Tag: animation

Omega1

  By

★½
“Motion without emotion. “

It probably didn’t help that I watched this the same day as I finished off the slick, well-animated and occasionally downright beautiful Arcane. This is… not any of those. Well, that’s a bit unfair. The artwork in this “motion comic” is actually not bad (the cover, right, is certainly striking, if not exactly representative!). But being taken off the printed page diminishes the impact considerably, especially when combined with some genuinely terrible voice acting. The setting here is… let’s be honest, it’s Johnny Mnemonic, a good cyberpunk novel by William Gibson that became a not-so-good Keanu Reeves movie. In both worlds, data is now transferred in the heads of human couriers, this being deemed safer than online methods which are vulnerable to hackers. Megan is one such courier, capable of defending her cargo with extreme prejudice.

Except, it turns out there’s considerably more to her past than even she knows, as becomes clear after a client tries to assassinate her. Thereafter, things get increasingly complex, with a host of friends, enemies, enemies pretending to be friends, and a slew of Alphas, which are clones based on the DNA of Meg, a.k.a. Omega. It’s all a) rather confusing, and b) not very interesting. Though it’s a bit of a vicious cycle. b) triggers an attention deficit, which acts as a force multiplier on a), then this feeds back into b). I actually did give up about two-thirds of the way through. But much like Battered, the short running time (53 mins here) was its saving grace. Realizing there were barely 15 mins left, I put it back on. Though I will not be taking questions on plot developments in that final section. 

The structure here is also off-putting, with the story separated into episodes, no longer than five minutes, which interrupts the flow in an annoying and pointless fashion. Just tell the damn story. But my biggest gripe was the voices, though Andrei as Omega isn’t the problem. It’s a supporting cast who could, almost universally, be replaced by a speech-to-text program, with positive results. And that’s not even mentioning the bad, fake foreign accents, e.g. Russian (or maybe it was French. Hard to tell) and Spanish. Considering there’s not even lip-synching to consider, in this unanimated format, it’s a poor effort indeed.

Maybe it’s just me. Perhaps I need to watch one of these every few years, to be reminded of how crappy the motion comic concept is. For on the basis of this, it seems to combine the worst elements of both comic books and animation. However, it may not be fair to judge the whole medium, on the basis of what seems a badly executed example. There were a couple of moments where the conversion process was reasonabe, and the effect of the comic panels came through as adequately realized. But overall, this was a poor excuse for entertainment. The “To be continued” caption at the end, seemed more like a threat than a promise. 

Dir: Mark Edward Lewis
Star (voice): Alina Andrei, Mark Edward Lewis, Jan Shiva, Teresa Noreen

Wolfwalkers

  By

★★★
“Mononoke Hime, with potatoes…”

Ok, that’s a little harsh. But this very definitely does feel like an Irish take on Princess Mononoke, Hayao Miyazaki’s epic fantasy. This begins with the technical aspects, both animated films rejecting CGI in favour of a more traditional, hand-drawn style. In 1997, when Mononoke came out, that wasn’t so radical: the first fully CGI feature, Toy Story, had come out less than two years earlier. But in 2020, the dominance of CGI is such that Wolfwalkers seems a total throwback; after all, Disney went fully CGI after Winnie the Pooh in 2011. This is a very different style, and if you’re used to the hyper-realistic approach of Pixar, may take some getting used to.

The similarities don’t stop there. Both take place in medieval times, and have a settlement on the edge of the woods in a struggle with nature and its spiritual forces – in particular, as marshaled by a young girl. Another young person ventures into the woods, eventually befriending the girl, and the pair team up to prevent the destruction of the forests in the name of “civilization.” For rural Japan, read rural Ireland in the mid-17th century. For Lady Eboshi in charge of the modern forces, read England’s Lord Protector, Oliver Cromwell (McBurney). This adds a touch of colonialism to the general ecological message here, with Cromwell seeking to subdue the wolves, partly as a demonstration of power over the local population.

