Nimona (2023) - Movie Review

Blue Sky Studios deserved better. I had given them a lot of flak for stuff like the Ice Age series and the Rio series, but their last two features not only showed drastic improvement from that standard, but showed that they had carved out their own niche in the modern animation market. Ferdinand had its growing pains, but still had some solid messaging, and Spies In Disguise only built on them further to make something even better. At long last, they found their (in my opinion) much-needed lane for today's family films with some strong pacifist messaging.

Then Disney bought out Blue Sky’s parent company 21^st Century Fox, repeatedly delayed their next feature, and then outright cancelled it along with Blue Sky Studios as a whole. The company that thinks digging up the graves of their previous successes, and that a new coat of CGI paint will cover the smell of stale corpse that is being paraded in front of audiences for profit, is a sound business strategy, but allowing a studio to continue operation and produce media that, just maybe, people might actually want to watch isn’t.

But out of the ashes of Blue Sky, this film still managed to take flight. Picked up by Annapurna Pictures, with animation by DNEG (who proved their salt as a dedicated animation studio with Ron’s Gone Wrong and Entergalactic), and Spies In Disguise directors Nick Bruno and Troy Quane (who were originally slated for the helm before Blue Sky got shuttered) brought back in. That this whole production exists as a manifestation of hubris and spite against the conglomerate that tried to stop it from being made, quite frankly, has already earned my respect. But hoo boy, did it not stop earning it from there.

Migration (2023) - Movie Review

While Illumination managed to pull themselves out of their recent funk with the success of The Super Mario Bros. Movie, I was still a bit sceptical about whether that would be a fluke or not. It’s highly unlikely that the studio would be able to keep bringing back the geniuses behind Teen Titans Go! To The Movies for every release going forward, and given their previous track record of trying to relive past glories, there’s just something about how generic this film comes across on first glance that had me worried. Well, that and being written by Mike White, whose last animated venture was with the generation-defining disaster of The Emoji Movie. However, not only does this manage to keep up with that Mario-mentum (oh shush, I liked that one), but it taps back into what I originally started liking about Illumination Studios specifically.

Chicken Run: Dawn Of The Nugget (2023) - Movie Review

The idea of making a sequel to Aardman’s first feature has been floating around since that film initially came out, and considering modern trends towards legacy sequels and the like, it would make sense for them to attempt it around now. It helps that their last film, the Shaun The Sheep sequel, was bloomin’ fantastic and a high benchmark for a studio that’s already a legend in the industry. However, for both good and bad, this is quite a different clucker from the original.

Leo (2023) - Movie Review

Well, here’s a combination that feels like it was pulled out of an Angry Critic’s nightmares: A Happy Madison animated movie about talking animals. Or maybe just this Angry Critic’s nightmares, since both talking animal movies and Happy Madison productions have been regular targets since this blog started. But for as much shit as I give the both of them when they’re bad, that’s mainly because I still have fond memories of when they were both good. As I got into when I looked at Hubie Halloween, Adam Sandler was part of my childhood and was something of an oddball inspiration as his stock character of the quick-to-anger outsider was a lot like me back then. And talking animal movies exist for a reason, as they make telling stories to kids about characters going through more adult issues easier to deal with, since cute animals are a lot easier to relate to than those old people with their rules and bedtime mandates (in a child’s mind, at least).

Trolls Band Together (2023) - Movie Review

This feels like a step backwards for this franchise. After expanding beyond pop music into all sorts of different genres in Trolls World Tour, going back to just pop music feels like it's making the film's world smaller, which isn't ideal if they're going to even bother making another one to begin with. That they likely did it just so that they could cash in on boy band nostalgia, with star Justin Timberlake’s history with NSYNC being both figuratively and literally invoked in this film, doesn’t help.

But hey, my first interaction with this franchise involved plenty of scepticism, and not only did I like the first film, I liked the second one even more so. Well, while I still had fun with this latest entry, I am definitely starting to wonder if this was all that necessary.

Oink (2023) - Movie Review

Time to go from the convincing look-a-like to the genuine article with some proper stop-motion animation. And this is something of a historic example of such things, as the debut for Holy Motion Studio, based in the Netherlands. It’s been touted as the first feature-length stop-motion production in the country’s history, and far as I can tell, this is likely the first Dutch film I’ve ever actually watched. And I gotta say, on both counts, this is a pretty good introduction.

