Disney

DuckTales the Movie: Treasure of the Lost Lamp (1990)

(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material. New to the blog? Start at the start with Snow White.)

Eighties kids have a tendency to loudly proclaim that the cartoons they grew up with, your Masters of the Universe, your Transformers, your My Little Ponies were so much better than the cartoons made for kids today.

Why do they say that? Lead. Lead was in everything back then. Paint, exhaust fumes, you name it. And lead is well known to have a harmful effect on intelligence. Couple this with the radiation from the hole in the ozone layer frying their brains and the still lingering effects of Chernobyl and quite frankly it’s a wonder that your typical eighties kid can tied their own shoes, much less attempt an objective assessment of the state of made for TV animation then and now. God love them, they’ve suffered through so much. Now, I am an eighties kid by birth but I converted to the church of 21st century animation a looooong time ago so let me put this one to bed. No. Cartoons were not better in the eighties than they are now. Know how I know? Because cartoons have never been as good as they are now. Pretty much every cartoon made for television from the nineteen fifties to late eighties was garbage. Sure, there were talented people working on them, but they were people, not gods, and there simply was no way to contend with the forces of microscopic budgets, corporate mandated toy-schilling and stiflingly conservative broadcast standards and create something consistently excellent or even good. Yes, occasionally an episode of Transformers might get through that still holds up today but these were very, very rare exceptions (I’m talking exclusively about American TV animation I should hasten to add). Contrast that with today: American animation studios are consistently making shows for kids that are better than most of the stuff they make for adults. Pearl from Steven Universe is one of the most fascinating, layered, tragically flawed characters on television right now, period. Gravity Falls is unfolding an ongoing mystery plot with a skill and intelligence that The X-Files and Lost could only dream about. Adventure Time takes Twin Peaks to school with its pure surrealism. Eighties, I hate to break it to you, even our remakes of your shows are a tenfold improvement. You have Transformers? We have Transformers: Prime. You have Thundercats? We have Thundercats 2011. You have My Little Pony? We have Friendship is Magic.

You have an army?

We have a HULK.

So what happened? Whence came this huge leap forward in quality?

Where else?

So some time in the late eighties Disney rolled up their sleeves and decided it was time to show these chumps who the big dog was. Disney began producing high quality TV animation intended for syndication. Critics scoffed, saying that this was an expensive folly that would bring the Disney company into bankruptcy.

“Ha. Motherfuckers never learn.”

Instead, these shows completely revolutionised the American animation TV landscape. Soon after, Warner Bros also got in on the act with Tiny Toons, Animaniacs and Batman the Animated Series to name a few. In essence, all modern TV animation owes its existence to Disney’s gamble in the late eighties, and in particular to their most popular show; DuckTales.

The massive popularity of DuckTales is something that’s always confused me a little. I mean sure, I watched the show and I liked it fine, but what is it about this story about three duck kids and their miserly grunkle that made it to 100 episodes? Couple of things. Firstly, simply by dint of the fact that it wasn’t terrible it was already head and shoulders above pretty much any other cartoon on the air. But I think another key to its longevity was the fact that it’s quite similar to Doctor Who. One of the reasons that show is older than Jesus is because, aside from the fact that they can recast the main actor, the Doctor has a machine that lets him go anywhere in space or time. There is literally no end to the stories you can tell with that basic premise. And in a way, Scrooge McDuck also has a TARDIS. He’s so wealthy that there’s literally nowhere on Earth he can’t afford to go. Want to do a story on the bottom of the ocean? Scrooge buys a submarine. Want to take him to space? Scrooge buys a spaceship. Want to do a story with dinosaurs? Scrooge gets his personal mad scientist to build him a time machine. Want Scrooge to meet Satan? He has a heart attack and goes to hell because it is easier for a camel to pass through the eye of a needle than for a rich man to see heaven. Again, you will never run out of stories.

Another thing to consider is that DuckTales was based on a hugely popular comic book, by the legendary Carl Barks. Although Donald Duck was of course created by Walt Disney, it was Barks who did more than anyone else to flesh out everyone’s favourite psychotic waterfowl, creating Duckburg and a whole host of supporting characters; Scrooge McDuck, Gyro Gearloose, Flintheart Glomgold, Magica deSpell (it truly was a duck blur). The Duck comics have never really been huge in the States where the comics scene is of course SUPERHEROES SUPERHEROES SUPERHEROES NOW UNTIL THE END OF TIME but they’re very popular in what I like to call “Asterix country”, Europe, Latin America and Asia. In fact, I even tried to get my hands on a copy of The Many Lives of Scrooge McDuck for this review from my local comic shop. This lead to the following exchange. I swear to almighty God I am not making this up.