There are other differences, too. The heroine here is Robyn Goodfellowe (Kneafsey), the daughter of hunter Bill (Bean), who has come to Ireland to control the wolf population. Robyn wants to help her father, but he’s having none of it. That doesn’t stop her from sneaking into the woods where she meets Mebh Óg MacTíre (Whittaker). She and her mother are wolfwalkers, whose spirits leave their bodies and turn into wolves when they are asleep. They also control the local native canine population. A bite from Mebh turns Robyn into one as well, but Cromwell has captured Mebh’s mother in her wolf form, sending her into a sleep from which she can’t awaken. Robyn tries to convince her father of the existence of wolfwalkers, and broker a peaceful resolution. Neither he nor Cromwell are having any of it, setting up a final confrontation in the forest.

On its own terms, this might have merited a slightly higher score. The problem for me was, it simply reminded me of the strengths of Mononoke. That was considerably more subtle about its message, making Eboshi a much more sympathetic character than Cromwell, who is positively cartoonish in both looks and demeanour. [Spoiler: I’m also fairly sure he wasn’t pushed to his death off a precipice by an Irish lycanthrope]. The approach here is  simplistic in comparison, especially the deeper we get into the story. which probably makes it more appropriate for a younger audience than adults. I still enjoyed it, but doubt there’s much rewatchability to be found here.

Dir: Tomm Moore and Ross Stewart
Star (voice):  Honor Kneafsey, Eva Whittaker, Sean Bean, Simon McBurney

Arcane – League of Legends: Season 1

  By

★★★½
“A tale of two sisters.”

I’ve never played League of Legends, but the good news is, you don’t need to, in order to enjoy Arcane. While that may provide some extra depth, it works perfectly well on its own. There is a degree of over-familiarity with the high-level scenario, which is Generic Fantasy Plot #3. Per Wikipedia’s premise, “Amidst the escalating unrest between the advanced, utopian city of Piltover and the squalid, repressed undercity of Zaun…” Yeah, it’s class war time again, cut from the same basic stamp as Mortal Engines, Alita: Battle Angel and The Hunger Games. To this series’s credit, it does show more nuance than some, with good and bad on both sides of the divide. Perhaps a bit too much though, as there were points where it felt like new characters were being thrown at the viewer, even late into the nine-episode series, when the time might have been better spent developing existing ones.

The central pair are sisters Vi (Steinfeld) and Powder (Purnell), orphaned after a failed rebellion. They’re brought up by the leader of the rebellion, and subsequently get entangled in the web of crime, politics, magic and science which powers both sides of the divide. There’s a lot going on here: simply summarizing it would fill the rest of the article. But there are a couple of key points. Powder becomes estranged from her sister, changes her name to Jinx, and goes to work for crime lord Silco (Spisak). Scientist Jayce Talis (Alejandro) creates a technology called Hextech: this (Generic Fantasy Plot #7…) allows for the control of magical energy, which can used for good or evil. It also does… well, whatever the plot needs, from curing illness to blowing things up. Intrigue ensues. A great deal of intrigue.

I did appreciate the script’s complexity, which stands in contrast to most video-game adaptations. I think the greater length (9 x 40-ish minutes) than a movie, gives the writers time to explore things in more depth, and I can’t complain at all about the overall world-building, either in story or artwork. Its French origins perhaps explain the look, which sometimes resembles a bande dessinee. Indeed, the show does almost all the big things right, from animation that’s top-notch, through good voice-acting, and some very well-constructed fight scenes. Vi does not mess around, and proves more than capable of going toe-to-toe with the biggest and baddest both Piltover and Zaun have to offer. Animated combat often lacks the impact of live-action – it’s an almost inevitable result of the medium – but that is not the case here. Blows pack a real punch, if you see what I mean. 

However, there were a number of elements which did hamper the show, and for me, left it short of Seal of Approval level. I mentioned above the reliance on over-familiar tropes. This extends to dialogue which sometimes topples over into clichés, e.g. Vi telling Powder, “What makes you different makes you strong.” Pardon me if I roll my eyes and quote Chuck Pahluniak in response, “You’re not a beautiful and unique snowflake. You’re the same decaying organic matter as everything else.” I also didn’t like the use of indie rock and rap music, finding it too distracting and not a good fit for the environment. I like Imagine Dragons as much as the next person, but… This felt too much like a soundtrack CD in search of a film. Contrast the fight at the end of episode 7 (I think?), accompanied instead by orchestral music, which is perhaps the best in the entire show.

