Tag Archives: animated movies

Ferdinand

Ferdinand is a big, beefy bull who accidentally destroys a village and gets branded a beast. The biggest, most monstrous bulls get chosen by the matador for bullfights, MV5BZWQ5ODZiMWMtYjM1Yy00ZDlhLTkwYzctNTQxNzE5MDRhNmIxXkEyXkFqcGdeQXVyNjA0MTc4OQ@@._V1_SX1777_CR0,0,1777,738_AL_but Ferdinand has never aspired to such fame. He’s a gentle soul, really, a pacifist. The other bulls are quite judgmental about his lack of fight but Ferdinand stays true to himself.

And that’s all I really have to say about it. This is not Pixar; it’s not intended for adults, or particularly bright children. Ferdinand is forgettable. It doesn’t even try to surprise you. But John Cena as Ferdinand is pretty okay and Kate McKinnon as a “calming goat” is sometimes nearly funny, so I guess there’s that. It just feels lackluster, and lazy.

 

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My Little Pony: The Movie

I was once a My Little Pony playing girl but the truth is, My Little Pony left fans like me behind a long time ago. It was rebooted in 2010 and found a surprise demographic: not just the expected little girls, but grown men as well. What the heck? These fans, who call themselves by the shudder-worthy nickname “bronies”, were brought to my attention in the 2012 documentary, Bronies: The Extremely Unexpected Adult Fans of My Little Ponies.  It’s fascinating to watch in a train wreck kind of way and if you have to choose between it and this animated film, definitely definitely go for the documentary.

Anyway, whatever these adult fans see in the series is beyond me. And though I’ve now racked up 11 nieces and nephews between the ages of 2 and 9, there is not a single My Little Pony fan between them. To whom does this series appeal?

The film opens up with The Go-Go’s We Got the Beat playing – or is it? In fact, the lyrics giphy (1)have been tampered with. What I thought might be an appeal to our inner 80s kid turns out to be just an extended pony play on words. The song plays as Twilight Sparkle, the Princess of Friendship (the horse community has a stunningly high proportion of royalty vs subjects), is preparing Equestria for a festival of friendship when the party’s invaded by a dark force, led by Tempest Shadow and The Storm King, who encase the upper pony echelons in rock and prepare to do some evil, conquery thing to the happy go lucky ponies.

So the “Mane 6” (Twilight Sparkle, Rainbow Dash, Applejack, Pinkie Pie, Fluttershy, and Rarity) go on a journey that I suppose the creators have sold as “exciting” and “unforgettable” but in actual fact, My Little Pony: The Movie has no discernible difference in quality between its theatrical release and whatever passes for acceptable on early-morning kids programming. It feels like an extended episode of something really shitty, with bland, cornball songs thrown in for good measure, spouting predictable lyrics about working together and how anyone can do anything if only the put their mind to it (actual song titles: We Got This, I’m the Friend You Need, Time to Be Awesome). The main characters are all voiced by the same no-names who do the morning cartoons but new characters developed strictly for the film are voiced by the likes of Emily Blunt, Zoe Saldana, Sia, Taye Diggs, Liev Schreiber, Uzo Aduba, and Michael Pena, which in no way makes the film even remotely more watchable, and in fact, Emily Blunt isn’t even doing her own natural accent, so she’s easy to miss.

The ponies pay lip service to the sharing and caring type shenanigans you’d expect but when the chips are down, some pretty entitled bullshit really drives the plot. The good news is, you’re only likely to be subjected to this if you’re a parent, and there’s truly no other reason to watch it except under duress. And any road trip longer than an hour with kids under 10 counts as duress. The hard part is, I know that in lots of houses with young kids, certain movies get stuck on repeat. At my sister’s house, it’s currently “Woody” (Toy Story) and “Choo Choo” (The Polar Express), which aren’t too bad all things considered. But even Oscar winning fare gets tedious after its eleventh straight viewing. If you’re currently living through a similar My Little Pony scenario, may Pegasus help you.

