Tag: animation

The Haunted World of El Superbeasto

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★★★★
“Suzi-X Marks The Spot.”

Rob Zombie has had an interesting career, to say the least. From the early days as the front-man of heavy-metal band White Zombie, through his own solo work [heavily influenced by B-movies], and then on into his movies. That started with the fairly-crap House of 1000 Corpses, then the better Devil Rejects, and then his remakes of the first two Halloween movies, which were ok, as remakes of horror classics go. And then there’s The Haunted World of El Superbeasto, an animated feature which I stumbled across on cable. Well, actually, Chris did: “I Tivo’d a movie for you,” she said. And, surprisingly, she stayed for the entire thing, and appeared to enjoy this animated feature. Which is odd, because it has much the same gleeful, excessive insanity as Bitch Slap, which she walked out on.

Based on a comic-book series, the focus is, at least, theoretically, El Superbeasto (Papa), a masked luchador and part-time exploitation film-director, whose opinion of his own talents is certainly not modest. Superbeasto gets involved with the the evil plans of Dr. Satan (Giamatti), who kidnaps foul-mouthed stripper Velvet Von Black (Dawson), because if he marries her, he’ll get all the powers of the devil. El Superbeasto and his sister Suzi X (Moon Zombie) have to stop Dr. Satan, before he can destroy the world. And it’s thanks to the latter that this film effortlessly slides into GWG territory. Imagine a soft(ish) porn version of those insurance ads with Erin Esurance kicking butt. Except, with far larger breasts, much more gore and a sidekick of a horny, transforming robot. Er, ok: not really like those insurance ads at all, then.

Zombie was responsible for the Werewolf Women of the SS faux-trailer in Grindhouse, and brings much the same gleeful approach to proceedings here. Indeed, we first see Suzi-X kidnapping the head of Hitler, which is kept alive in a jar (as in They Saved Hitler’s Brain), and then has to escape by fighting her way through a massive pack of Nazi zombies (that’d be from Shock Waves). Carnage ensues, as it pretty much does, any time Suzi-X is on the screen, which is a lot – she gets far more of the action than El Superbeasto does. Proceedings culminate in a lengthy, slo-mo catfight, entirely necessary to the plot, between her and Von Black, while the soundtrack cheerily informs us that “It’s OK to jerk off to cartoons – the Japanese do it every day – so rub one out for the USA…”

Yeah, the soundtrack. By comic due Hard ‘n’ Phirm, it’s certainly worthy of note, providing a sardonic commentary throughout. Witness the play-by-play as Suzi-X takes on the Nazi zombies, or as it bemoans the shameless ripoff of Carrie which is the finale. An appreciation of genre – particularly, horror movies – of the past eighty years or longer, will also help, as will as realizing this is not to be taken at all seriously. It’s definitely not for kids, or the easily offended: copious female nudity, violence, swearing and generally questionable attitudes. It reminded me of Ralph Bakshi cartoons, such as Fritz the Cat, just much more tongue-in-cheek.

If anything, it may be a little too hyper and frenetic. We ended up taking a break in the middle, and chilling out with coffee and muffins before returning for the second-half. Throwing together everything but the kitchen sink as far as style, content and approach goes, it remains a thoroughly entertaining piece of trash cinema. While the supposed hero is actually not very interesting, and largely unlikeable, Suzi-X is a fabulous action heroine, whom I’d enjoy seeing more of [not that there’s much you don’t see of her here, if you know what I mean, and I think you do…] Check out the clip below for some idea of what to expect.

Dir: Rob Zombie
Star (voice): Tom Papa, Sheri Moon Zombie, Paul Giamatti, Rosario Dawson

Mulan (animation)

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mulan1★★★★½
“Here be drag-ons…”

Disney movies are not the usual place to find action heroines: their classic woman is a princess, who sits in a castle and waits for someone of appropriately-royal blood to come and rescue her from whatever evil fate (wicked stepmother, poisoned spinning wheel, etc.) that has befallen her.