Still, there are absolutely no shortage of strong female characters, even past the sisters. For example, Caitlyn Kiramman, the daughter of a noble family who taken on the difficult job of policing the streets, or Mel Medarda and her mother. While the society portrayed in the show has its issues, gender (and race) don’t appear to be among them, rarely even cropping up. I’ve tended to skip a lot of the Netflix animated shows, for one reason or another, but this definitely was not a waste of time. The way it finishes though… I can’t discuss it in depth for spoiler reasons. But if they hadn’t already announced a second series is coming, I would be severely peeved. I hate that kind of ending in books, and it works no better in a TV show. Do better next time, please.

Dir: Pascal Charrue, Arnaud Delord
Star (voice): Hailee Steinfeld, Ella Purnell, Kevin Alejandro, Jason Spisak

Kung Fu Mulan

  By

★★★
“Disney gets some of their own medicine”

Going into this, I was expecting it to be really terrible. After all, this Chinese animated version seemed to be little more than a mockbuster, riding on the trails of Disney’s live-action version of the Mulan story. That is a little unfair, since this film began production back in 2015, five years before its Chinese release in October 2020. But it’s that timing – less than a month after Disney’s version came out – which inevitably invited comparison, and the local reaction was utterly scathing, despite an advertising tagline of “Real China, real Mulan.” It was compared unfavourably to a Western version of Chinese food, and lasted only three days in cinemas before being pulled, not taking in even one-tenth of its relatively small $15 million budget.

This is why I was braced for something at the level of pre-school stick figures. The reality, however, is nowhere near that bad. The animation is, it must be admitted, functional rather than impressive, but matters are helped significantly by decent voice acting and a plot which doesn’t appear tailored towards 12-year-olds. We join Mulan (Guest) already in progress, with her in the army and going on a mission to assassinate the prince of an invading army from the Northern grasslands, who are attacking the Central plains. Except, nobody mentioned there are two princes. She stumbles across the young one, and refuses to kill him.

While escaping, she ends up falling off a cliff with the older one, her actual target, Arke (Lee). As they make their way back to civilization, they fall for each other, partly because he conveniently forgets to mention the whole royalty thing. Needless to say, her superiors are not impressed with the failure to complete the mission. But there is a possibility of her marriage to Arke bringing peace between the two kingdoms, though there are some who are not in favour of that possibility either, and intend to use Mulan a pawn towards their own ends. I will say, there’s simply more plot going on here than in Disney’s version, and if the visual side is considerably plainer, the lack of ill-defined superpowers for its heroine is definitely a plus.

However, it doesn’t take advantage of the freedom which animation provides. While there are occasionally pretty moments, it falls short of capturing the majestic grandeur of China, and animated martial arts is always going to be less impressive than the live-action version. Though the dubbing is solid, with Guest in particular bringing her character to life, any cartoon version of Mulan is always going to end up being compared to Disney’s animated one, and this is just not as good. The main deficit here is the inability to make an emotional connection to the viewer. I never cared about the fate of Mulan or her country in the way I did while watching the classic edition. But considering my expectations going in, this was far better than I feared. Then again, I quite like the Western version of Chinese food. :)

Dir: Wallace Liao
Star (voice): Kim Mai Guest, Allan H. Lee, Vivian Lu, Greg Chun

Trese

  By

★★★½
“Come get your Phil…”

While undeniably anime influenced, this originates from the Philippines, rather than Japan. It’s based on a graphic novel of the same name, by Tan and Baldisimo, and was made by Netflix’s anime branch. The six x 30-minute episodes were released with English, Filipino and Japanese language tracks. I went for the “original” Filipino, though there’s not a particular case for that. It just seemed to fit the setting better [this isn’t a hard and fast rule. I watched Gunsmith Cats: Bulletproof in Japanese, even though it’s takes place in Chicago].

In this version of Manila, there are a host of creatures from the country’s apparently rich folklore present alongside humans. Most of them I hadn’t heard of beyond the aswang, but they include everything from fire demons to electric entities. I’m sure this partly explains the show’s greater success in its native land; Westerners should probably just accept it all and go with the flow. There is a fragile truce between them and humanity, and on our side, Trese (Soberano) is charged with keeping the peace. Her family has been in this business for generations, and she works alongside twins Crispin and Basilio (dela Cruz), whom she used to “baby-sit”.

