Animation | The Movie Rat

61 Days of Halloween- Satan’s Little Helper

Posted on October 12, 2011 by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Satan’s Little Helper

Alexander Brickel in Satan's Little Helper (American World Pictures)

This is the kind of film that best illustrates the dangers of Netflix instant streaming (Not currently available on Netflix instant). You scroll over to it and click on it thinking “Oh, maybe this will be so bad it’s funny.” Then you start watching it and realize you’re in trouble. It’s just bad and it’s like a car wreck you may want to stop looking but you can’t and sadly I sat through this whole thing if only to warn others so that they may avoid the same fate.

Perhaps the first thing that needs to be stated is that it just may be that Douglas “Dougie” Whooly is the dumbest character in the history of cinema. In this film this supposedly nine-year-old kid walks about obliviously as the Devil himself kills people and he thinks it’s all pretend, a set-up. As if that isn’t bad enough when he finally does get wise to what’s really happening he still makes stupid mistakes, which leads us to our terrible and predictable ending which include two whole lines spoken over a black screen.

The dialogue is absolutely atrocious in this film from the incessant repetition of “That looks so real!” as Dougie is witness and accessory to another murder to the overly frank conversations about how Dougie still wants to marry his sister and the jokes about big sister’s “boomies.”

The score is completely unoriginal and the opening piece in this film sounds like the rendition of “Dies Irae,” which was in The Shining.

There is also bad animation in this film. I mean really bad. I mean like animation that makes Dr. Katz, Professional Therapist looks like MC Escher. As if that wasn’t bad enough we’re supposed to think this animation is a video game. A video game called “Satan’s Little Helper,” oh that’s the title, I get it!

However, this film is also educational. There is so much you can learn like how many times can you get your head slammed into a brick wall and not die and how many points is bowling over and elderly woman with a shopping cart worth.

Also, if your passion lies in prosthetic work you should watch this film to learn how not to make fake guts because this film has perhaps the worst example ever filmed.

As if it wasn’t made clear already that the concept is downright terrible but there is also a few logic flaws. The biggest of which being that everyone on this island both knows how many cops there are in the local PD and that they’re all dead.

About the only positive thing I can say in this film’s favor is that it is good for the occasional laugh, some of which are actually by design that and the mask the Devil wears. All that, however, does not excuse the terrible quality of this film.

I’ve seen some bad movies that looked pretty good. Films where the cinematography at least kept me interested. No risk of that happening here because it video and poorly shot video. The kind of video that shows you why it’s still film’s weak sister.

The cherry on top is that there’s a nice little touch of blasphemy too. I will spare you the details as all that precedes this should be enough to steer you clear. If curiosity gets the best of you, godspeed and get well soon.

1/10

61 Days of Halloween- It’s The Great Pumpkin, Charlie Brown

Posted on October 10, 2011 by bernardovillela

It’s the Great Pumpkin, Charlie Brown

It's the Great Pumpkin Charlie Brown (United Features Syndicate)

It’s true that it would be hard to twist the philosophies and beliefs held by any character in the Peanuts gang such that you could call it a horror film. Although I must say waiting annually for a benevolent being only you believe in, having your friends mock you for it, and not seeing it is horrific; It’s the Great Pumpkin, Charlie Brown cannot be classified as a horror film.

What it is, is a Halloween staple. What are holidays without traditions and for the triad of celebrations near the close of every year these specials are markers and mandatory viewing for each? There are plenty of reasons why.

Firstly, aside from encompassing much of what we already know and love about the holiday it adds some things to the mix and gives food for thought. Linus’s aforementioned obsession with The Great Pumpkin is the perfect illustration of a child’s elevation of the day.

What’s more despite its being loosey goosey with its pace and plot, its whimsy seemingly belying its 25-minute running time there is still a protagonist’s journey. Linus is subject to ridicule, manages to bring one person over to his side temporarily only to see him defeated in the end.

Yet there is still a humanity to it. Lucy, of all people, sets her alarm for midnight sees he’s not in bed and salvages him from sleeping all night in the freezing pumpkin patch.