Scarygirl (2023) - Movie Review

Coming off of the decent if inconsistent Tales From Sanctuary City trilogy, director Ricard Cussó’s latest is a major switch-up, both textually and visually. Textually, it’s adapted from an IP that has been doing the rounds semi-regularly for the past two decades, becoming toys, a comic book, a Flash game and even an Xbox Live Arcade download before making it to the big screen.

Visually, however, is where things get really interesting. While Australia has been experiencing something of a boom within the animation industry over the last several years, thanks in no small part to studios like Animal Logic and Flying Bark, this still manages to look like nothing else I’ve seen this country produce thus far. Not even the Sanctuary City movies come anywhere close to this.

Ruby Gillman, Teenage Kraken (2023) - Movie Review

This film feels like a course correction in the worst way possible. DreamWorks Animation, who have dealt with labels of ‘Disney/Pixar rip-off’ pretty much since their inception, have recently been making films that are not only really damn good, but good in a way that sidesteps any kind of association with other studios. The Trolls movies, The Bad Guys, Captain Underpants, How To Train Your Dragon, not to mention last year’s genuine artistic triumph with Puss In Boots: The Last Wish. Their reputation in the modern day is quite secure, far as I’m concerned… which is what makes their latest release so thoroughly disappointing.

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) - Movie Review

Looks like it’s time to start simping for Point Grey Pictures again. I can’t help it; I have yet to encounter a film under their banner that I don’t find some level of respect for. Even the likes of The Interview (easily the worst of their releases to date) had its moments, not to mention serving as a particularly bizarre little pop culture artifact as far as American-North Korean relations are concerned.

Spider-Man: Across The Spider-Verse (2023) - Movie Review

Spider-Man: Into The Spider-Verse changed the modern animation industry to the point where, when looking at the whole thing historically, you could reasonably split the timeline into pre- and post-Spider-Verse. It represented an approach to animation where anything and everything was permitted and encouraged, leading to many others that would take cues from its eclectic and chaotic visual style (The Mitchells Vs. The Machines, Entergalactic, Puss In Boots: The Last Wish, just to name a few), and for an IP with many different media iterations already, it still managed to stand as one of if not the best yet.

Suzume (2023) - Movie Review

From the director of Your Name, the only body-swap romance film I can think of that’s actually worth watching, the latest from animator Makoto Shinkai makes that film’s high concept look downright pedestrian. I mean, most films look normal compared to the story of a Japanese schoolgirl who falls in love with a chair cursed by a cat-god, but my point still stands.

The Amazing Maurice (2023) - Movie Review

With how badly director Toby Genkel’s previous animated ventures have turned out, being responsible for the gargantuan irritants of the Nestrians in the Two By Two films, the prospect of him helming an adaptation of Terry bloody Pratchett is… concerning, to say the least. Doubly so because this will be the first theatrical adaptation of Pratchett’s Discworld canon, being relegated to TV miniseries up to this point. However, knowing that the writing and storytelling was ultimately the biggest problem with Two By Two, and this is built on a foundation not reliant on toy sales to justify its existence, maybe this will work out for a change.

Entergalactic (2022) - Movie Review

Put this one next to Bo Burnham’s Inside for borderline “does this count as a movie?” picks for reviews. Whatever; it’s a feature-length production on Netflix, and I counted Crazed Gender Twisters From Planet X, which was as much of a series as this is, so yeah, this is a movie review. It’s one I got curious about when it first popped up as, while I’ve never rated Kid Cudi that highly as a rapper (Kids See Ghosts slaps tho), he’s been showing up in movies that I’ve really liked in recent years like Bill & Ted Face The Music, X from earlier this year, and even making for the best (as in the only good) part of Don’t Look Up alongside Ariana Grande. And I’m on a bit of a musical kick at the moment, so let’s see what he’s cooked up here.