“Sorry, it’s sold out. We sold the last copy to Killian Murphy.”

“…Killian Murphy? The actor?”

“The Scarecrow himself, yes. He came in here and asked specifically for anything pertaining for Scrooge McDuck. Who were we to refuse him?”

“The Scarecrow himself, yes. He came in here and asked specifically for anything pertaining to Scrooge McDuck. And who were we to refuse him?”

I SWEAR TO GOD.

But yes, Donald Duck comics are a big effing deal in many parts of the world. Personally though, I always found the entire concept of DuckTales the TV show to be really depressing. Think about it. Hewey, Dewey and Louie get sent to live with their uncle, Donald. I don’t think we ever found out why in the show, but there is no good reason that happens. And then, after losing their parents, Donald passes them off on his uncle, a miserly one-percenter who clearly cares more about his money than his nephews while Donald is off in the navy. Those three little ducks must be carting around a metric ton of abandonment issues. The reason why Donald isn’t present in the series apart from a few cameos is that Roy Disney didn’t want any of Uncle Walt’s classic characters getting TV stink on ’em. Instead, the character of Launchpad was created to fill the role Donald usually did in the comics. Today’s movie, Treasure of the Lost Lamp, came out in 1990 and served as a season finale of shorts to the beloved series. Did DuckTales go out with a bang or a whimper? Let’s take a look.

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Saving Mr Banks (2013)

Previously on Unshaved Mouse: After learning that he’d been secretly manipulated into destroying the career of Don Bluth, Mouse swore revenge against his former mentor Walt Disney, promising to review “The Worst Disney Movie”. However, it seemed that the two had finally buried the hatchet after Mouse reviewed Big Hero 6 i~~n an attempt to boost his flagging page views~~ just ‘cos. But then, Walt was kidnapped by Mouse’s entire rogue’s gallery who it turned out had been led by none other than…Mouse.

Now read on.

“You’re kidding. Saving Mr Banks? That’s your pick for worst Disney movie?”

“Yup.”

“Not one of the straight to video sequels? Not the High School Musical movies?”

“Nope.”

“Not the one where we literally threw tiny lemmings off a cliff to their deaths?”

“Pff. Lemmings. Who cares? Buncha racists.”

“FUCK YOU, MAZERUNNER!”

“Saving Mr Banks was a critical darling! It grossed over a hundred million dollars! How can it possibly be the worst Disney movie?”

“Well, “worst” can have very different meanings.”

Pamela Lyndon Travers, born Helen Lyndon Goff was a remarkable woman who led a remarkable life. At various times a Shakespearean actor, a scholar of Native American cultures, a propagandist during the second world war, a member of the literati who rubbed shoulders with the likes of AE and WB Yeats and the creator of Mary Poppins, one of the most popular children’s characters in English language literature. She was also, by most accounts, a bit of a pill. In fact, it’s been said that she died “loving no one, and loved by no one.” Who said that? Her own grandchildren. Yikes.

A question I got asked a lot after my review of Mary Poppins was whether I had read any of the original books and the answer was “No.” I have since had a chance to rectify that, or at least, I’ve managed to read the first book, the one that the 1964 film was based on. In my opinion it’s a charmingly written, often very witty book that’s let down by a somewhat ramshackle episodic structure and the fact that the main character is WORSE THAN HITLER.

Sorry, I know a lot of people love these books and prefer the literary version of Mary Poppins but oh my God, no. No, no, no, no, no, She is awful. Vain, mean, borderline emotionally abusive, contemptuous of everything and everyone, snobbish, nakedly hostile to anyone who is not on their knees kissing her very shoes and she sniffs. Constantly. “Mary Poppins sniffed…” it was like a goddamn tic. By the end of the book I was like…

And today’s movie, Saving Mr Banks, is about how that book and its fairly unlikable author and its deeply unpleasant main character were somehow corralled into making one of my favourite movies by one of my favourite film-makers. You could not engineer a safer audience for this movie than me. So how badly do you think they had to fuck it up for me to hate this movie, to hate the Disney corporation that made it and even for a little of that hate to wipe off on my memories of the original film? How hard do you have to try to fail that badly?

Let’s take a look.

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Captain Planet and the Planeteers: If it’s Doomsday, this must be Belfast

Reality, as Stephen Colbert once patiently explained to George W. Bush, has a well-known liberal bias. The flipside of that is that fiction tends to be conservative. In a typical narrative there are good guys, there are bad guys, and there are few problems caused by the latter that can’t be solved by the former punching them repeatedly in the goolies. In the real world the big problems that bedevil mankind tend to be big, messy and complex and fixing them is an absolute slog with no clear-cut right or wrong and often very little visible sign of victory or even progress.