The voice casting early on in these specials is great and remained so through the years for Charlie Brown specials came for years and years but the likes of Peter Robbins (Charlie) and the scene-stealing Christopher Shea (Linus) had to be replaced frequently as did the other kids.

Of course, you also have Vince Guaraldi’s music. A testament to his lasting impact is that you hear the first few notes of that theme and even without visual aids you know that’s the Peanuts.

It starts with a wonderful dialogue-free sequence where Linus and Lucy pick a pumpkin but it also folds in Snoopy’s plot line, which is typically no more than comic relief, so neatly. In the end he too has a journey, as many kids do, of wild imagination on All Hallows’ Eve.

There is a sequence of animation that has to it a touch of Disney-like surrealism and the whole thing has a much more refined and well-crafted feeling than the more emotionally involving Christmas special.

Yes, this short little film is a Halloween tradition of mine and I could go on talking about it but the bottom line is that it is the best kind of tradition, which is one that you don’t feel is an imposition but rather one that you relish.

10/10

61 Days of Halloween- Santa’s Slay

Posted on September 8, 2011 by bernardovillela

Santa’s Slay

What actually prompted me to watch Santa’s Slay was an article. When you list a movie as being so bad it must be seen then I’m interested, regardless of that fact that an evil Santa is already of interest. I must say that I am most grateful for that article for finally convincing me to see it. Now I will say this it while it doesn’t make the grade as a good movie it is also not a waste of time and rather enjoyable as a bad film, it’s not Troll 2 but then again what is?

Now most of why I can’t go there and say this film is good is the story which while original is lacking. Let’s put it this way Santa has been prevented from going on a homicidal rampage for 1000 years because he lost a game to an angel, a game which can most accurately be described as curling, while I have come to love curling had I known the fate of mankind hinged on it I would’ve started watching it at a younger age. It’s hard to tell whether that’s so bad it’s good. Yet, Santa is also a demon and the result of an immaculate conception which was initiated by, in my best Church Lady voice, Satan!

The dialogue is also a double-edged sword some of it is very tin-eared, all of Santa’s lines are a punny mess but some are home runs and absolutely hysterical.

The casting in certain places is very off. The opening scene is a who’s who of “Really? You’re in this movie?” featuring James Caan, Fran Drescher and Chris Kattan but for some reason Santa is played by wrestler-turned-actor Bill Goldberg. Yet the cast isn’t without its highlights like Douglas Smith as the hero. Smith who has always done very well with whatever part he’s landed but just hasn’t gotten anything as high profile as his older brother Greg.

There is a countdown, which due to the actual short running time of this film, seems a bit rushed. However, that’s the only real issue of pace. If there’s one thing you can give this film without qualification is that it doesn’t have any struggles with pace at all.

Another bonus in this film is, while it’s not particularly well done, there is a little Rankin & Bass style animation sequence to illustrate the backstory of Santa and the Angel’s agreement.

And, yes, it does need to be said that some of the kills are quite good and funny so this film does keep a sense of humor about itself and doesn’t have any pretensions about it which makes it watchable and to an extent enjoyable.

5/10

Review- Winnie the Pooh

Posted on August 10, 2011 by bernardovillela

Winnie the Pooh (Disney)

Winnie the Pooh is one of those characters and series of stories that I cannot write about without giving you a bit of personal information to help put things in perspective for the reader this way you, the reader, can understand where I’m coming from and you can then gauge what your reaction will likely be. I’ve loved this character and the world he inhabits since I was very young. However, as I grew older, more knowledgeable and perhaps a bit more cynical I cast a leery eye on the modern renditions of Winnie that Disney was creating. However, I recently gave one a chance and while it wasn’t great it was much better than I expected. So I came into the film open-minded and cautiously optimistic.

Immediately, I fell in love with this film because they brought back the live action introduction wherein we see Christopher Robin’s room. It sets the tone for the rest of the film where a new story was being unfurled in a very traditional manner but to a new generation. From there on in all the choices are a very delicate balance between trying to recapture some of the old magic and also advance the narrative in some new directions.

