Comedy

The Land Before Time XIII: The Wisdom of Friends (2007)

Look, we all like to make fun of Disney and their utterly shameless milking of their beloved animated classics with cheap and tawdry cash ins. But give them this; even during the height of the direct-to-video boom after Return of Jafar had proved that cheap sequels to big-name animated features were basically a licence to print money, they never went to the same well more than twice. Okay, twice and a tv series. That was it. Three movies and a TV series, MAX. No more. They had standards. Allegedly.

I love how it says “An All New Movie”. Isn’t every movie an all new movie?

Of course, Disney had a very large stable of properties to exploit. But what if you had a studio that

a) Really wanted to get in on that cheap direct-to-video cartoon action.

b) Had a very, very small pool of household name animation to sequelise and

c) Had absolutely zero shame?

Well…you’d get the cinematic donkey-show that was Universal’s Land Before Time franchise. Now, Land Before Time was a pretty damn good film and it did, y’know…decent at the box office. It opened at No 1. But it also lost to Oliver and Company in terms of overall ticket sales. So…fine, but nothing to crow about either.

Certainly, it did not do the kind of numbers that would justify 13 GODDAMN SEQUELS. THIRTEEN.

ONE. THREE.

AND A MOTHERFUCKING TV SHOW.

Now, I am not going to review every single one of them, that’s why God made Jenny Nicholson. I’m just here to review The Land Before Time XIII: The Wisdom of Friends, the second last entry in the series and, by all accounts, the worst of the bunch (because my readers think I’m a bad person and wish me harm).

However!

We can’t just dive in after an eleven movie gap without being hopelessly lost so I have set my team of extremely well-paid maps to work on a breakdown of everything that happens in this series between the first and thirteenth installements.

The Land Before Time II: The Great Valley Adventure

The gang must fight to protect their new home when Sharpteeth find a way into the Great Valley.

The Land Before Time III: The Time of Great Giving

When a sudden shortage of water threatens all life in the Great Valley, the gang of young dinosaurs must cooperate with a group of bullies to make a risky journey outside the valley and find the cause.

The Land Before Time IV: The Quest for Peace

The gang decide to rid the valley of nuclear weapons.

The Land Before Time V: The Final Frontier

Littlefoot’s previously unknown half-brother appears in the Great Valley, and he’s on a mission from God.

The Land Before Time VI:

In an attempt to save their failing marriage, Littlefoot and Cera open a bistro in Milan.

The Land Before Time VII: Long Hard Neck

The series’ one brave, but ultimately misjudged, entry into the genre of hardcore pornography.

The Land Before Time VIII: Littlefoot versus Godzilla

The no-brainer crossover that couldn’t fail. Actually failed quite a bit.

The Land Before Time IX: Please No More

Clip show.

The Land Before Time X: Tokyo Drift

In order to avoid a prison sentence, Littlefoot becomes a drag racer.

The Land Before Time XI: Ultimate Betrayal

The gang are shocked to learn that Spike was working for Internal Affairs the whole time.

The Land Before Time XII: Time Arrives

The gang have to adjust to living in a land that has time now where they can actually age and die. Directed by Werner Herzog. Harrowingly bleak.

“Happy to help, you cheap bastard, you.”

Okay, we’re all caught up. Let’s do this.

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The Land Before Time (1988)

You know the thing about the dinosaurs? It’s really, really sad when you think about it.

These beautiful animals lived for millions of years and then one day, literally one day, their world turned into a flaming hell and they died horribly. And they never understood why.

I was thinking about that a lot as I sat down to re-watch Don Bluth’s third film, The Land Before Time, and the last one he made before parting company with Stephen Spielberg. On one level, this is the least personal of Bluth’s early, pre-sellout films and the one that he had the least real affection for. Whereas Secret of Nimh and An American Tail were true collaborations, The Land Before Time seems to have been the point where Spielberg (and new producer George Lucas) really took the reigns and Bluth was more just the guy who animated what the execs wanted. Story-wise at least. Whatever you think about him as a film-maker, Bluth had a tendency to stamp his work very strongly and it does still very much feel like one of his films in terms of atmosphere, if not necessarily subject matter.