The episodes work as stand-alone entities, but there is also an over-riding arc of something malicious bubbling up from the underworld. It seems to be related to corrupt local official, former Mayor Sancho Santamaria (Tandoc). Trese faces off against him in the first show, and he’s sent to prison – but continues his occult manipulations from there, forcing her to confront him further. At which point, the real power behind the throne comes out, for a face-off in the final episode. Not all of them work equally well. There’s a fairly crap one in the middle about a film actress who spawned a pack of goblins or something, that years later came back to take revenge on her and her plastic surgeon. Yeah. I don’t think that was quite thought through to the same extent as the overall concept.

But when it works, it works really well. Some of the episodes deserve expansion to feature length, such as the one where a horde of zombies are unleashed to attack the local police-station. It plays like a cross between Night of the Living Dead and Assault on Precinct 13, and crams more action into its 30 minutes than many full-length movies.The series also does a good job of shading in  grey; across the creatures of folklore, some are friendly to humanity, while others are not, and some shift allegiance over the course of the show.

This is at its best when going its own way, rather than when, as sometimes happens, it becomes a bit Buffy-esque. The whole “heritage” thing is a little overplayed, with her family history dribbled out in little parcels at the start of each part. It’s better when simply focusing on Trese being the bad-ass she is certainly capable of being. Here’s to more of than in any subsequent seasons.

Creators: Budjette Tan, Kajo Baldisimo
Star (voice): Liza Soberano, Simon dela Cruz, Apollo Abraham, Rene Tandoc

To Your Last Death

  By

★★★
“Death does a do-over”

Miriam DeKalb (Lennon) and the rest of her siblings are estranged from their arms dealer father, Cyrus (Wise), after their exposure of his dysfunctional nature ended his political career. Which is why it’s a surprise when they are all invited to his company’s headquarters. It doesn’t end well, with most of them murdered. and Miriam – found at the scene with an ax – tagged as their killer. However, she gets a second chance when visited in hospital by a mysterious figure called the Gamesmaster (Baccarin), who makes Miriam an offer. She’ll get to go back in time 24 hours, knowing what she does now. Will she be able to do better? For the GM runs an event on the astral plane (or somewhere), in which entities bet on the outcome of humans given a second chance at a pivotal moment, and Miriam is her latest subject. So can she change the outcome?

This is an interesting, if obviously entirely contrived scenario – not least for the Gamesmaster reserving the right to come in and tweak things, should she deem things not being sufficiently interesting for her players. For example, she arbitrarily decides that Miriam is not allowed to leave the building and contact the authorities. Effectively, it reduces the heroine to a piece on a board, whose actions and the resulting outcomes are constrained: there is no true “free will” to be found in this case. I also found the animation style somewhat off-putting: it looks very much the same approach as Archer. Particularly when people were talking, I found the mouth movements incredibly distracting, and it made me realize why most animation tends to keep it simple.

However, there is also a lot here that I enjoyed, not least the (literally) full-blooded approach taken. This is unashamedly gory and hard-R rated stuff, including Cyrus’s devices to dispose of his treacherous offspring, which appear to have strayed in from the Saw franchise. For instance, to handle a daughter with a fondness for cutting herself, she is strapped into device with a scale. This requires her to shed a certain amount of blood every minute, or her head will go snicker-snack. Chainsaws and axes are also put to enthusiastic and energetic use, by the heroine and others.

The story, too, ends up going in ways that I didn’t expect. Rather than being able to save her siblings in the do-over, they end up being perhaps the biggest threat to Miriam’s survival the second time. It’s from guaranteed that her go-around will end in a better situation than the first. Certainly, the pacifist scruples she espouses going into the evening – which largely caused her to reject her father and his business – prove to be utterly unsustainable, which is always nice. The message appears to be: sometimes violence is not just the solution, it’s the only solution, a philosophy which is certainly different. However, I can’t help wishing this had been a live-action gorefest; it’s one case where being animated definitely dilutes the impact.