The first inklings of a change to this traditional attitude came in 1991 with Beauty and the Beast, where Belle was an independent-minded young lady who rejected the advances of the handsomely square-jawed hero, because he was an idiotic jerk. Unfortunately, the moral was somewhat diluted by the end when – and I trust I’m not spoiling this for anyone – the Beast turns into a rather convincing facsimile of said handsomely square-jawed hero. So, looks are everything, after all… Much more successful was their 1998 attempt, Mulan, recently released for the first time on DVD, which took a traditional Chinese legend about a girl who dresses as a man to join the army, and converted it into the traditional Disney animated feature format, complete with songs and amusing sidekick. Given the studio’s previous track record (hey, why bother paying writers to come up with new stories, when there’s public domain ones to rape?), qualms here are understandable. Perhaps most memorably, Disney gave Hans Christian Andersen’s The Little Mermaid a happy ending, though turning Quasimodo into a lovable Happy Meal probably comes close – that whirring sound you hear is Victor Hugo spinning in his grave.

And, yes, liberties were taken, though to be fair, you expect this in any screenplay – especially one whose story originally appeared in a poem written by an anonymous Chinese author around the 5th or 6th century AD. [The poem also appears on the DVD, but without any attribution or context; you’d be forgiven for thinking it was written by a Mousketeer] From here sprang a whole raft of tales, with different eras, locations or surnames, largely dependent on the author’s feelings, but having several common threads. The story takes place over more than a decade, and Mulan’s identity isn’t discovered until she has finally returned home and resumed her normal life.

There’s also no threat of execution when her deception is found out – Chinese culture may perhaps actually have a more tolerant approach to such things, though this is admittedly going only by the likes of Peking Opera, and a good chunk of Brigitte Lin’s career. And, of course, both the romantic angle and amusing sidekick were modern additions. This contrasts sharply with one version of the original, which has the Emperor hearing of Mulan’s exploits, and demanding she becomes his concubine. Mulan commits suicide in preference to this fate, an ending that, for some reason, didn’t make it into the Disney adaptation…

Perhaps the surprising thing is that there haven’t been more movie adaptations of the story – contrast the literally hundreds of movies based on Wong Fei-Hung. There have been a couple, most notably 1960’s The Lady General Hua Mu Lan, directed by Yue Fung, and starring Ling Buo as Mulan (real-life husband Jing Han played General Li). Before that was Maiden in Armor starring Nancy Chan, made in 1937, largely as propaganda to rally the Chinese against the Japanese. The most recent version was in 1999; Yang Pei-Pei’s 48 episode TV series starred Anita Yuen as Mulan [photo, right]. However, over the past couple of years, no less than three versions have been rattling around in development hell. The most eagerly anticipated one stars Michelle Yeoh as Mulan, with Chow Yun-Fat co-starring. The director is uncertain (Peter Pau and Christophe Gans are most often mentioned) and production still hasn’t started, even though it was announced back in July 2001; recent reports now have it scheduled to begin filming early next year.

Stanley Tong has also been working on The Legend of Mulan; the original plan was to shoot this in English, with Lucy Liu and The Rock as Mulan and the Hun general respectively, but this may have fallen through; with Tong now working on the next Jackie Chan film, this one seems to be on the back-burner. Finally, a Korean version, with either Jeon Ji Hyun (My Sassy Girl) or Zhang Zi-Yi, was scheduled, but not much has been heard about this lately. The Disney version, on the other hand, just came out on DVD for the first time – in part, I suspect, to act as marketing for the forthcoming, inevitable Mulan II. The trailer for the sequel is on the Mulan DVD, but Lady and the Tramp II, The Little Mermaid II, The Hunchback of Notre Dame II and Aladdin II should give you an idea of how wonderful Mulan II will be. [It’s going straight to video, of course, but it does at least have Ming-Na Wen. No Eddie Murphy though.]

That’s a shame, because the original still has a great deal to offer. Unlike many Disney films, the songs don’t bring proceedings to a grinding halt and are notably absent from the second half of the film. Indeed, the transition is deliberately abrupt: a band of happy, singing warriors is stopped mid-verse when they come across a burnt-out village which the Huns have exterminated (right). It’s a simple, but highly effective moment, where silence says a lot more than any words. [At one point a song for Mulan about the tragedy of war was considered, but this was dropped, along with Mushu’s song, Keep ‘Em Guessing – both decisions which can only be applauded.]