 

The Princess and the Frog

As a young girl, Tiana loved making gumbo with her father, and the two dreamed of opening up a restaurant together. Even after he passes away, she keeps the dream alive, though she doesn’t have the means to make it come true. Meanwhile, Prince Naveen is in town, setting all young hearts aflutter. Unbeknownst to them, the prince is actually broke and needs to marry a wealthy socialite to keep up his lifestyle. Both of our leads are in desperate situations that cause them to act rashly. Naveen strikes a deal with a voodoo doctor, who transforms him into a frog, and thinking that her magical kiss will transform him back, Tiana does so – only it turns her into a frog as well!

Then the adventure really begins, and they traverse New Orleans, befriending MV5BMjE2OTg0NDk2Ml5BMl5BanBnXkFtZTcwMTUwMjIyNw@@._V1_SY1000_CR0,0,1723,1000_AL_a trumpet-playing alligator and a Cajun firefly along the way. You may have heard that Sean and I are in New Orleans at the moment and time will tell what sort of friends we’ll make – but you can keep in touch on Twitter – @assholemovies.

The Mama Odie character was inspired and by the famed New Orleans storyteller Coleen Salley, even down to her voice. Coleen consulted with the director several times, but never lived to see the completed movie. Her name is mentioned in the credits. Dr. Facilier, the bad voodoo doctor, also takes sinpiration from New Orleans trandition: he looks just like the voodoo god of magic, ancestor-worship, and death, Baron Samedi. The trumpet blowing alligator is named Louis in honour of – you guessed it – Louis Armstrong. Another alligator, a hungry one who tries to eat our heroes, is named Marlon, after Brando star of A Streetcar Named Desire. Marlon is voiced by New Orleans celebrity chef Emeril Lagasse, and even uses his signature catchphrase “Bam!”

Alicia Keys and Tyra Banks both lobbied personally for the part of Tiana. Beyonce was considered but refused to audition (I mean, really). Instead it went to Anika Noni Rose who was relatively unknown to those outside Broadway audiences. She was 41 when she gave voice a 19 year old.

Tiana was of course the first black Disney princess, and though it was about damn time, it wasn’t without controversy. First, Disney had to change the film’s title. Originally called The Frog Princess, the Internet informed them how terribly this sounded, and The Princess and The Frog was born. And Tiana too was renamed – originally she went by Maddy, which the peoples thought sounded too much like Mammy. Because of Disney’s history of being 99% white and 1% ugly stereotype, it’s only natural that this film was experienced under a microscope. And it’s kind of too bad that our first African-American princess spends most of the film as a frog instead of, you know, a black princess.

But it does get to splash the fun, colourful New Orleans as a background, from city scenes to the bayou. And directors Rom Clements and John Musker did some good while they were in town, volunteering for Habitat for Humanity.

If we’re in the neighbourhood, we may just pop into Dooky Chase’s Restaurant. Leah Chase is the inspiration for Tiana. Known as the Queen of Creole Cuisine, she’s cooked for the likes of Quincy Jones, Jesse Jackson, Ray Charles, and Barack Obama. Dooky Chase’s Restaurant was one of the only public places where mixed race 28-leah-chase-obama.w710.h473.2xgroups could meet, so it became home Civil Rights meetings, even though it was illegal.  Leah is also a patron of the arts, and her restaurant was once considered New Orleans’ best collection of African American art. Dooky”s reopened after Katrina but now operates under limited hours, a decision Leah’s family has made since the 94 year old woman still works as the head chef during its opening hours. Yes, you read that right. Forget Disney princesses: Leah is a formidable woman, and Tiana should be so lucky.

Olaf’s Frozen Adventure

Anna and Elsa ring the bell to mark the beginning of Arendelle’s yuletide season, their first since the gates have reopened, but then the crowds disperse, leaving the Frozen ladies to contemplate their lack of holiday traditions. Moved, their good buddy and everyone’s favourite snowman, Olaf, goes off in search of other people’s customs in order to find the right ones to adopt.

