually resplendent one that I have seen. The film represents a 10-year labor of love by the filmmakers, who employed more than 100 artists to help achieve their vision…and it’s all up there on the screen. The narrative, however, is more on the “sketchy” side, if you know what I’m saying (I’m here all week).

Still, the film teasingly offers up some counter-myths to the conventional narrative that van Gogh was another tortured artist who had no choice but to check out early because he was just too damn sensitive for this cruel and unfeeling world. Maybe he wasn’t even the one who pulled the trigger…hmm?

Granted, considering he produced 800 paintings (many considered priceless masterpieces) yet sold only one during his lifetime, and struggled with mental illness, it’s not like he didn’t have reasons to be depressed, but who can say with 100% certainty that there really was no hope left in sight, on that starry, starry night? I’d wager the answer lies on his canvasses; because every picture tells a story…don’t it?

Life during wartime: This Corner of the World ***1/2

By Dennis Hartley

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Is everybody safe?
Has everybody got a place to hide?
Is everybody warm inside?

Hear them singing
All the women of Bombay
Standing with the Nagasaki housewives in doorways
In eruptions and destructions on Doomsday

– from “The Yard Went on Forever” (lyrics by Jimmy Webb)

This past August 11, just several days after two sobering anniversaries-the nuclear destruction of the Japanese cities of Hiroshima and Nagasaki on August 6 and 9, 1945, respectively, a contemplative anime drama called In This Corner of the World made its U.S. debut; easy to overlook amid the Emoji, Spider-Man and Atomic Blonde mayhem.

Co-written and directed by Sunao Katabuchi, the film (adapted from writer-illustrator Fumiyo Kono’s eponymous manga) is a snapshot of everyday Japanese life from the 1930s through the 1940s, through the eyes of a young woman named Suzu (voiced by Rena Nonen). Katabuchi uses flashback and flash-forward to tell Suzu’s story. A dreamer with a flair for art, Suzu was raised in the seaside village of Eba (a sector of Hiroshima City). We first meet her at age 18 (a year before the atomic bomb dropped on Hiroshima).

Suzu learns from her parents that a young man named Shusaku (voiced by Yoshimasa Hosoya) is on his way from Kure (a nearby port city with a large naval base) to ask for her hand in marriage. The respectful and low-key Shusaku, who has a civilian job with the navy, once had a chance encounter with Suzu when they were both children (although she doesn’t remember). Obviously, she made more of an impression on him than the other way around; still, Suzu is intrigued and longs for a change of scenery. She accepts his proposal and accompanies her husband to Kure, where she moves in with his family.

Over the next year of her life, the harsh realities of the war begin to creep ever closer to home for Suzu and her family; especially once Allied bombers begin to target the nearby naval base. Suzu is still living in Kure when nearby Hiroshima befalls its inevitable fate on August 6, 1945. Separated by a mountain, Kure is out of the blast zone, but residents are witness to the blinding flash, the horrifying mushroom cloud, and fleeing victims.

What separates this film from previous anime dramas that beg comparison (e.g. Barefoot Gen and Grave of the Fireflies) is painstaking attention to historical detail regarding not only daily lives of Japanese civilians before, during and after the war (the aforementioned films focused almost solely on the immediate horrors of destruction and suffering), but in recreating the look and feel of the principal locations where the story takes place (the production staff did exhaustive research on pre-war Hiroshima’s architecture and layout, using archival photos and eyewitness recollections from surviving pre-war residents).

The animation is outstanding; there are several set pieces that are truly inspired, particularly a sequence that finds Suzu caught out in the open on the verdant hills overlooking the ocean during a U.S. aircraft strafing attack. Frozen in a strange state between fear and wonder, Suzu becomes oddly entranced by the exploding puffballs of flak in the clear blue sky around her. As the perspective subtly switches to Suzu’s POV, you realize that you are suddenly watching the frightful mayhem though an artist’s eye; the sky becomes a vast canvas, and the flak akin to Jackson Pollack shooting paintballs.

The only bone I have to pick is a bit of narrative confusion here and there, caused not so much by the vacillation between flashback and flash-forward sequences, but the occasional flights of fancy (or perchance, dreaming?) that Suzu has (a little pilfering from The Wizard of Oz, if you catch my drift). But then again, that could be a personal problem; choosing to watch a subtitled version can distract you from crucial visual cues (at the theater where I saw the film, they offered both subtitled and dubbed showings).

Those minor quibbles aside, this is an involving humanistic study (reminiscent of the quietly observant dramas of the great Japanese director Yasujiro Ozu), with just the right balance of drama and humor.

