At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Writer and director Richard Ayoade (The IT Crowd The Mighty Boosh) claims copious influences for his feature debut and the film can’t help but remind us of other indie-flavored coming-of-age flicks like Rushmore and Harold and Maude but Submarine is a decidedly and endearingly unique film. In a season where most of the films we flock to see merit descriptors like “super ” “action-packed” and various forms of the word “huge ” Ayoade’s little dark comedy creeps along below the water line ready to pop up and deliver a delightful surprise for summer movie goers.
Adapted from the novel by Joe Dunthorne Submarine tells the story of Oliver (Craig Roberts) a rather strange highly-intelligent 15 year-old boy who’s determined to lose his virginity by his next birthday rescue his parents’ ailing marriage and to see it all retold in an epic New Wave-y cinematic tribute. This idea that his life will be retold on film flows throughout the film contrasting Oliver’s grandiose retelling of his life against its stark realities. Ayoade allows us to see how unreliably Oliver tells his own story but as the plot thickens we tend to get almost as lost in Oliver’s fantasies as he is.
Oliver’s virginity-ending quest leads him to his girlfriend an eczema-riddled pyromaniac named Joanna (Yasmin Paige). He’s picked her out as being most likely to acquiesce to his proposal thanks to various calculated social factors and thus their adolescent romance begins. While Oliver is exploring his relationship with Joanna – greatly consisting of her burning the hair off his legs with matches while he reimagines their romance as captured idyllically on super 8 film – Mr. and Mrs. Tate’s (Noah Taylor and Sally Hawkins) relationship is slowly crumbling. Jill Tate’s old flame Graham a new age life coach with a useless theory about colors (Paddy Considine) moves in across the way sending Jill into a bout of reminiscence and a longing for her youth that stands to threaten her marriage. Oliver being the precocious young man he is is determined to barrel in headfirst to fix his parents’ ailing marriage which he’s been monitoring for months using the dimmer switch setting in their bedroom. (And it’s been on the sex-less setting for quite a while.)
Of course the most obvious reason this film works is Ayoade’s tight script and meticulous direction but the lynchpin is certainly the fantastic cast. Roberts and Paige though both very young fill the screen like two adults trapped in adolescent bodies. Tayor is fantastic as always but Hawkins ably treads the wafer-thin line between goofy hilarity and the complete and total sincerity of a housewife in crisis. Considine’s Graham gets a little cartoonish at times but those moments are reigned in with a little help from Hawkins.
Ayoade lends a sort of film-brat aesthetic to Submarine playing with French New Wave elements and giving nods to films like Love in the Afternoon. Of course the fact that Oliver is so inclined to remember his life in film scenes helps to unleash the techniques in Ayoade’s repertoire. In other settings this combination may have felt a little jumbled but the story almost begs for it here. Bolstering Ayoade’s plethora of techniques is the style he chose for the film. It’s a bit retro but not overly so. Ayoade situates Oliver’s gloomy seaside town in a timeless space that feels simultaneously old fashioned and completely fresh.
Finally tying all the elements together with a big bow is the soundtrack comprised of original songs by Alex Turner of The Arctic Monkeys. While he had some of the tunes composed before Ayoade brought him in to work on the film the tracks perfectly complement Submarine’s style providing the cinematic drama that Oliver would approve of without undermining the understated reality that he’s so determined not to see.
It certainly doesn’t feel like Submarine is Ayoade’s debut. He’s done his fair share of writing and directing getting behind the scenes on a few British television shows and directing music videos for The Arctic Monkeys and Yeah Yeah Yeahs but this film feels like it comes from someone who’s been in the feature film business for years. It’s seemingly without glaring rookie mistakes or hiccups. And while the retro indie dark comedy vein often lends itself to overdrawn quirk Submarine doesn’t.
Film-brat elements aside at its heart Submarine is a fiercely genuine slightly complicated and completely lovable film.
In the tradition of a classic Disney-esque animated fairy tale The Tale of Despereaux based on the award winning children’s classic by Kate DiCamillo is about a mouse named Despereaux (Matthew Broderick) with Dumbo-sized ears and an oversized heart. His home the Kingdom of Dor was once a happy place but now due to unexpected events it has been shrouded by doom and gloom. Not for Despereaux! The fearless rodent doesn’t adhere to the usual mouse-like criteria but instead yearns for adventure especially after he starts reading fables from the castle library. He also bonds with Princess Pea (Emma Watson) who is sad and lonely her kingdom is in such disarray. Despereaux looks at her as a damsel in distress and wants to help. Unfortunately these are all serious no-nos in Mouseworld and so Despereaux is banished him to live in the dungeon with the evil Rats where he meets an agreeable rat Roscuro (Dustin Hoffman) who is also different from his kind. Roscuro wants to right some past wrongs but is spurned by the princess. Needless to say things do indeed go awry and Despereaux must summon all his courage and bravery to save the day. Some of the best ensemble casts in movies are being assembled for animated features these days and The Tale of Despereaux is a prime example. Broderick is ideal as the dignified and ultimately courageous little mouse. Hoffman -- in his second ‘toon turn of the year (Kung Fu Panda) -- proves again as the soup-loving Roscuro he has a real future as an animated character. Harry Potter’s Watson has the perfunctory English princess role but plays it with compassion while Tracey Ullman as maid-cum-wannabe princess Mig doesn’t go for the laughs but portrays Mig as a hopeful outcast looking for a fairy tale ending to her humdrum life. A whole set of other wonderful vocal talents in Despereaux include Kevin Kline Frank Langella Richard Jenkins Stanley Tucci William H. Macy Robbie Coltrane and Christopher Lloyd. And to top it off with just the right touch of whimsy is the lilting narration of Sigourney Weaver whose comforting voice will assure the youngest kids in the audience that things in Dor aren’t quite as dire as they appear. Co-directors Sam Fell and Rob Stevenhagen invest into this gorgeous-looking film all the care that went into the art of DiCamillo’s beautiful book. In fact unlike many other recent animated features Despereaux is distinctly old-fashioned despite all the CGI. The look of the movie is definitely inspired by older more traditional Disney-style fairy tale classics. Gary Ross’ (Seabiscuit) fine screenplay is reverential to the book and doesn’t back away from the darker aspects of the story which despite its G rating might be a little on the scary side for the very young ones. For everyone else The Tale of Despereaux is most likely this season’s must-see movie event for the entire family.
Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.