Originally Disney planned for this to be a televised episode but as production continued they felt it was too “cinematic” and deserved to be on the big screen, which is how it wound up in front of Pixar’s Coco. It’s only the second time that a MV5BMTg0MDc1ODY2MV5BMl5BanBnXkFtZTgwODg3MTE2MjI@._V1_CR0,60,640,360_AL_UX477_CR0,0,477,268_AL_.jpgnon-Pixar short is in front of a Pixar film (the first time, for Toy Story, was the Roger Rabbit short, Roller Coaster Rabbit) but like any blended family, the Disney-Pixar merger has now been solidified, and when better to spend time together than the holidays? In fact, the two do seem to be appropriate companions since they’re both about appreciating different cultures. However, audiences in Mexico were less than thrilled with the “short” (it’s 21 minutes!); impatient to get to the movie that pays homage to their country, they rebelled until theaters dumped the short altogether.

Like Frozen Fever that came before it, the ladies seem to be confronted yet again with emotional loose ends, as it were, which means this short serves as a bridge to the inevitable sequel. And Olaf is evolving too. A kid favourite, the child-like snowman with a sense of wonder has always entertained, but in this short, he’s becoming more thoughtful and self-aware. He’s not just a side-kick anymore. And at 21 minutes, this short has time for 4 new original songs; That Time of Year is a particular stand out, and I was tickled by the mental comparison between Olaf (voiced by Josh Gad) knocking on villager’s doors, and Gad doing door to door with the ding-dong song Hello from Book of Mormon.

Olaf’s Frozen Adventure is fun in a giddy kind of way and fans of Frozen will be glad to revisit their old friends – though I do wonder if the fans aren’t sort of ageing out of the Princess phase by now. But Elsa and Anna still have a long way to go before their healing’s complete, so there are plenty more ways for Olaf to save them, and he’s always going to be enchanting as heck while he does it.

Coco

First, if you haven’t read my piece about John Lasseter, please do. It feels like an important piece of the conversation.

On to the movie. Coco is Pixar’s latest offering about a little boy named Miguel. Miguel comes from a long line of shoe makers and he knows that’s his destiny even if it isn’t his passion. He lives and works with his parents, his grandmother, and his great-grandmother, who all have the same very strict rule: absolutely no music. So guess what Miguel’s true passion is? That’s right: it’s music. He idolizes Mexico’s most popular singer, Ernesto De La Cruz. And on the day of the dead, he’d love nothing more than to participate in the town’s talent show, but not only is this forbidden by his relatives, he must honour the dead at the family altar instead – every single one of them, except for his great-grandmother’s father, who left his young family to pursue music, which is the whole reason behind the curse.

coco-movie-01Of course, this being a movie and all, things do not go smoothly. Miguel’s pursuit of his passion means he accidentally crosses into the land of the dead himself, and he needs the help of his dead ancestors (possibly including that cur, his great, great-grandfather) in order to return home.

Pixar does not miss the opportunity to splash the screen with colour. It’s a riot, and constantly just beautiful to look at. Sean and I love and visit Mexico frequently, and it’s clear the animators do too. There’s something about the juxtaposition of smiling skeletons and vivid colours that just captures the imagination. But the film treats every day Mexico just as lovingly. The opening scene is done through papel picado – those brightly coloured tissue paper banners with intricately cut-out designs. It’s distinctive and impressive Mexican folk art that really establishes the scene for us early on. Coco is a buffet of visual delight, but it also tells a very compelling story. Yes, the following your dreams thing has been done to death (pun intended) but Coco is also a meditation on family, forgiveness, memory, and love. It takes a kids movie about death to truly speak to the joy and the pain of being alive.

And I’m glad Pixar has finally given us a non-white character in the lead role. It’s about time. I feel like the whole movie reads like a love letter to Mexico and its culture and traditions, but Pixar hasn’t acquitted itself entirely honourably during the film’s production. Pixar has a history of distinguishing itself from Disney movies by not really doing musicals. This isn’t technically a musical either, but it’s got musical numbers, so it seems like a missed opportunity, and in fact a bit of an embarrassing blunder, to have not used a Mexican composer. We have to tread a coco-moviefine line between paying tribute to another culture, and appropriating it. Coco was originally set to be titled Dia de los Muertos, and of course Disney tried to copyright that name. You can imagine the uproar this caused – so much so that Pixar belatedly brought some Mexican ‘consultants’ on board just to make sure they didn’t step in any more shit, and as you can tell, they quickly made a name change. At any rate, the movie felt quite respectful to me, but I’m not really the one who gets final say on that. I will say that it feels like a nice offering by an American studio in the age of Donald Trump and his egregious wall.