Obviously, in terms of action, it’s hamstrung by the G-certificate (though the British censors insisted on a headbutt being removed to get the equivalent ‘U’-rating), but allowing for this, it’s still got some exciting scenes, and the first encounter between Mulan and the Hun army is fabulous by any measure. It also avoids the pitfall of many a Disney film – making the villains more memorable than the main characters. [Everyone remembers Cruella DeVille from 101 Dalmatians; but can you name the hero?] Here, Shan-Yu is almost a caricature, but does what’s necessary quickly, allowing the other characters to be developed more completely, and compared to other Disney heroines, Mulan may be the most well-rounded human being.

Of course, Eddie Murphy comes close to stealing the show as demoted family guardian, Mushu. Unlike Shrek, where the competition for laughs with Mike Myers was painfully clear, Ming-Na Wen is content to be the straight “man”, and the film benefits as a result. Murphy’s accent is entirely anachronistic, naturally, but that’s half the fun – interestingly, the American DVD offers the option of a Mandarin soundtrack, which is a nice option. We did try it for a bit, but the Chinese Mushu just didn’t have the life and energy of Murphy, and we soon switched back. [HK singer CoCo Lee plays Mulan, while Jackie Chan is the voice of Shang in both this and the Cantonese versions] The tunes are perhaps not quite “classic” Disney, in the sense that they don’t stay in your brain for years after, to explode at the most inappropriate moments. They’re still fairly hummable though, and Jerry Goldsmith’s Eastern-tinged score compliments the similarly Oriental-flavoured animation well. The makers clearly did a lot of research, thought it does have to be said, the film does not exactly portray Chinese culture in a particularly good light; Mulan, the heroine, is shown as rebelling against it in almost every way. One reviewer describes its basic theme as, “a woman with western values overcoming the oppression of a backwards Chinese civilization.” Ouch.

However, personally, I’d say the value of having a clearly non-Caucasian heroine (a first for any Disney film) outweighs relatively minor quibbles about subtext. It may be the last great hand-drawn animated feature from the studio which invented the genre, and all but defined it for sixty years, so I have absolutely no hesitation in recommending this as an empowering and highly entertaining tale for children – of any age, but especially those too young to read subtitles. There aren’t many action heroine films our entire family loves, but Mulan is definitely high on the list.

Dir: Tony Bancroft and Barry Cook
Star: Ming-na Wen, Eddie Murphy, B.D.Wong, Soon-Tek Oh

Kim Possible: The Secret Files

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★★★½
“A semi-random grab-bag of bits and pieces. Coherent – no. Amusing – most definitely.”

This compilation puts together four episodes – three from the first season, plus another at the time exclusive to the DVD. It’s hard to see who this is aimed at: if you’ve not seen the series, novices may find elements, such as Ron’s naked mole rat, kinda bizarre (trivia note: the rat’s squeaks are by Nancy Cartwright, who also does some loser called Bart Simpson). On the other hand, fans will have seen almost all the material, and would likely far rather have seen a complete Box Set rather than semi-random episodes. They’re not even particularly highly-regarded ones: the TVTome viewers’ poll ranks only one in the Top 20. However, it’s still the smartest thing on the Disney Channel, and easily kept the GWG viewing panel (ages from 19 to forty-coughhackwheeze) entertained.

The first episode, Attack of the Killer Bebes, is the best, I’d say. Ron wants to be a cheerleader, while Kim’s dad is kidnapped by the evil Dr. Drakken, who has built three fem-bots in order to…er, do something. It illustrates the central idea of KP – Kim’s Sisyphean struggle to balance home, school and fighting evil – with beautifully surreal moments, such as Drakken’s quest for a phone-book to prove that Possible is a common surname. Downhill, the second ep, works less well; it’s too group-huggy, teetering on the edge of sickly. But the concept of D.N.Amy, a toy collector and crazed bio-geneticist intent in making live version of her plush pals, is enough to keep things interesting.

Third is Partners, where Kim is paired with the class genius for a science project, while Drakken and D.N. Amy team up, with the following immortal exchange:
D.N.Amy: ”But I’m all about cute and cuddly!”
Dr. D: “Have you ever tried vicious and bloodthirsty?”
D.N.Amy: “Do you think I’d like it?”
Finally, tucked away in the special features, there’s Crush: how it all began, though with surprisingly little insight into Kim’s origins as a superheroic teenager. She springs, fully formed, taking on Drakken’s giant robot and asking her crush, voiced by Breckin Meyer, to the dance. Overall, it’s a cute package, but you’d probably be better off starting with A Sitch in Time, and waiting (hopefully…) for that Season One box set.