One very clear way in which this was done is in the brilliant job that was done in casting this film. Firstly, you have Jim Cummings not only doing double duty as both Tigger and Pooh but his Pooh is eerily similar to Sterling Holloway’s original version. What’s more stunning is Craig Ferguson’s performance as Owl because I literally had no idea who played Owl but he’s fabulous. The last and most important cog in any of these films is the narrator. John Cleese, of course, does wonderfully and the Narrator is very involved in this tale.

Which brings to mind an interesting point about this film is that the book and the text within that act as interstitials between the occasional scene gets very involved in the telling of the tale. This I’m sure must be fun for kids but it’s a great treat for the parents and adults as it’s a joke that works on a couple of levels.

What’s most refreshing about the film is not even that it manages to be very funny but that most of it stems from a series of misunderstandings. The timing is crisp and the jokes do have variety some are cutesy but some are also rather smart. What’s also fantastic is that the morals of the story fold themselves in very naturally and aren’t overly-apparent when they’re happening and also not overly on the head when told to Pooh at the end.

It also manages to be a genuinely touching and heart-warming film without needing to be cloying or schmaltzy. The characters to those familiar to us are well-established but for those new to them they are quickly and clearly re-established as is their relationship to one another and their search for the “creature” they believe has Christopher Robin and for Eeyore’s tail reflects all that’s great about each of them and it jumps off the screen.

There are used in the film many different techniques that make the film feel more modern such as the chalky animation to describe the mythical “Backson” during the musical number that accompanies it and the fantasy sequences as Pooh through most of the film cannot sate his hunger for honey.

In summation I would not hesitate to call Winnie the Pooh a great film. In little more than an hour you had two searches and two other characters had their own subplots, the songs are all good and well sung and there’s a great bit of comedy and philosophy as per usual. As a post-script I’m saddened that those who were not inclined to see Harry Potter were likely averse to going to the movies that weekend and thus you get the returns for Winnie the Pooh were less than stellar. With that in mind I urge you, if it’s no longer playing at a theatre near you, to see this film on home video please. You won’t regret it.

10/10

Review- Rio

Posted on April 29, 2011 by bernardovillela

Rio (20th Century Fox)

For any viewer, regardless of your experience, academic acumen or whatever other qualifications you may have, there will invariably be occasions where a film plays into a sensitive area for you where it’ll either excel with flying colors or fail miserably, perhaps to a greater degree than it would otherwise, due to your personal experience. In the case of Rio it was targeted on my radar early on for two reasons: first, and the lesser of the two reasons, for my love of birds and conversely my loathing of smuggling but it hit home more because it’s set in Brazil, a nation of which I am a dual citizen.

Having been one who grew up cinematically with only Carmen Miranda and the anti-Lambada propaganda film The Forbidden Dance as major reference of American interpretations of Brazil onscreen my apprehension is understandable. Not that there’s anything wrong with Carmen Miranda but any icon can be turned into a stereotype in the wrong hands.

Suffice it to say that most of my concerns are addressed by the fact that one of the film’s writers and its director is a Brazilian, Carlos Saldanha. Yet, you also do not get a Disney-fied Saludos Amigos or Three Cabelleros rendition of Latin America, you have in the narrative of this film a setting which actually plays a role, which is rare but also one that is presented without frills and bereft of commentary. You see the glitz and glamor of Rio, the natural beauty, the beach life, the skyline at night, carnaval but also the favelas and in a minor way, crime. It’s a subtle but accurate portrait that doesn’t impose itself above the story. It shows the good and the bad. So with that personal concern overcome I can begin to address the rest of the film.

When dealing with animation set overseas there are invariably headaches of logic. There’s always the minor bugaboo of when do you float a word in said foreign language that English speakers will readily recognize? How many Brazilians and/or actors of Hispanic descent do you include in the cast? Now, there’s only one Brazilian in the principal cast, however, considering that many Brazilian actors have recently been cast as either Hispanic or “Vaguely Foreign” characters (such as Rodrigo Santoro himself in Love Actually) it all comes out in the wash.