This feels like it came from Spielberg. Is that just me?

Bluth’s films are famously dark and melancholy and I think that’s why this one works.

More than any other movie, this one captures the essential truth that any story about dinosaurs is a tragedy.

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“We burned the forest down.”

Do you want to know how I got ~~these scars~~ into writing about movies?

My college had its own version of “The Onion” where I made my bones writing utterly run-of-the-mill edgy early 2000’s college humour (i.e. the kind of stuff that would get me cancelled today so fast it would break the laws of physics) and my editor asked me if I’d be interested in trying my hand at writing a movie review. And the very first movie I ever reviewed for them (if memory serves) was none other than The Dark Knight. And now you know my gritty origin story. And, if you are old enough to remember my earliest reviews (DON’T GO BACK AND READ THEM DON’T YOU DO IT I SWEAR TO GOD) you’ll remember that this movie was a BIG deal to me and those early reviews are chock full of references to it, even when they weren’t relevant or funny. Which was all the time. I see that now.

So, as you can imagine, I approached this one with a great deal of trepidation. Is it really as good as I remember?

No, actually.

In fact, in many ways, it’s better.

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“There are the hands that made us. And then there are the hands that guide their hands.”

So, how did we get here?

The MCU fell from grace the way Hemingway’s Mike Campbell went bankrupt, slowly and then all at once.

I think we all felt it, didn’t we? At some point this year, probably in the summer when Barbenheimer was in full swing, there was a moment when all of us who had still not disembarked from the hype train took a look at the MCU and said “nah, I’m done”.

And you probably have your own explanation for why that is. Endgame was the peak and it’s all been downhill since then. Superhero fatigue. Bad writing. Too woke. Not woke enough. Too much CGI. Martin Scorsese dropping truth bombs. The pandemic. Whatever.

But ultimately, I think the real reason was just…time. The studio execs currently running around trying to figure out why audiences aren’t flocking to their superhero movies anymore are like surfers wondering why the tidal wave they were riding faded away into the ocean.

Guys. It was a wave. That’s what they do.

Granted, it was a wave like nothing we’ve ever seen before. Depending on when you consider the modern age of superhero movies to have begun (the first X-Men movie maybe?) we’ve been riding this wave for over twenty years with some of the biggest box-office numbers of all time. But, it really was just a bigger version of every other Hollywood trend, be that “make everything like the Matrix” or “make everything like Transformers” or (if you want to go old school) “make everything a Western”. And trends never last. That’s why they’re called “trends”.

And I’ve been burned enough times before to know not to make any big predictions. Maybe these last two years were just a brief blip in an unbroken streak of cinematic dominance that will stretch on to the death of the universe. But, right now, in the waning hours of 2023 it sure feels like the MCU is done. And I’m okay with that. And I don’t regret my time with it as long as I can pretend Thor 4 doesn’t exist.

Because, even if we got nothing else of value from this series of films, James Gunn got to make the Guardians trilogy, and I wouldn’t deny him that for the world.

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Raggedy Ann & Andy: A Musical Adventure (1977)

What was it about the seventies anyway?

I’ve reviewed a few animated films from this decade by this point and they are all (with the exception of the Disneys) weird as balls.

But I get ahead of myself. I’m going to let you in on a little behind the scenes secret. Ever since this mouse escaped the rat race and started writing full time, I’ve actually had less time to devote to this blog with work starting on most posts a mere few days before they’re scheduled to go live. This can be a problem when I starkly under-estimate just how much there is to research on a given movie and go plummeting down rabbit-holes

And my oh my, Raggedy Ann & Andy: A Musical Adventure is less a field full of rabbit holes than a giant hole with occasional bits of field clinging to the edges. But okay, a little background.

So waaaaay back in the 1910s an American named Johnny Gruelle patented a doll that he named Raggedy Ann and then wrote a series of stories starring her, which were such a success that Raggedy Ann became possibly the first bona-fide modern American toy fad. And, of course, as Jane Austen herself once said “it is a truth universally acknowledged that a toy franchise in possession of a fortune must be in want of an animated tie-in.” And boy howdy, did Raggedy Ann manage to get some impressive talent over the decades. For starters, there was a short series of Fleischer cartoons that were (naturally) as charming and well made as they were horrifying.