Like Hayao Miyazaki’s 2014 anime The Wind Rises, Katabuchi’s film may delicately side-step any avenues that potentially lead to addressing thornier issues like collective guilt or complicity by fealty to the emperor; but considering that most of the characters are non-combatants, In This Corner of the World is closer in spirit to those great films that remind us that as long as we wage wars, there will always be innocents who get caught in the crossfire.

It is the duty of survivors, as well as subsequent generations, to dedicate themselves to build a world where the need to wreak such horrors upon one another becomes, once and for all, unequivocally abhorrent to all.

Blu-ray reissue: Ocean Waves ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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Ocean Waves – Universal Studios Home Entertainment Blu-ray

This 1993 anime is one of the last remaining “stragglers” from Japan’s Studio Ghibli vaults to make a belated (and most welcome) debut on Blu-ray (it was previously only available on PAL-DVD). Adapted by Kaori Nakamura from Saeko Himruo’s novel, and directed by Tomomi Mochizuki, it concerns a young man who returns to his home town for a high school reunion, which triggers a flood of memories about all the highs and lows of his adolescent years. It’s similar in tone to another Ghibli film, Only Yesterday, which also takes a humanistic look at the universality of growing pains.

On a sliding scale, this is one of Ghibli’s “lesser” films, but the studio has set a high bar for itself, and it will please  Ghibli completists (who, me?). Extras are scant, but the hi-definition transfer is lovely.

Blu-ray reissue: Metropolis (2001) ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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Metropolis – Eureka Blu-ray (Region “B”)

Japanese director Rintaro’s visually resplendent 2001 anime is based on Osama Tezuka’s manga re-imagining of Fritz Lang’s 1927 silent film classic. The narrative (adapted by Akira director Katsuhiro Otomo) is framed as a detective story (not unlike Blade Runner), with a PI and his nephew attempting to unravel the mystery of Tima, a fugitive robot girl who has become a pawn in a byzantine conspiracy involving a powerful and corrupt family that rules Metropolis. Intelligent writing, imaginative production design and beautifully realized animation make this a must-see. Extras include interviews with cast and crew, and a “making of” documentary.

[Note: Region “B” edition; a multi-region Blu-ray player is required]

SIFF 2017: Revolting Rhymes ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 3, 2017)

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Based on Roald Dahl’s imaginatively reinvented mashups of classic fairy tales, this film combines two 35-minute BBC 1 shorts into a feature-length. German co-directors Jakob Schuh and Jan Lachauer obviously had a good time making this animated network narrative that cleverly cross-pollinates Little Red Riding Hood with Snow White and Cinderella with Jack and the Beanstalk. None other than the Big Bad Wolf is on hand to play the Cryptkeeper who ties the threads together. Great voice work by Dominic West, Rob Brydon, Gemma Chan, and others. BTW, it is not for young kids!

Wake up and dream: The Red Turtle *** & Your Name ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 15, 2017)

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In my 2010 review of a lovely, little-seen film from Mexico called Alamar, I wrote:

To say that “nothing happens” in Pedro Gonzalez-Rubio’s leisurely paced cinematic tone-poem, set against the backdrop of Mexico’s intoxicating Banco Chinchorro, is to deny that the rhythm of life has a pulse. […]. If you can’t wait for it to end so you can turn your phone back on and check all those “important” messages, I suspect that the film’s message, telegraphed in the sunlit shimmer of a crystalline coral reef, or in the light of love on a father’s face as he watches his son slowly drift off to sleep, is destined to never get through to you anyway.

I had a similar takeaway from The Red Turtle, the latest offering by Japan’s renowned Studio Ghibli. Writer-director Michael Dudok de Wit and co-writer Pascale Ferran’s gorgeously rendered anime is a minimally-scripted paella made from equal parts Robinson Crusoe, Irish selkie/Venus-Aphrodite mythology, and, uh, the Book of Genesis.

Set in an indeterminate time period (educated guess: early-to-mid 19th Century), the tale centers on a shipwrecked (sailor? explorer? pirate? adventurer?) who gets washed up onto the beach of a tiny (Pacific?) island. An exploration of his new environs quickly gives indication that, save the birds, crabs, and baby sea turtles, he is completely, utterly, alone.

Whether or not he is destined to remain by his lonesome in a cruel and unfeeling universe will be revealed to you by the second act; in the interest of avoiding spoilers, all I am prepared to divulge beyond this point of the narrative is that yes – a red turtle is involved.

As I inferred earlier, de Wit’s film has a dearth of narrative and/or character development, but the stunning visuals help make up the deficit (in my experience, Studio Ghibli never fails to deliver the eye candy). Still, some viewers may find it tough going by the time the story enters its more conventional 3rd act, which does lean toward cliché.