And a note to parents: Coco has a running time of 1 hour, 49 minutes. There’s also a 21 minute “short” before it (Olaf’s Frozen Adventure), and when you factor in previews on top of that, you’re looking at nearly two and a half hours. The kids in our screening were quite well behaved, but the middle-aged man who felt entitled to sit in the middle of the row despite his flimsy bladder, got up no less than 3 times. So be prepared.

Coco is Pixar’s best since Inside Out. It’s so layered with detail that it begs to be rewatched. It’s charming and lively and yes, it made me cry.

 

 

 

 

If you can’t get enough of Coco, check out my own Day of the Dead makeover.

The Little Mermaid

This year for Halloween, Gertie dressed up as Ariel from The Little Mermaid.

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As you can see, she absolutely killed it, even if she did completely hate the wig. But her very convincing Ariel did reveal one shocking fact: Sean had never seen The Little Mermaid. So of course I needed to remedy that oversight, which means we both watched it and to be honest, I have some concerns.

First, was this movie always so racist? I mean, Sebastian (the crab) has an accent that he shouldn’t have. I mean, I’ll describe it as “Caribbean” …possibly Jamaican. The story seems to take place off the coast of some European country, probably Denmark. That’s a pretty far swim for a crab. Voiced by Samuel E. Wright, a black man born in South Carolina, I obviously have to question Sebastian’s provenance. And why does the only “black” (I mean actually he’s red) character in the film sing mermaidracist2about how good it is to be unemployed underwater? He literally calls the land lubbers slaves. But excuse me, there is one other black character, a “black fish” who sings. She is literally panned to for less than a second – blink and you’ll miss her.

So of course while I’m researching this, I’ve come across some other interesting food for thought.

  1. Flounder is not actually a flounder. I mean, I realize I’m not actually a Jay Flounder-The-Little-Mermaideither but I find this way more misleading in a children’s movie [possibly my name is also confusing to children: my adorable and super-smart niece Ella, a year and a half old, isFlounder-31-2-640__14096.1414776694.600.600 still refusing to say my one-syllable name and says instead “I no can do that” just to prove that she’s perfectly capable of complex sentences and is just  happiest when she’s spiting me].
  2. How did Flounder get the statue of Eric into Ariel’s grotto? This is Sean’s question of course. Flounder is an overweight fish with tiny little fins for arms. The statue is more than human-sized and made of concrete. What the heck?
  3. Ursula is a Cecaelia (half human, half octopus)…but is she actually an octopus? Ursula_transparentShe technically only has 6 tentacles (it was cheaper than animating 8) but since she has 2 arms, I guess we’ll call it a draw. Octopus tentacles are distributed as 6 arms and 2 legs, but whatever. The team at Disney created Ursula with a drag queen named Divine in mind; unfortunately, 5524736bbf741a40e9bac73206a516b2--phil-morris-john-watersDivine died before voice recording. I kind of love Ursula though. I love that she flaunts her curves and is always wearing a perfectly made up face. She’s got a soft spot for her pets (or sidekicks? henchmen?) Flotsam and Jetsam and a penchant for musical numbers and dramatics. My god, is Ursula ME? I do look hot in purple.
  4. Why doesn’t Eric’s dog Max talk? Most of the characters in this movie are animals and they all talk (and sing and dance) except for poor Max. And while I’m at it, why doesn’t Ariel write? She has no voice with which to enchant Eric so she should just write him a damn letter instead of pathetically miming things and letting a crab try to establish a sense of intimacy. We know she CAN write – she signs her damn name to Ursula’s contract. So she’s just being obstinate.
  5. Okay, Ariel is worse than just obstinate. She’s kind of a bitch. Granted she’s only 16 so probably can’t help it, but damn, why do we even like this girl? She’s chronically late and disrespectful of everyone else. She shames Flounder into doing naughty things. And then she pathetically throws herself at practically the only man she’s ever seen and falls in love with him for no reason whatsoever and even mutilates her own body in order to earn his acceptance. Plus she likes puffy sleeves.
  6. It seems like Ursula actually tried to murder Ariel right off the bat. Their deal is: Ariel gives up her voice to become a human. She becomes human on the spot, and the spot, let’s remember, is miles underwater. She no longer has a tail so she can’t swim, and hello, nor can she breathe. Neither she nor Ursula knew that Flounder and Sebastian were conveniently hiding nearby, so ostensibly Ariel should have drowned on the spot. Good thing her fat fish friend saved her life and got no thanks at all!