In fact, quite a lot the voice talent does quite well either toeing that line or just being convincing that it makes you forget. Jesse Eiesenberg conveys the stressed, caged bird in the wild well and also has the unexpected task of struggling/learning to embrace his newfound culture. Anne Hathaway, perhaps more than any other name actor in the cast, vanishes behind the veneer of her character. Thankfully she is given license to sing and the few seconds of Portuguese she’s asked to speak sounds good.

The rest of the voice cast does rather well as a whole also. One of the most distinctive and hardest voices to overcome is George Lopez’s but his shtick with his wife is funny enough such that you eventually forget. While Tracy Morgan always sounds like himself it works in tandem with his character so well that it doesn’t matter. Will i. am provides the most consistent comic relief and perhaps the most overlooked voice work belongs to Jake T. Austin, perhaps best known for his work on Disney Channel’s Wizards of Waverly Place, he convincingly comes across as not only a Brazilian kid but also one who’s younger than he is.

The story of this film resolves itself quite neatly. It gets just the right amount of complication what with the smuggling plots getting aided with a scene-stealing performance by a Cockatoo (Jemaine Clement, who thankfully is also allowed to sing). Events head for the collision course you hope they’ll have and while there are dueling love plots and a heist everything thing has its proper priority within the infrastructure of the narrative. There’s more going on here than meets the eye with many of the villains not willing to do their own dirty work, such that you can see how it may be described as a mess but it truly does all work towards one end.

And that end is truly one of the more graceful and visual I’ve seen in some time. You realize the film is all but over and there are at least three questions/open ends you’re wondering about that are addressed in a few shots and wordlessly, without any lengthy denouement. It’s a thing of beauty of behold.

Moreover, it’s a musical that’s actually musical, meaning there are a few musical numbers where characters breakout and sing but not once does it seem random and forced. The score is tremendous and very present and when it’s not there it’s replaced by source music, which is usually a new take on a Brazilian standard. It’s another example of the synergy of location. The score is indigenous without feeling forced or trite. Even incorporating Samba beats the score and source music still underscores the action tonally.

I typically leave the 3D commentary for near the end when I do see something in 3D. I did see it as such and my general feeling is that right now animation, specifically animation by the biggest studios (Disney/Pixar, DreamWorks, Fox/Blue Sky) is usually your best bet for getting the most bang for your buck 3D-wise.

The animated feature film has become more of a box office and aesthetic presence than it ever was. It has truly grown in leaps and bounds over the history of cinema as something that was virtually a one-studio specialty to a medium that has become, at long last, a bona fide Oscar category. Having said that the category has been virtually monopolized. It’ll be very hard to justify that this year with Rio entering the fray I think.

As I may have said before, I now treat sitting through the end credits like a standing ovation. Considering the fact that I was so apprehensive about seeing it in the first place, I truly did not expect to watch this film all the way to its literal conclusion. Rio is a tremendously effervescent film that actually manages to capture some of the spirit of the city in a very honest way.

10/10

Review- Hop

Posted on April 18, 2011 by bernardovillela

Hop (Universal)

Hop is a funny and entertaining enough film that tries to assert itself as the go-to movie for the Easter holiday and for lack of any real competition, at least for the moment, it just may get to be that. In the end though I wish that considering the likelihood they’d take that mantle by default they tried a little harder to create more of their own inventions. Many of the affectations of the story are merely transposed from Christmas traditions and modified to fit Easter motifs. There certainly were other twists like chicks working in the factory and being underlings such that an egg sleigh with chicks flying it rings kind of hollow.

While it is an enjoyable journey and the ending is ultimately satisfying there’s also a bit of a cop out on the frame. If you think about it the film has to have the resolution it does but it just begs the question why create the frame in the first place? Why not just save that information and have it come as a surprise? It’s a case where simpler would work better.