The key to enjoying this film (should that be your wont) is to go in with no expectations, and get lost in its beauty; because (if I may again paraphrase from my Alamar review) “…analogous to the complex and delicate eco-system that sustains the reef, there is more going on just beneath the surface than meets the eye.” Because after all, as the great Jacques Cousteau cautioned… “We forget that the water cycle and the life cycle are one.”

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I have sat through more than my fair share of “body swap” movies over the years (OK, “decades” may be more apropos), but it’s been quite a while since I have experienced one as original and entertaining as Makoto Shinkai’s animated fantasy, Your Name.  Adapted by the director from his own novel, Shinkai’s film has the distinction of being Japan’s most popular and largest-grossing anime (in-country) to not originate from the Studio Ghibli hit factory (the film’s limited U.S. run is being distributed by Funimation Films).

The story concerns a teenage girl named Mitsuha, (voiced by Mone Kamishiraishi) who lives in a bucolic mountain village, and a teenage boy named Taki (voiced by Ryunosuke Kamiki), who resides in bustling Tokyo. They are separated by geography and blissfully unaware of each other’s existence, but they both share the heady roller coaster ride of hormone-fueled late adolescence, replete with all its attendant anxieties and insecurities.

Mitsuha, who was raised to be a modest country girl with traditional Japanese values, is consumed by a kind of urban wanderlust; eager to finish high school so she can escape her small town and break out on her own to seek adventure and excitement in Tokyo. Taki, on the other hand, takes his metropolitan lifestyle for granted, and plans on becoming an architect, or perhaps an artist. Mitsuha and Taki are both socially awkward.

You know where this is going, don’t you? There’s something else that Mitsuha and Taki are sharing. They’ve both been having very strange dreams as of late; Taki wakes up one morning, and it seems he’s still dreaming…because his physiology is decidedly female, and he’s living in a rural mountain village where people insist on calling him “Mitsuha” through the course of an eventful day at an unfamiliar high school. “She” goes to bed.

The next time Taki awakens, he’s Taki again (anatomy checks out correctly, much to his relief). However, everyone is giving him funny looks at school. His friends are asking him if he’s OK…and wondering why he was acting so weird the day before.

Once we next get to watch Mitsuha having a similar experience (she “dreams” she is a boy named Taki, lives in Tokyo, and spends an equally unsettling day at an unfamiliar high school), we start to put 2 + 2 together. These two are together…but not altogether. Together apart?

WTF is going on with these two? I could tell you, but then I would have to kill you.

So I won’t. Because, a). I can’t afford to lose a reader, and b). It might spoil your fun. Sinkai’s film is a perfect blend of fantasy, metaphysical sci-fi, mystery, coming-of-age tale, humor, and even old-fashioned tear-jerker (yes…I laughed, and I cried). It’s a visual feast as well; the animation is outstanding. It’s not playing at a lot of theaters, so if it pops up in your neck of the woods, do not pass up an opportunity to catch it on the big screen.

Put some shorts on

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo o February 18, 2017

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At the risk of having my critic’s license revoked, I will freely admit this, right here in front of (your deity of choice) and all six of my readers: I have not seen any of the 9 films nominated for Best Picture of 2016. Then again, you can feel free to ask me if I care (the Academy and I rarely see eye-to-eye). Funny thing, though…I have managed to catch all of the (traditionally more elusive) Oscar nominees for Best Short Film-Animation and Best Short Film-Live Action. And the good news is you can, too. The five nominees in each sub-category are making the rounds as limited-engagement curated presentations; each collection runs the length of a feature film, with separate admissions (the films are held over this week in Seattle and will be on various streaming platforms February 21).

(Reads woodenly off teleprompter) And the nominees for Best Short Film-Animation are:

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Blind Vaysha (Canada; 8 mins) – Directed by Theodore Ushev, this piece (based on the eponymous short story by Georgi Gospodinov) is a parable about a girl born with uniquely dichotomous vision: one eye sees the past, the other the future. Is it a metaphor about living in the moment? Oh, maybe. Simple, direct, and affecting, with a woodcut-style “look” that reminded me of Tomm Moore’s animated films (The Secret of Kells).

Rating: ***

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Borrowed Time (USA; 7 mins) – Set in the old west, this portrait of remembrance and regret is visually impressive, and seems well-intentioned…but it’s curiously uninvolving. It’s co-directed by veteran Pixar Studios animators Andrew Coats and Lou Hamou-Lhadj.

Rating: **

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Pear Cider and Cigarettes (Canada/UK; 35 mins) – Director Robert Valley’s resume includes a graphic novel series; and his film definitely has that dark vibe. It’s a noir-ish memoir concerning the narrator’s longtime love/hate relationship with his best buddy, “Techno Stypes”, a charismatic but maddeningly self-destructive Neal Cassady-type figure. The story is involving at the outset, but becomes somewhat redundant and ultimately, tiring. Atmospheric, and great to look at-but even at 35 minutes, it’s overlong. Note: Parents should be advised that this one (not exactly “family-friendly”) is being exhibited last, allowing time for attendees to opt out (“hey kids-who wants ice cream?!”).