There were also two television specials produced in the seventies by Chuck Mofawkin Jones. But, without a doubt, Raggedy Ann’s most famous foray into the world of animation was 1977’s Raggedy Ann & Andy: A Musical Adventure which is…well, it’s something.

Here’s what it’s like. Imagine Hasbro want a new Transformers movie. And the director they initially tap dies and so they bring in a replacement; David Lynch. And now Optimus Prime is dancing with a backwards talking midget in the red lodge. That’s kind of what happened here.

Lynch in this instance was Richard Williams, who we’ve had our dealings with in the past. One of the best animators to ever work in the medium, period, Williams was shanghaid into making a glorified toy commerical and decided to use that opportunity to have the time of his life. This film is basically Williams and some of his most talented animator friends (Betty Boop co-creator Grim Natwick, future Genie animator Eric Goldberg and Art “I created Goofy and sued Walt Disney for unfair labour practices, took him all the way to the Supreme Court and lived to tell of it” Babbitt to name a few) having a ball on the dime of the good folks at the Bobbs-Merril publishing company.

But is it a good movie? Well…

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Disney(ish) reviews with the Unshaved Mouse: Planes

Well. That was anti-climactic.

I feel like a knight who’s been on a quest to slay a terrible dragon for a decade only to arrive at the top of the mountain and find the dragon’s around the size of a chicken and died several years ago from old age.

In the early days of this blog I built up Planes as a personal bete noir, a movie I would never, ever review because it represented the worst of crass, merchandise driven movie-making for both Disney in particular and animation in general.

Oh my. How innocent I was. How innocent we all were.

But after years of the absolute garbage I have had to sit through for you people (love you all) it is with a heavy heart that I must report that Planes is…fine?

I mean, it is aggressively mediocre, don’t get me wrong. But, given the state of Disney’s output at present, there’s something refreshing about a movie that manages to hit a solid C.

In fact, I would say it was one of the most safely boring movies I’ve seen all year were it not for the fact that it’s set in the Cars universe and therefore is, as all movies in that benighted franchise are, weird as fuck.

WHAT KIND OF LIFE DOES THIS POOR CREATURE HAVE?!

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(Not a review of) Inherit the Wind (1960)

This map is wrong:

That’s not to say it’s bad.

It’s very useful.

It’s informative.

It is even, when you take a step back and consider it, quite beautiful. But it’s wrong.

The continents aren’t that size relative to each other. Not even close. Of course, you could use a different projection that shows them the correct relative size, something like this:

But now all the continents’ shapes are distorted nearly to the point of being unrecognisable.

Every 2 dimensional map of the world is wrong because, obviously, the world is not flat (I swear to God if anyone starts shit in the comments…). Ultimately, any attempt to render a three dimensional sphere as a 2 dimensional rectangle is, well, a lie. It’s an attempt to simplify that will always lead to distortion one way or another.

I love historical films. I hate historical films.

This was going to be a review of Inherit the Wind.

It became something else.

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Bats Versus Bolts: Movies that had virtually nothing to do with Andy Warhol

These movies are terrible. I’m so glad I watched them.

Flesh for Frankenstein and Blood for Dracula are in many ways the best candidate for a Bats versus Bolts that I’ve done yet. Not only are they by the same director and share many of the same cast, but they were made practically concurrently by the same crew.

Also, when I lie to myself and pretend that there’s some kind of high-minded artistic goal behind this series beyond me getting to talk about vampires and monsters, I like to think that each BvB pair says something about the time they were created in. That is absolutely the case with these two films which are not only seventies movies, but some of the most seventies movies I have ever seen.

These films were directed and written by Paul Morrissey, one of the more fascinating film-makers I’ve come across doing this blog. A member of Andy Warhol’s inner circle (we’ll get to that) he had a front row seat to the drug-soaked bacchanal that was the sixties New York arts scene. Morrissey is fascinating to try to pin down in terms of his politics. A self described right-wing conservative and staunch Catholic…who was also something of a trailblazer in terms of trans representation in film and a body of work that lends itself quite easily to Marxist readings with a consistent portrayal of the aristocracy as a shower of evil degenerate parasites. Like I say: interesting guy.