What does work in this film is firstly the overall plot conceived by Carlos (Hank Azaria) a chick in the factory to try and usurp power. It works both dramatically and comedically thanks to Hank Azaria who is one of the best voice over actors currently working, due in large part to the fact that you don’t automatically know it’s Azaria voicing a role when you hear it.

Truth be told the same must be said for Russell Brand’s portrayal of E.B. I’d seen the preview probably a trabillion times and hadn’t figured out it was him. Thankfully, Brand allows the situations to create the comedy and just plays the character and is rather straight about it much of the time as well so it ends up being a choice that works.

In terms of the live action performances James Marsden turns in good portrayal of an unfortunately named character (Fred O’Hare). This name made even more frustrating by the fact that some of the family scenes were the better jokes and ideas are in the film. Many of these scenes were stolen by Gary Cole, who is hilarious as always.

What really stands out in the film is the animation work, more so on E.B than on the Pink Berets but particularly the combination of it and live action elements which there hasn’t really been too much of. It’s not necessarily a quantum leap in the subgenre but it’s definitely a most pleasant progression.

Hop is an enjoyable and passable way to kill some time even for an adult like me, which is not that much different than a kid, though kids may like it quite a bit more than I did.

6/10

The 83rd Annual Academy Awards

Posted on February 27, 2011 by bernardovillela

I decided that I would not write during what portion of the red carpet I did watch as attention must be paid. Overall, while in the end there was nothing that will likely go down as a historic Oscar look. It was one of the better looking overall displays I can remember.

I don’t know when this half-hour pre-show started (it wasn’t that long ago). I never really cared for it and it’s a little superfluous and just makes the show end later. Why does it still happen?

Begnini’s celebration is my least favorite acceptance moment. For the record.

You gotta love Steven Spielberg. Wiping the producer’s forehead and giving him water is classic.

Like the opening montage of best picture nominees. Why not the end shot from Inception?

Great opening with Anne Hathaway and James Franco. Great joke in the opening about James ‘appealing to a younger demographic.’ Glad to see the families get introduced.

Tom Hanks presents as Gone with the Windand Titanic get mentioned. Art Direction and Cinematography mentioned early in the show is a nice change. This was not a category I was looking for an upset in Alice in Wonderland takes Art Direction. Shocked.

First, applause of the night upon hearing Wally Pfister’s name called for Cinematography. Very well deserved award. Loved his speech in regards to Nolan.

Another pleasant surprise and the first standing ovation of the night as Kirk Douglas is introduced.

Douglas’s shtick may go down as one of the moments of this year. Also, I have to see Animal Kingdom. It has been decided.

I stand corrected Leo’s speech.

“I’m Banksy”
-Justin Timberlake

Awesomely amazing line.

I said it previously I would be rather happy if The Lost Thing got animated short. Congratulations.

Toy Story 3 wins Best Animated Feature. I knew that already.

Didn’t really like that Screenplay got the short shrift in terms of presentation. No excerpts or anything. Surprised but gladdened by the win for The King’s Speech. I also think that winners should realize there are 23 other winners who all deserve their time to do their thanks and shouldn’t risk taking some time from others.

I want to see In a Better World but am a little surprised it won. It’s the 3rd Danish winner and surprisingly the first since 1959.

Am I the only conspiracy theorist who thinks clips are based on one’s chances of winning? That was not the best scene for Mark Ruffalo at all.

Best part of Bale’s speech was his saying he’d dropped the F-bomb enough already. Oscar-winner or not he’s had plenty of other wonderful and worthy performances not the least of which is the one that launched his career many years ago, Empire of the Sun. All roads lad to Spielberg.

I’ll bet the theme from E.T. has been played at the Oscars every year since 1982. It always makes the closing medley.

OK, so does Trent Reznor and Atticus Finch winning mean that the trend away from composers towards current/former recording artists is going to stick?

First, winner I was extremely geeked about in a while. Sound mixing goes to Inception. And there goes another sweep in the sound categories. I wish I had stats for it but I bet it happens a lot. I have also enjoyed how everyone is thanking Chris Nolan first, almost as if they are trying to subtly point out his being snubbed for Best Director.