Apollo 10 1/2: A Space Age Childhood (2022) - Movie Review

2022 seems to be the year where a lot of filmmakers got super-nostalgic and wanted to share that with their audiences. This will mark the fourth film I’ve looked at in the last twelve months involving a director dramatising their childhood, and the fifth involving a director dramatising themselves in general. Except what Richard Linklater has put together here goes further into the fictionalised side of things than his contemporaries, as it starts out with Stanley (Milo Coy) being picked out of the school yard by NASA to be part of their space program, but then reveals itself to be much less fantastical than that would imply.

Lightyear (2022) - Movie Review

On the surface, the idea behind this particular Pixar film makes a lot of sense. It’s an origin story for Buzz Lightyear, not the toy, but the film and TV character that the toy was based on in-universe. Toy Story 2 did the same thing with Woody and the Woody’s Roundup show, and Disney at large has been doing a lot of postmodern media exercises over the last several years; if nothing else, this should be more interesting than just the standard live-action remake. And yeah, it is interesting… but not in the way they intended.

Turning Red (2022) - Movie Review

There are quite a few things that are considered good sport to make fun of. Boy bands like One Direction, twee romance novels like Twilight, any number of chick flicks. And not only has it been openly acceptable to mock such things, their audiences are regularly caught in the cross-hairs. Not many people tend to take a step back and considering why it’s okay to mock the things that young girls and woman are interested in; it’s just… part of ‘the culture’.

And before this sounds like I’m getting all holier-than-thou, I did my fair share of this shit too. ‘Boy bands are gay’, ‘chick flicks are stupid’, ‘what kind of damaged freak could possibly enjoy Twilight?’; teenaged me was way more judgemental than the me that decided to make a career out of judging media. I can’t say that I don’t hold onto at least some of those opinions today, but the notion that it’s perfectly cool to mock people just because they find joy in something? Yeah, that’s unbelievably not okay.

Guillermo Del Toro's Pinocchio (2022) - Movie Review

My original intention with making today a Pinocchio double feature was that I would look at a film I was fairly certain wouldn’t work out (and then it did, at least in my opinion) with the Zemeckis version, and then I’d look at this Guillermo Del Toro-directed version to see it done right. Well, that would imply that the two are comparable, even in regard to their shared source material, but this really is an entirely different beast. It’s also, as much as I will go to bat for the Zemeckis film, even better.

Marmaduke (2022) - Movie Review

Because there are only so many spaces for me to watch movies in December, I’ve tried to be careful with the ones I pick for review. This year has involved less of me actively seeking bad movies to watch; not saying I haven’t gone after them on purpose at all in 2022, just that I’ve done less of it. This will be an exception, though, as this is primarily the result of morbid curiosity on my part as to how this could be the third-lowest rated film of 2022 on Letterboxd (beneath the 365 Days sequels), as well as meeting my ‘bitching about talking animal movies’ quota for the year. From the director of the film version of Spawn… seriously… here's Marmaduke.

Marcel The Shell With Shoes On (2022) - Movie Review

With how many films I actively seek out regardless of it sparking any initial interest for me personally, especially at this time of the year, trailers don’t really register with me these days. I don’t pay much attention to them outside of the context of the cinema, and even then, I usually just end up seeing the same two or three on repeat for a good few weeks’ worth of sessions.

The trailer for this film, though, is a major exception to that. As much as I'm starting to realise that getting me to cry over a piece of media isn’t that difficult to do, being the big softy I am, I can’t recall another instance where I got to that stage just from the trailer. Because of that, this is one of those situations where, even if I weren’t going out to see every movie I can, this would still be a priority to check out as soon as possible. And when I finally did… I… I get the feeling I’ll be processing this one for a while.

Hotel Transylvania: Transformania (2022) - Movie Review

After the third film managed to bring everything full circle, I was quite certain that that would be the end of the Hotel Transylvania movies. And I don’t say that out of some sense of relief or anything like that; I’ve been a fan of this series since the first film, and beyond their fantastic and consistent animation style, I think they do well with their re-examination of the old-school Universal monsters and what it means to be Othered. As such, when this for-realsies finale snuck its way onto Amazon Prime all the way back in January of this year, I was a bit taken aback but willing to give it an honest shot. And what I got was… well, it’s still fun, but for the supposed finale, it’s also unequivocally the most lightweight of all these films.