My Dogs, JinJin and Akida

Jaeyoung is a kid struggling at home to find some space between his abusive father and his religious mother. His dad, remote at best, has little time for any of his kids, but he does seem to have lots of attention for his precious dogs, JinJin and Akida. It’s not all that surprising that Jaeyoung is actually jealous of the dogs, but it is very, very sad to behold, and so kind of understandable when one day Jaeyoung gets it into his head that releasing one of the beloved dogs will, if not actually solve the problem, at least gain his father’s attention.

My_Dogs_JinJinAkida520.jpgDirector Cho Jong-Duck sets his adventure story amid the backdrop of the rapidly changing South Korea of 1983. It’s developing economically but Jaeyoung’s father still works in the fishing industry of a small village. There are lots of such conflicts crossing Jaeyoung’s path. Western influences are crowding in but the traditional Confucian Korean culture still has a stronghold on its people. All of these things put strains on a family already in transition.

The animation style is quite simple but the story is richly observed. There were so many scenes that were really moving in their ordinariness: Jaeyoung’s mother’s use of holy water as a deterrent to her husband’s abuse; the neighbours overhearing but not interfering with the fights going on in Jaeyoung’s house. Make no mistake: this may be an animated film, but it’s no happy-go-lucky Pixar offering. The kid deals with serious, heart breaking issues and there’s no easy out to the problems that plague his family.

Torrey Pines

So here’s a movie for all you people who like to take some risks with your cartoon watching!

Torrey Pines is stop-motion animated, but there’s no clay in sight, it’s all paper cut outs, which I kind of loved. I mean, I’m a sucker for stop-motion any day of the week, but this one looks like something your or I could do, if only we had tonnes of time and talent and patience and a kick-ass story to tell. Clyde Petersen has all of those things, and this is (sort of) his story.

It’s about Clyde when Clyde was still a 12 year old girl dealing with gender identity and the struggle of finding his way. The film is filled with wild hallucinations and MV5BMjEzNjMwMTc0OV5BMl5BanBnXkFtZTgwMjk4NDg4MDI@._V1_SY1000_CR0,0,1763,1000_AL_psychological projections, so even though the movie is without dialogue, we still feel what Clyde is feeling. When in the car with his mother, we don’t hear them argue, but when a speech bubble features a bear biting off the head of a rabbit, we get the gist. Clyde’s mother is schizophrenic, and what she sees as a fun-filled family road trip from San Diego up to New York, the rest of the world views more as kidnapping. It’s a trip that will change Clyde and his family forever.

My love for stop-motion exists because there’s just no better way to visually represent the love and attention that goes into making a film. Stop-motion will often show us how something works close up, and we see beauty in this new perspective. Torrey Pines doesn’t disappoint; I particularly loved seeing the jointed fingers at work. But it’s also not traditionally beautiful animation. It reminded me of being in high school – my friend Kelly one day said to me that my shoes were so ugly they were cool. Up until that exact moment I’d only seen the cool in them, and forever afterward couldn’t stop seeing the ugly (she was right). The look of Torrey Pines is also ugly-cool (although legitimately both), and perhaps there is no better aesthetic to explore a coming of age story in the 1990s.

I mentioned earlier that there’s no dialogue to this movie, and that definitely proved challenging for Sean. Maybe it’s not for everyone but I liked that this film was a rule-breaker. Music and score play a much larger role in the film because of the lack of speaking roles, and it really moves us along through the stages of the film. There’s a lot to see and think about in this movie, heavy stuff, but really relatable and authentic  with a flavour all its own.