Rating: **½

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Pearl (USA; 6 mins) – A young girl and her free-spirited musician father have a care-free, nomadic existence living out of their car, but as the years pass, life’s bumpy road creates challenging detours (Jesus, did I just write that? A gig with Hallmark beckons). Quite lovely and very moving; it’s my favorite of the nominees in this category. It’s almost like a 6 minute distillation of Richard Linklater’s interminable Boyhood (wish I’d discovered this first-would have saved me some time). Well-directed by Patrick Osborne.

Rating: ***½

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Piper (USA; 6 mins) – I’ve resigned myself to the fact that a Pixar nomination in this category is as unavoidable as Taylor Swift at the Grammys. Actually (long-time readers will back me up on this) I have softened on my curmudgeonly stance on CGI animation, enough to cave on this animal-lover’s delight. Not much of a narrative, but somehow “the story of a hungry sandpiper hatchling who ventures from her nest for the first time to dig for food by the shoreline (the end)” is a perfect salve for what’s, you know…going on the world right now. In fact, I might need to watch this on a loop, just to keep from hurtling myself off the nearest cliff. Beautifully directed by Alan Barillaro and Marc Sondheimer.

Rating: ***

And the nominees for Best Short Film-Live Action are:

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Ennemis Interieurs (France; 28 mins) – Set in 1990s France, an Algerian-born French citizen is given the third-degree at a police station regarding his association with members of his mosque who are suspected terrorists. The political subtext in Sleim Aszzazi’s film recalls The Battle of Algiers; with a touch of The Confession. While I appreciate what the director is trying to convey in his examination of Islamophobia, the film doesn’t go anywhere; it’s too dramatically flat to stand out in any significant way.

Rating: **½

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La Femme et le TGV (Switzerland; 30 mins) – Inspired by a true story, Timo von Gentun’s film stars 60s icon Jane Birken (mother of Charlotte Gainesbourg) as a lonely widow living a quiet, structured life. “Quiet” with one exception-which is when a daily express train thunders past her cottage. Smiling and waving at the train is the highlight of her day. After she stumbles on a letter that the train’s conductor chucked into her garden, a unique relationship begins (a la 84 Charing Cross Road). OK, it is borderline schmaltzy at times-but also touching and bittersweet, with an endearing performance from Birken.

Rating: ****

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Silent Nights (Denmark; 30 mins) – A young Danish woman who works as a volunteer at a homeless shelter and an illegal immigrant from Ghana cross paths at the facility and develop a mutual attraction. Director Aske Bang uses the ensuing romantic relationship as political allegory; examining difficulties of cultural assimilation and the overall plight of immigrants in Western countries (much as Fassbinder did in Ali: Fear Eats the Soul).

Rating: ***

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Sing (Hungary; 25 mins) – It’s interesting that two of the five nominated films in this category are set in the 90s, and specifically in allusion to the political turmoil in Europe that was proliferating at the time (it’s either “interesting”, or perhaps I’m merely slow in catching on that “the 90s” was a generation ago, ergo “history”…funny how one loses sense of time as one ages, isn’t it?). At any rate, Kristof Deak’s tale centers on a young girl just starting out at a new school. She joins the choir, a perennially award-winning group with a dictatorial choir director. When she finds out that the “secret” to the choir’s continuing success is not above board, she is faced with a moral conundrum. Although based on a true story, it plays like a modern parable about the courage of whistleblowers.

Rating: ***½

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Timecode (Spain; 15 mins) – As directed by Juanjo Gimenez Pena, this hipster catnip about two mopey millennial security guards (one male, one female) who barely exchange a word during their daily shift change is a glorified YouTube video that uses up its irony quotient quickly. I might have thrown it an extra star if it was but ten minutes shorter.

Rating: *

SIFF 2016: Long Way North ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 14, 2016)

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Recommended for ages 6+ by SIFF, this adventure tale benefits greatly from its creative pedigree; director Remi Chaye was first AD and head of layout for The Secret of Kells, which remains one of the most beautifully animated feature films of recent years (outside of Studio Ghibli). The story centers on a 15 year-old girl from an aristocratic St. Petersburg family who refuses to write off her missing explorer grandfather, whom the rest of her family believes to be dead. Armed with a copy of her grandfather’s itinerary, an ability to parse navigational charts, and lots of moxie, she slips away from her family’s estate and talks her way aboard a merchant vessel, determined to locate him and his North Pole-bound ship. Exciting and well-made family entertainment.