Take, for example, the question of how to best leverage the advances of industrialisation to improve the standard of life for the maximum number of human beings without causing irreparable damage to the bio-sphere and rendering the entire planet and uninhabitable hellscape? That’s a bit of a poser. And how would you dramatise that question, particularly for a young audience? Say, for example, in a thirty minute animated series running for over a hundred episodes?

To create a cartoon show that deals with this problem maturely and intelligently while still working as a compelling and dramatic piece of entertainment would take something close to genius.

Yes. That is what it would take.

So around 1990 millionaire Ted Turner decided to create a cartoon show about heroes who took on the issues of environmental devastation and social injustice instead of doing stuff that was fun. It was called Captain Planet and the Planeteers and the premise was this: Gaia (Whoopi Goldberg), the spirit of the Earth, wakes up from a long nap and sees that human beings have been trashing the place for the last thousand years or so (well, maybe if you had actually been around to tell us to knock it off we would have known better, lady). Despite the fact that she was asleep at the switch and this is kinda her mess to clean up as much as anyone’s, she enlists five teenagers with ~~attitude~~ respect for nature and all its living things. They are Kwame (Levar Burton) from Africa, Wheeler (Joey DeDedio) from North America, Linka (Kath Soucie) from the Sovie…I’m sorry, EASTERN EUROPE, Gi (Janice Kawaye) from Asia and Ma-Ti (Scott Menville) from Latin America. She gives them five elemental rings with Kwame, Wheeler, Linka and Gi getting the powers of Earth, Fire, Wind and Water and Ma-Ti getting stuck with the power of Heart because poor Latin America is always the pathetic butt monkey.

“It’s true.”

Whenever they’re faced with a threat they can’t defeat alone they ~~summon the Zords~~ combine their power to summon Captain Planet. Who has a green mullet.

Now, as a premise it’s not…terrible. And on paper the show had a lot going for it. The animation was better than a lot of Saturday morning fare of the time and the cast was RIDICULOUSLY high-powered thanks to Turner roping in his Hollywood friends to voice the various villains including Martin Sheen and Meg Ryan back when she was probably the most successful Hollywood actress on the planet. But it also had problems, not least of which was the fact that Captain Planet is, no question, the worst superhero ever to achieve mainstream success.

Why was he so terrible? Was it the puns? The awful puns? The terrible, excruciating, abominable puns? The puns that made you want to curse God for giving you ears? The puns that made you smell colours, taste sounds and gibber in unknown tongues? The puns that made you want to tear off your skin and fold it into a little swan? The puns that made you head to the nearest clock tower with a high-powered rifle and start picking off the fleeing figures below while muttering “There’s Captain Planet. There’s Captain Planet…”?

No, it wasn’t the puns.

I first realised the utter crapitude of Captain Planet as a child, when I watched the episode “A Good Bomb is Hard to Find” where the Planeteers travel back in time to prevent Doctor Blight from selling a nuclear bomb to Hitler.

“Hey boss, how can we make sure people know it’s supposed to be Hitler?” “Hitler had a moustache, didn’t he?” “Yeah.” “Give him a moustache. That way they’ll know.”

Captain Planet comes face to face with Hitler and immediately curls up in a little ball because the hatred coming off him is so strong that it’s a form of pollution. It was at this point that I stood up, pointed an accusing paw at the TV and loudly declared:

“NO! NO! A superhero who comes face to face with Adolf Hitler and does not punch him right in his stupid face is not a superhero! Good day sir!”

“But what we’re trying to show is that prejudice can…”

“I SAID “GOOD DAY” SIR!”

Think about that for a minute. They created a superhero whose kryptonite is evil. Captain America is one of the greatest superheroes ever because in his very first appearance he punched Hitler right in the face. He didn’t collapse weeping in a puddle because HITLER DIDN’T COME WITH A GODDAMN TRIGGER WARNING!

Warning for: Hatred. Genocide. Inaccurate moustache.

As notorious as that episode is, there’s one that (in my neck of the woods at least) is even more infamous; “If it’s Doomsday, this must be Belfast”, better known here as “The one where the IRA got a nuclear bomb.”

I have never actually seen this one but this thing is legendary in Ireland. I have, no lie, been waiting to do this review all year. I have a feeling this is going to be the greatest experience of my life.

Let’s take a look.