Dir: Jason Axinn
Star (voice): Dani Lennon, Ray Wise, Morena Baccarin, Bill Moseley

Raya and the Last Dragon

  By

★★
“Pretty, but pretty problematic.”

It had been close to five years since I saw my last Disney animated feature (Finding Dory, should you be interested). But the trailer for Raya got me intrigued. This seemed a genuinely kick-ass heroine, something absent from their output since Brave. Sadly, while I have to say the action is impressive and it looks good, these elements aren’t enough to overcome weaknesses, most obviously in the story department. It felt very much like it was written by a committee that had been handed a set of required talking points. And, lo, the end credits reveal the story was by eight different people, with four directors. I’m just glad I did not pay the House of Mouse’s $29.99 fee, or my disappointment would probably turn into annoyance. 

It’s set in the fictional country of Kumandra, a world inspired by various Southeast Asian cultures. [This hasn’t stopped Disney from being the target of PC critics, e.g. for casting voice actors outside that region… yeah, as inhabitants of a fictional country. When you start feeding  the woke monster, never expect its appetite to be satisfied] Aided by dragons, Kumandra had lived in peace until attacked by the Drune, evil spirits that turn their victims to stone. They are eventually defeated, but at the cost of the dragons, and the land fractures into five separate countries. 500 years later, the bickering territories fight for control of the orb containing the dragons’ magic. It’s broken in the struggle and the Drune return. It’s up to orb guardian, Raya (Tran) to reassemble the pieces, with the help of final surviving dragon, Sisu (Awkwafina).

A straightforward quest would have been perfectly fine, the heroine facing an escalating series of exciting challenges as she retrieves each fragment. But the film instead dumps so much extra on top, that this actual core becomes almost irrelevant. In many cases, recovering a fragment is super easy, barely an inconvenience, because the film has to hurry back to all the other things on its to-do list. For example, it’s considerably more interested in promoting a “one world” ethos, in which the countries must be made to unite. There’s no room here for alternative opinions, such as the possibility that, after five centuries of independence, they have their own cultural identities and might not necessarily be best served by forced amalgamation, at the point of a dragon. 

It also has to handle too many supporting characters. Things are fine early on, when it’s just Raya and Sisu. They have a relationship that’s fun to watch, even if it’s derivative of the Mulan/Mushu one. But the film throws in sidekick after sidekick. Boun, their 10-year-old boat captain (guess Disney has no issues with child labour…). Little Noi and her gang of monkeys. Tong, a Warrior from the Spine land. It’s all too much. On the other hand, there’s no real antagonist. Disney has had some great villains in the past, from Cruella de Vil to Scar. But here the Drune don’t work at all, being nothing more than smokelike entities. You might as well try to make COVID-19 your bad guy.

Some may argue a case for Namaari (Chan), a princess from the Fang tribe, whose deceit of Raya leads to the shattering of the orb. However, it seemed painfully obvious. almost from the get-go, that there was eventually going to be a face turn in her future. That became particularly clear after she started questioning her mother (Sandra Oh). However, I think it was fairly apparent, simply by her character design. From the haircut to her clothes, Namaari  could not have been more LGBTQIA+ friendly if they’d given her Birkenstocks and a box-set of The L Word. Not that there’s anything wrong with that, but Woke Disney is never going to have a genuine villain who looks so utterly gay.

Positives? As mentioned, there’s a rich visual style, and the animation is incredibly fluid. The action scenes are particularly well-done, not least the battles between Namaari and Raya. Animated fights often lack impact; that certainly isn’t the case here. In particular, the artists take advantage of the ability to make things quicker than humans could possibly be, without it ever seeming like the film has been sped-up. Some of the jokes work well, with Awkwafina’s comic timing particularly good. There were moments when Sisu reminded me of Dory, in her scatterbrained nature, and there are few higher compliments I can offer than that.

Yet the impact diminished the longer it went on, with every moral lecture and additional character thrown into the mix. The ending is clearly intended to be some kind of stirring emotional climax, yet left me entirely cold, perhaps because there’s no real threat. We’re told at the start that when the Drune were defeated, the people they petrified return to life. So even seeing Raya turn to stone seems, again, barely a temporary inconvenience. Still, at least there were no crappy songs until the end credits. I guess that’s something for which I should be grateful.