Star: Christy Carlson Romano, Will Friedle, John DiMaggio, Melissa McCarthy

Kim Possible: A Sitch in Time

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★★★★
“Somewhere between Alias, Buffy and The Powerpuff Girls lurks Kim…”

“I’m working with a man named Monkey Fist. My evil career is so in the toilet!” Thus complains one villain in the first Kim Possible movie, a relentless barrage of sight gags and dry humour likely to amuse those of any age, whether regular viewers or not. We probably fall into the latter category, having a natural aversion to the Disney Channel [if you’ve seen the Lilo & Stich series, you’ll understand], but KP is a show likely to pause our channel surfing. Kim is a teenage girl who spends more time saving the world from a range of bizarre bad guys and gals, than the usual pursuits involving the bathroom, phone or mall (if our daughter is anything to go by). Her parents are remarkably cool about these extra-curricular activities. In this edition, the bad guys team up to grab a time-travel device and alter the future so they can rule the world. It’s up to Kim and friends to restore things. [Should mention the title is as given, “sitch” being Kim-speak for situation, as in “What’s the sitch?”]

It does remain a Disney show, hence the irritating musical interludes and, while the action is fast and furious, no-one ever gets hurt – though the sequence where a naked mole-rat comes out of a kid’s trousers is frankly freaky. But assisted by a stellar supporting cast (Elliott Gould, Michael Dorn, Dakota Fanning, Michael Clarke Duncan, Vivica A. Fox and – slightly less stellar – Freddie Prinze Jr.), this is a great parody of the whole genre: as one character says, “Time travel – it’s a cornucopia of disturbing concepts.” The tongue-in-cheek self-awareness is a delight, both heroes and villains having a refreshingly world-weary attitude, cheerfully admitting the paradoxes inherent in the story. Even an evil, golfing, kilt-wearing Scot comes over as endearing rather than insulting – Mike Myers, please note. The expected fluff blends with some surprisingly dark moments, such as the “Re-education Center” which seems right out of 1984. This is what the Tomb Raider movies should have been like.

Dir: Steve Loter
Star: Christy Carlson Romano, Will Friedle, Richard Gilliland, Nicole Sullivan

Aeon Flux (animation)

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★★★★
“State of flux”

Difficult though it may be to credit, especially for younger readers, there was a time when watching MTV could actually be interesting occasionally, back in the days when the station had its own animation division. The best-known product to seep out was Beavis and Butthead, but more interesting was Aeon Flux, perhaps the most dense and impenetrable animated series to reach a wide audience – even if the general reaction was “Eh?”

It debuted as part of Liquid Television, and right from the start, makes an impression with its lack of dialogue, weird design and astonishingly high body-count. The first series of mini-eps depicted the mission of an apparent secret agent, Aeon Flux, who comes within moments of solving the case of a mysterious epidemic, only to meet an untimely death. Undaunted, the second series had a variety of cases, whose only real linking theme was the repeated untimely death of Aeon.

aeonanThen MTV commissioned some 25-minute episodes, and things inevitably started to mutate. The characters started to speak (gasp!), but anyone who thought this meant it would become easy to understand was in for a shock – if anything, it added an extra new dimension of complexity. More of the setting was exposed: two countries, Monica and Bregna, of opposite character and once united, but now in perpetual tension. Extra characters were added, most notably Trevor Goodchild, the Breen leader, whose relationship with Aeon (a Monican “agent”?) is perhaps the central focus of the series.

“What I was trying to go for was a kind of ambivalence.” So said creator Peter Chung, and as ambivalence goes, there’s little doubt he succeeded – rarely has a show hidden its light quite as effectively. Very little is laid out for easy consumption, and each episode repays, and indeed demands, repeat viewings. Every action and line of dialogue sometimes seems to have multiple meanings.

If it has a weakness, it is perhaps too obscurist, and you wonder whether the show is quite as deep as it wants you to think. In addition, there are parts which, however stylish, just don’t seem to make sense. But Aeon is a fabulous character, who in the words of Chung, “is not someone who reacts to things. She makes things happen…she’s a force for change as opposed to the status quo”, and the combination of intelligence and malevolent brute force is immensely appealing. Chung again: “I think it’s undeniable that there’s a certain glamour or a certain seductive power of violence on film. Her whole design and the way she looks, the way she moves is engineered purely to evoke that attraction.”