I really wish that more time would be spent on the technical awards maybe a special after the earlier presentation. Some really awesome technology gets kind of glossed over.

I need to look into the other Make-Up nominee that I hadn’t heard of, The Way Back. Looks sweet.

Leave it to President Obama to have the best choice as best Oscar-winning song. I’m a little tired of these categories that flex their nominations between three and five. Pick a size. Really, only four songs were nominated? Why? The process is intricate but music is where you can add to your appeal if you’re looking to boost ratings. I was floored when “It’s Hard Out Here for a Pimp” won that scored high enough to be nominated and win but yet this year songs by Eddie Vedder, Alanis Morissette and Justin Bieber didn’t?

Kudos to Luke Matheny not only on the win but on plugging all the nominees who are iTunes. They were great.

The best, most entertaining part of the night was the musical montage.

Inside Job wins and now I never want to talk about Banksy again.

Billy Crystal comes on for a bit. Always glad to see him back.

Inception wins visual effects and stops Alice’s unthinkable streak.

Jude Law and Robert Downey, Jr. should do something together that’s not as “Holmesy” that was pretty funny stuff.

Listening to the other nominees actually got me rooting for Randy Newman for the first time in years. Some sleepy stuff in there.

Complete and utter failure this year in the “In Memoriam” montage. Firstly, with the lives singing people who were shown didn’t get their due applause like they did in previous years and first the SAG Award show excluded Corey Haim and now the Oscars did too. I assure you he is missed by many film fans and is exclusion is a joke.

Tom Hooper wins for The King’s Speech. Dare they split it?

Best story told by a winner tonight has to be Hooper’s tale about how his mom found out about the play and said “Tom, I just found your next film.”

They were at it again. Kevin Brownlow is a man who has more than earned his Life Achievement award. For all intents and purposes he pioneered preservation and restoration of films and brought many silent films back from the dead. Here is a link to Kevin Spacey’s speech about him at the Governor’s Ball.

I also found it a little humorous that they said Jean-Luc Godard was sorry he couldn’t be there.

This congratulatory intro to lead acting categories is also making it take a lot longer than it has to.

It looks like there’ll be no surprises in the acting categories.

Congratulations to Colin Firth for his win. It’s his first but it shouldn’t be. If you haven’t seen A Single Man you most definitely should. It’s good to know that some people do get their due.

Listing the previous winners and nominees in the Best Picture category is a great way to lead off the Best Picture montage.

The King’s Speech wins Best Picture and now I can rest comfortably.

The finale was a fanastic and needed addition to the show. It was either ending on a jubilant note or a down one based on where my rooting interest were. if they keep this up it’ll be a fantastic close every year. Great job, P.S. 22.

Review- Megamind

Posted on February 22, 2011 by bernardovillela

Megamind (Paramount)

The phrase “flip the script” has become a part of the vernacular as an expression of a 180-degree change in the expected course of action. Oddly enough, even though there is a cinematic connotation to this expression you rarely see a film that exemplifies this expression. Megamind is that kind of a film. While you can’t claim it’s wildly original it does set up certain expectations and exploits them very well.

What is refreshing is that not only do you get a villain-turned-hero but you also have a new villain emerging from an unexpected source. You also have a reluctant hero who fades completely into the background and doesn’t make a triumphant return.

The film absolutely refuses to be overly-simplistic and didactic in showing why those who turned villainous did and why there was a change in our protagonist and how. It also nicely implies that heroism was, in fact, Megamind’s fate, as we never learn what his parents said to him before sending him off to Earth. It ended up being circumstance and not reacting to it well that lead him down the path he took.

What is also good to see is that as Megamind disguises himself to try and gain a new rival there is a great treatment of the “Bad Friend Plot.” This occurs with a rift between Megmind and Minion. There is no failed attempt to reconcile and when they do reunite it is surprising and satisfying, avoiding unnecessary convolution of the story.