The Breadwinner

Not all men are bad, not even all Afghan men. That’s important to remember. Not all of them want to treat women like garbage, but the taliban sure does. It’s not enough to cover women head to toe in burqas, but new rules in Afghanistan prohibit them from leaving the house at all, except in rare cases when accompanied by a father, husband, or brother.

Parvana’s older sister hasn’t left the house in so long she’s forgetting what it was like. Parvana is “lucky” because her father lost his leg in the war and his livelihood more recently, so she assists him down to the market where they try to sell their possessions in order to eat. Her father respects his daughters, educated them, and wants better things for them, things he can no longer give them with the oppressive taliban regime patrolling with guns and indignation. When the taliban inevitably hauls him off to prison for no reason, suddenly the family is left without an escape clause. Parvana’s mother andMV5BMDg0ODM5NTYtMjNkMS00NDQ3LWI5MGYtMDg3ZTQ5MDE0OTRlL2ltYWdlXkEyXkFqcGdeQXVyMjQ1NjA0ODM@._V1_ sister and baby brother could literally starve to death waiting for a man to come release them from their own home so Parvana does the only thing she can think of to save them: she cuts off her hair, wears the clothes of her dead brother, and to taliban eyes, becomes a boy.

You may recognize The Breadwinner as a recent high-profile screening at TIFF; Angelina Jolie is a producer and her red carpet appearance really shined the spotlight on this important film. People were equally excited to celebrate it at the Ottawa International Animation Festival. It played to a packed house and I imagine it will again on Saturday so if you haven’t got your tickets, get on it!

The Breadwinner’s animation is stunning.  Stunning. Like, I want to get tattoos of it on my body. That’s really the highest praise you can give, or that I can give, an animated movie, a compliment I haven’t given before or even thought to. The story is kind of perfection. It’s by no means an exact replica of the book. It diverges significantly from it but still feels like an authentic and spiritual distillation of it.

If The Breadwinner isn’t talked about come Oscar time, I’ll be shocked and outraged. Not taliban guy seeing a woman “calling attention to herself” by merely being outdoors outraged, but outraged. It’s a great story coupled with the most amazing animation but it also could not be more essential viewing at this moment in time.

Lu Over the Wall

Greetings from the Ottawa International Animation Festival, which we’re always proud to cover because not only is it our hometown festival, it’s also a really great one – terrific movies, great venues, well-organized by staff and volunteers. It makes an Asshole proud!

Our first stop at the festival was to the good old Bytowne, where all the best indie films get shows year-round. Lu Over the Wall is a Japanese film by director Masaaki Yuasa, and I have to say, I was pleasantly surprised by it.

The film is about Kai, a surly middle schooler who seems isolated from his peers until it 48a6ae418cf7ea14caa9daee89cfc4381491527985_largeis discovered that he makes really interesting beats with his computer, and he gets recruited into a band by Yuuho and Kuniko. The band practices on a deserted island away from the mainland so that Kuniko’s family won’t discover his dirty little secret (he’s destined to be a temple keeper, not a rock star). But out there they stir up the myth that has shrouded their town for decades: that of merpeople.

Turns out, merpeople are attracted to music, and that’s exactly what prompts Lu, a very cute little mermaid, to leave the water to sing and dance with them. Everyone else is terrified of merpeople, who, legend has it, eat people, among other atrocities, but Kai can relate to Lu and so they become friends. It’s a tricky relationship to navigate when half the townspeople want the merfolk dead and gone, and the other half hope to exploit them for money.

No, this isn’t an animated take on The Shape of Water, though it’s beginning to sound like it. But it is a story about looking beyond our preconceptions, a story made all the more palatable by its incredibly sweet animation. When its meant to, the joy practically leaps right off the screen. You’ll feel your heart tug upward. Lu’s happiness is infectious. I mean, what kind of a person isn’t completely bowled over by mermaids? Like, how black is your soul? And Lu is so bright and bubbly she makes Ariel seem like a puddle of puke. Lu Over the Wall is giddy, upbeat, and as you might have guessed, has a soundtrack bursting with J-pop. I love how the movie evokes emotion by changing up its animation style and if for some reason your inner darkness has been able to resist up until now, I’ll leave you with just one word, the only word this review really needs: mer-doggies.