Dir: Don Hall, Carlos López Estrada, Paul Briggs, John Ripa 
Star (voice): Kelly Marie Tran, Awkwafina, Gemma Chan, Izaac Wang

Wonder Woman: Bloodlines

  By

★★
“I wonder what they were thinking?”

Having enjoyed the previous animated Wonder Woman film, this was a significant disappointment. It doesn’t seem to fit in to any established universe and loos designed more as a quick cash-in on the success of the live-action version, than existing out of artistic desire. It begins with a broken, modern-day update of the latter’s opening, with the plane of Air Force pilot Steve Trevor (Donovan) making a crash-landing inside the bubble which has protected Themyscira  over the ages. He’s desperate to return to tell the world about the demonic entities which attacked him, and Diana (Dawson, who played Artemis in the previous animated version) rebels against her mother and the decision of the other Amazons to imprison Steve, going with him to the outside world.

Except, there’s basically no explanation as to Diana’s revolt, beyond a throwaway line about a prophecy. And in the next scene, Diana is sitting in the back of a cab on the way to house of historian Dr. Julia Kapatelis. Demonic entities? What are they? With those entirely forgotten, the film then focuses on the doctor’s daughter, Vanessa (Avgeropoulos), who turns bad, becomes Silver Swan, and eventually teams up with Doctor Poison and a slew of B-villains, of whom I’ve never heard, e.g. Giganta, Cheetah, Doctor Cyber. They plan to attack Themyscira and profit from its technology, and to that goal have revived and powered-up Medusa, who ends up becoming more of a Med-zilla.

This is all full of ridiculous and contrived circumstances. For instance, Diana “forgets” the location of Themyscira. But – what are the odds – there’s a fountain from which she can drink, which will restore her knowledge! And Julia discovered the location in her research! Or, the dispatch of Medusa will turn everyone whom she has petrified, back to being human again. Hmm, must have missed that bit in the mythology. It will certainly lead to some very confused ancient Greek warriors, who suddenly find themselves inhabiting the 21st-century… It feels as if the writers were making stuff up as they went along, and repeatedly painted themselves into corners, from which they could only fabricate escapes out of thin air.

All of which I could take, were the animation decent. When in motion, it’s okay, and some of the action scenes work moderately well. But otherwise, it’s painfully basic, with characters’ faces not moving, except for their mouths. Up until Medusa appears, there’s no indication that any of the antagonists are able to pose a genuine threat to our heroine. Their ludicrously-named group, “Villainy, Inc”, feels like something out of a superhero spoof like Mystery Men. While the initial set-up make it looks like Vanessa will become Diana’s main opponent, she just ends up just another faceless minion.  As someone familiar only with the various adaptations and not the source comic-books, this wasn’t worth my time. Heck, even the unaired TV pilot was more entertaining. 

Dir: Sam Liu, Justin Copeland
Star (voice):  Rosario Dawson, Jeffrey Donovan, Marie Avgeropoulos, Adrienne C. Moore

The Breadwinner

  By

★★★
“Burka-to-back.”

Around the turn of the millennium, Parvana (Chaudry) is an 11-year-old girl living in Kabul, Afghanistan – then under the strict religious rule of the Taliban, in the aftermath of the Russian retreat. Her father is arrested and taken off to prison, leaving his wife and children without a male guardian. Which is kinda important, because under Taliban law, women are not allowed out in public unaccompanied. With no other option, Parvana cuts her hair and dresses as a boy in order to be able to get supplies for her family. Teaming up with another boy-who-isn’t, Shauzia (Bhatia), they find work. Parvana starts saving for the bribes necessary to see, and hopefully win the release of, her father; Shauzia is saving up for her long-held dream of seeing the ocean. Of course, it’s never that easy, especially post-9/11, when the country is invaded by America and its allies.

A well-drawn exercise in paradox, it’s interesting to see liberal Hollywood attempt to juggle two of its favoured topics: feminism and Islam. Though in the end, this more or less says “Screw it,” and comes down firmly on the side of the former. For if you didn’t hate Islam before this film… you probably will by the time it’s over. Technically of course, the villain here is fundamentalism, in the malevolent shape of the Taliban; yet, this is the only kind of religion depicted in the movie. It’s not even clear if Parvana and her family are Muslim; they certainly don’t go to a mosque, and their existence seems entirely secular. On that basis, I’m quite surprised the film hasn’t been called out for Islamophobia, but I guess those gatekeepers were probably too busy nodding approvingly at the message of feminist liberation.