A feature version of Aeon Flux has occasionally been hinted at (Liz Hurley would seem a leading candidate for any live-action version!), but at the moment seems somewhat unlikely, especially with MTV having now folded their Animation Division. Chung has moved on too, first to work on Phantom 2040, whose characters are clearly cut from the same cloth, in their spidery style, and then off to the Far East, for an animated series based on the life of, I kid you not, Alexander the Great. Whether anything created in his future will be as memorable, intense and downright impenetrable as Aeon Flux is surely in doubt.

Creator: Peter Chung
Star: (voice) Denise Poirier, John Rafter Lee

The Powerpuff Girls

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★★★★½
“Pre-school superheroines kick serious tongue-in-cheek butt.”

This sprang virtually fully-formed from the twisted mind of McCracken back in 1992, as a student film: even then, he intended it as a series, with most the characters, both heroines and villains, already present. The main change was to the title, the Cartoon Network balking at presenting a show called The Whoop-Ass Girls, and so the “can of whoop-ass” which was originally part of their make-up, was replaced by Chemical X.

The heroines number three: Blossom, Bubbles and Buttercup, attendees at Pokey Oaks Kindergarten who just happen to have amazing superpowers – flying, laser-eye beams, incredible strength, you know the sort of thing. Each episode sees them take on a monster which threatens to destroy their home city of Townsville, or a diabolical plot by the likes of Mojo Jojo, super-intelligent simian who is perhaps their most common foe. There’s never any doubt over the outcome; the PPGs will win, and (no matter what the title says) there will be large quantities of animated whoop-ass.

Yet despite this predictability in the plot, the series continues to amaze and delight, with great characters on both sides of the law, fantastic imagination, and fabulous lines like, “The Bubbles you know is dead – I’m HARDCORE now…”. Plus there’s a whole series of riffs on pop-culture – what cartoon show would do a shot-for-shot remake of a scene from The Big Lebowski…just because? It also manages to be moral without being overly preachy, and has retained its sense of the absurd throughout. If there’s a weakness, it’s the same as any episodic show: some eps work better than others, and there are certainly dull moments. But when on-form – which is more often than not – there isn’t a more enjoyable 22 minutes of television to be seen.

Creator: Craig McCracken
Star: Cathy Cavadini, Tara Strong, E.G.Daily, Roger L. Jackson

The Powerpuff Girls Movie

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★★★
“Rated PG, for non-stop frenetic animated action.”

Rarely have the MPAA spoken truer words than that – crack open the highly-caffeinated, carbonated beverages, tuck into those sugary snacks and sit through the equivalent of eight straight Powerpuff Girls episodes. Preceded in theatres by a startlingly unfunny Dexter’s Laboratory cartoon, the weakness here is the obvious one of translating a ten-minute TV show to feature length; going by the lack of a crowd when we saw it, few people saw the point of paying $8 for what they could get at home for free. Though this is actually less like eight episodes than one, really stretched out, covering the creation of the girls and how they came to be Townsville’s protector, taking on former lab monkey Mojo Jojo and his evil plot to take over the world through the creation of super-powered simians.

If the above seems breathless and short of full stops – so is the movie. It’s at its best when riffing off pop culture, with a host of Planet of the Apes and King Kong references – I was really expecting an “It was the beauties that killed the beast…” line at the end. The animation is rarely any better than the TV show, but this is mostly a stylistic decision and there are occasional more advanced techniques such as a CGI ball which are used effectively.

Otherwise, it’s largely business as usual, with the tiny heroic trio coming to terms with their superpowers, Bubbles sniffling a lot, etc. It’s just rolled out at greater length, e.g. a hyperdestructive game of tag which might last 30 seconds on TV, goes on here for what seems an eternity (but was probably only five minutes – blame the caffeine). And this is the problem. As the pile of dire Saturday Night Live movies shows, what works great in short bursts often becomes, if not tedious, merely average when extended to feature length.

Creator: Craig McCracken
Star (voice): Cathy Cavadini, Tara Strong, E.G.Daily, Roger L. Jackson