While the film clearly excels in dramatic terms it is also rather successful on the comedic side of the equation and the comedy excels more often than not. Megamind’s mispronunciations, while hit-or-miss, do play a key role in the film.

While this is yet another animated film that insists on boasting name recognition in its voice talent with Will Ferrell, Tina Fey, Jonah Hill and Brad Pitt, they do all commit themselves to their character work enough that eventually you do think of them in terms of their character and not the performer. It just takes a little time.

Which is also a tribute to the writing in this film. Aside from the many interesting variations on themes that you get there are also clearly defined characters with struggles, needs and wants that you identify with and this is true of all the significant personages.

The animation in this film is quite impressive with the great cityscapes it creates and in terms of the 3D there are worst purchases you could make at the movies this year.

8/10

Megamind is out on DVD today.

Mini-Review- Day & Night

Posted on February 14, 2011 by bernardovillela

Day and Night (Pixar)

This article is a repost.

As has become standard with Pixar releases they whet the audience’s appetite for Toy Story 3 with its rendition of what is in danger of becoming a lost art form: the animated short. Pixar, however, does more than its share to preserve this artform by not only producing these shorts but proliferating them on television and on DVD.

The short that preceded Up, called Partly Cloudy was one of the best films of 2009 and Day & Night which precedes Toy Story 3 is even better.

What you get in this tale is an even more ingenious tale than offered previously but with execution that is of surpassing genius. Day & Night are represented in the tale by specter-like beings with sky-scenes appearing through their seemingly transparent person.

The fact that they are Day and Night is introduced wordlessly in a temporarily dislocating and fantastic pull out. In fact, the only words uttered in the film are picked up when they pass a radio station and highlights why these two, and thus we also, should get along.

This short is so good its worth the price of admission and obviously earned itself its own review. Do yourself a favor and show up early to watch Toy Story 3 so you don’t miss it (or watch it on the DVD should you get it).

10/10

Weird Wednesday #1- Jan Svankmajer

Posted on February 10, 2011 by bernardovillela

Once again, I am aware of what day it actually is for this week anyway I will likely be late with these themes as I get my footing with them: as things progress I may stagger them.

Here we go.

Weird Wednesday

Weird Wednesday is one of the blankest canvases I am likely to give myself as a cinematic theme. After all the word weird despite its connotation merely means outside the norm and many things can fall into that category.

Yesterday, I chose to watch most of the films on the collection of Jan Svankmajer short films called The Ossuary and Other Tales.

I have been familiar with Svankmajer for quite some time but haven’t seen him in a long time. Milos Forman astutely asserts that “Disney + Buñuel= Svankmajer.” He is an artist that seamlessly goes from puppetry to stop-motion to conventional animation to live action and every way in between.

The Films

The Last Trick

This first tale, if it is the first one you watch in your version of the collection. Is likely to be your litmus test as to whether or not you like Svankmajer. There is a seamless and effortless surrealism to his narratives that provokes thought and seeks to make no explanation. While deceptively simple there are many conclusions that can be drawn from watching this dialogue-free short.

Historia Naturae

Despite how ponderous some of his films may be and how odd they are I’ve always felt a certain kinship with Svankmajer and this proves I’m not crazy. Below you will see both his film where skeletons and illustrations of animals are made to do different dances through the edit. And below that a project I did in an editing class in college which I made with no prior knowledge to Svankmajer’s film. There is a certain similarity. Mine is set to a samba which is a dance he does not include but his waltz is fabulous.

Johann Sebastian Bach

One of his pieces that cuts to the music. Very well done.

Don Juan

A shocking and horrific version of the tale told with puppets.

The Garden

A brilliant and fascinating surrealist live-action film about a man who has unusual gardening practices to say the least.

The Castle of Otranto

A wondrous mockumentary that splices live-action in with an animated story. The live action purports to report on the events that inspired Horace Walpole’s The Castle of Otranto, the animation tells the story within the book in painstaking detail.

The Ossuary

A kaleiodoscopic tour of the Sedlec Ossuary in the Czech Republic.

I will finish these films today. These films are available to stream on Netflix to stream.