Moving on from tdubious socio-political messages which I can take or leave, as an animated feature, I liked this rather better. It intertwines Parvana’s efforts, both to contact her father and simply survive, with her telling the folk-tale of The Elephant King – making its hero her brother, who was previously killed by a land-mine left over from the Soviet occupation. The two threads use different yet complementary styles of animation to separate the “real” world from Parvana’s story, and it’s an effective way of depicting them. Parvana, too, makes for a solid heroine: brave and loyal to her family, while being too innocent and young to know the awkward questions she isn’t supposed to ask e.g WHY women aren’t allowed to go out unaccompanied.

Twomey was co-director of Oscar winner The Book of Kells, and it’s nice to see some animation that isn’t intent on being 3D and photo-realistic, so much as serving the story and the characters. It is sometimes a little hard to put aside the obvious intent as social propaganda, but I’ve never been one who felt you had to agree entirely with a film’s politics, in order to admire its artistic qualities. The latter are decent enough here to make for a worthwhile, if slightly too earnest, viewing experience.

Dir: Nora Twomey
Star (voice): Saara Chaudry, Soma Bhatia, Noorin Gulamgau, Kawa Ada

Lady Death: The Movie

  By

★★
“Death warmed up.”

My first viewing of this was on a day off from work, when I was down with some sinusy thing, and dosed up on DayQuil. So I chalked my losing interest and drifting off to the meds, and once I felt better, decided this deserved the chance of a re-view. However, the result was still the same: even as a bright-eyed and bushy-tailed viewer, I found attention lapsing. For this animated version of a mature comic, might as well be a He-Man and the Masters of the Universe episode. Which is a shame. I wanted to like it, since the creator of Lady Death, Brian Pulido, is something of a local comics legend here in my adopted home state of Arizona. This should have been better.

In 15th-century Sweden, Hope (Auten) is the daughter of Matthias (Kleinhenz), a mercenary who is actually an incarnation of Satan. When this is exposed, the innocent Hope is burned at the stake by religious zealots: there, she makes a literal deal with the devil, and agrees to re-join her father in Hell, where he has also taken her fiance, medical student Niccolo. However, once she is in the underworld, she rebels against his authority. With the aid of Satan’s former swordsmith, Cremator (Mungle), she obtains ‘Darkness’, a weapon Cremator had forged after slaying Asmodeus. Hope – or Lady Death, as she is now known – begins to amass an army and plot her demonic father’s overthrow.

All of which sounds considerably more interesting than the execution here, which is blandly uninteresting in just about every level, beginning with its depiction of hell. Even by the standards of 2004, this is low-quality animation. One of the strengths of the medium is it’s limited only by imagination: you don’t need to worry about the costs of building sets or whatever, it’s just what you draw. Yet there’s no indication here of any thought having gone into the setting. Hell is, apparently, a poorly-lit and generic cave system, populated by entities that look like Jabba the Hutt or Tim Curry in Legend. Much the same vanilla complaint can be leveled at voice-acting that’s desperately in need of more energy, save perhaps McAvin as Lucifer’s “jester,” Pagan.

But it’s perhaps the script which is the weakest element here – and considering the screenplay was written by Pulido, that’s especially disappointing. I’m only somewhat familiar with the comics, yet they seem to have a rich and fully-developed mythology. Could have fooled me based on this, where the Devil is basically an idiot, who has to make every mistake in the Evil Overlord handbook, to allow his adversary to triumph. Though this version of Lady Death appears considerably more heroic than in the source material, the question of why a “good girl” would want to reign over hell is never addressed. All that’s left is in an impressive bit of central character design, because there’s no doubt she is a striking creation. She’s someone who deserves a significantly better fate than this entirely forgettable prod with a blunt stick.

Dir: Andy Orjuela
Star (voice): Christine Auten, Mike Kleinhenz, Andy McAvin, Rob Mungle