Note, I did not say maker of good films.

Anyway, Morrissey claims that the whole idea to make monster movies came about, appropriately enough, from meeting Roman Polanski. Polanski apparently suggested that Morrissey would be the perfect person to make a 3D Frankenstein movie, which honestly I would take as an insult. Morrissey didn’t, however, and arranged a shoot in Italy, filming both Flesh for Frankenstein and Blood for Dracula back to back. Or, as they were known in the U.S.; Andy Warhol’s Dracula and Andy Warhol’s Frankenstein. Why were they called that? Oh, that’s very simple.

Lies.

It was just a marketing tactic. Warhol let his friend put his name of the movies to boost the alogorithim. They actually used the same trick for the Italian releases, putting a famous Italian director’s name on them to claim Italian residency which actually got the production in serious legal trouble in Italy.

The resulting movies are Morrissey’s critique of the sticky, shame-filled, bitter and angry come down from the Free Love era that was the early seventies.

That makes them sound a lot more classy and high brow than they actually are.

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Return to Oz (1985)

At some point in the early eighties someone in Hollywood (possibly Stephen Spielberg) decided that the children must be made to suffer.

I don’t know what it was, but the eighties were an absolute Golden Age for media ostensibly aimed at children that seemed “aimed” more like you’d “aim” a psychological terror campaign against an enemy army.

And atop any list of eighties kid’s movies guaranteed to traumatise your little angels you’ll find 1985’s Return to Oz a movie that I never saw growing up, presumably because my parents knew that if they tried to take me to it the cinema would never not smell of piss again.

My wife, however, has seen it and has kindly agreed to watch it with me…

‘Till death do us part my ass.

Alright, what is this thing anyway?

1939’s The Wizard of Oz is regarded by many to be the greatest movie Disney ever made, which tears them up inside because they didn’t actually make it. L. Frank Baum’s been dead a long ass time and if you want to make a movie based on his Oz books you just knock yourself out because they’re all in the public domain. But so much of what people associate with the Oz story comes not from the books but from the movie, which is still owned by MGM. Which means you gotta be real careful when making your own movie that you don’t impinge on any of the unique elements of that film like the ruby red slippers or the famous dialogue or Margaret Hamilton’s Wicked Witch of the West or else MGM will send the big lion around to eat your feet.

Of course, Disney would love to make their own direct sequel or remake to the Wizard of Oz but they can’t because a certain company lobbied hard and dirty to ensure that movie copyright in America lasts until roughly the heat death of the universe.

Ah karma. Sweet as mother’s milk.

Anyway, that’s more or less how we got Return to Oz. It’s a sequel based on an amalgamation of two of Baum’s later Oz books that the filthy Oz casuals among you probably didn’t know even existed. And rest assured, if it is shamelessly aping an older film, it’s definitely not Wizard of Oz.

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Shortstember 2023: Batman: Gotham Knight

“Man, Mouse sure has been pumping out those Batman reviews this year.”

“Da. No doubt because he is supporting the Hollywood Strikers by refusing to review any Marvel or Disney films until the strike ends.”

Firstly, holy shit, Comrade Crow’s still alive.

Secondly, yeah, while that was totally my reason for focusing so heavily on Batman movies this year I swear, it was also because I wanted to finish Batman Begins so that this year’s Shortstember wouldn’t occur out of series chronology because OCD be a harsh mistress.

So, what’s on the menu this year, Mouse, you ask?

GOTHAM KNIGHT.

NO.

The other one.

NOOOOOOO. THE OTHER ONE.

Gotham Knight is a 2008 anthology film that takes places in the continuity of the Nolanverse between Batman Begins and Dark Knight. It’s a collection of animé shorts produced by different animé studios to whet fan appetite before the sequel to a popular movie comes out. You know, a bit like the Animatrix. Wait, no. That’s unfair. It’s exactly like The Animatrix.

Look, it’s animé Batman directed with Kevin Conroy. If your pants aren’t already on the floor, why are you even reading this blog?