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Disney Reviews with the Unshaved Mouse #54: Big Hero 6

And so, like putting on an old comfortable pair of shoes, I return again to the Disney canon. Good to be back everyone, feels like I never left. Unshaved Mouse doing what he was always meant to do, reviewing Disney movies! Put the Disney dance party album on repeat because the whole gang’s here! Including my collection of traitorous good for nothing maps who betrayed and abandoned me the very second things got rough and have now come crawling back like the worms they are.

“Hooray!”

“Ah, don’t be like that, Mouse.”

“Don’t talk to me.”

“‘S only ever love, M. You know that.”

“Where did you go anyway?”

“We just hung around with Rubber Lotus for a while. At first it was fun, but then it got a little weird. He kept asking us to call him “Mouse”. Did you know he has a shrine to you in his wardrobe?”

“Yeah. Shrines. Never not creepy.”

And of course, since I’ll be reviewing a Disney movie that means the return of our old pal Walt Disney!

“Hello folks! Good to be back, Mouse. Glad to see there’s no hard feelings over that whole “brainwashing” thing.”

“Hello folks! Good to be back, Mouse. Glad to see there’s no hard feelings over that whole “brainwashing you to do my dark bidding” thing.”

“None. What. So. Ever.”

“Glad to hear it. Say, you keep gritting your teeth like that you might chip your incisors.”

After the marriage of Disney and Marvel, the two companies did what many couples do in this situation; put their children from previous marriages in a room together and try to force them to like each other. In this case, Disney CEO Bob Iger told the Disney animators to look through Marvel’s back catalogue to see if they could find properties that would make good animated movies. Now, people who’ve followed my blog from the beginning know that when Disney adapts other properties, fidelity to the source material is not usually high on their list of priorities. Marvel fans, conversely, have a list of priorities that reads

Marvel fans tend to get a little…um….Rain Man-esque…about movies changing even small details about their favourite characters, and films that don’t respect the source material tend to get eaten alive like a cow being dipped in a vat of piranhas.

Poor bastards never had a chance.

So it’s not really surprising that the comic that Don Hall (director of Winnie the Pooh and writer on most of the Lost Era movies) chose the comic Big Hero 6 to adapt instead of a better known property because…well, no one gives a piping hot shit about Big Hero 6 and this way they could mess around with it as much as they needed to. In the comics Big Hero 6 is a Japanese superhero team that operates as a parody of Japanese pop culture tropes. I haven’t read the comic myself but reading up on it raised a few red flags for me, number one being that the mini-series they first appeared in was written by Scott Lobdell, a writer whose work is (if I may be horribly blunt) not my cup of tea.

Secondly…Okay, there are those who would consider this kind of broad cultural parody to be racist in and of itself. I’m not one of them. Irish people come in for a good bit of this kind of thing and I think as a nation our general attitude is…

But…some of the details about this book, like the fact that one of their enemies is the embodiment of all the people who were killed in the nuclear attacks on Hiroshima and Nagasaki…

Yeah, I think we can all agree that “loose adaptation” was probably the way to go on this one.

So much for the book. What about the movie? Oh, and while I’m not in the habit of putting up spoiler warnings I’m aware this movie only came out in 2014 so yeah, I will be discussing all major plot points just like I always do. If you haven’t seen the movie yet, get on that. The rest of you? Let’s roll.

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Moomin and Midsummer Madness (2008)

When trying to understand the appeal of the Moomins, you first have to look at their creation back in…

Hello?

Anybody?

"Congratulations Mouse. You’ve finally done it. You’ve finally succeeded in completely alienating your entire readership. Bravo. Genius. Take a blog that’s largely supported by Disney fans and devote it to obscure European cartoons, Irish politics and a film that was literally never even released."

“Congratulations Mouse. You’ve done it. You’ve finally succeeded in completely alienating your entire readership. Bravo. Genius. Take a blog that’s largely supported by Disney fans and devote it to obscure European cartoons, Irish politics and a film that was literally never even released.”

“WHAT HAVE I DONE!? Surely its not too late?!”

“Nope. They’re gone. You had your one chance at internet stardom and you blew it. That was it. Let’s go boys.”

“Wait, where are you going?!”

“Back to the Google images page you stole us from. Farewell, Mouse.”

“See you, Mouse. It was fun except for that time I was almost fed to wyverns.”

“Peace out, dawg.”

“No…my readers. My maps. They’re all gone…”

“There’s a grief that can’t be spoken.”
“There’s a pain goes on and on.”
“No more views and no more comments.”
“Oh my blog is dead and gone…”

Guys, I swear, I will review a movie you’ve actually heard of as soon as I’ve done this one. Contractual obligations and all. If it helps, I’m as much in the dark about this one as a I think most of you are (with apologies to my Scandinavian readers). That’s not to say that the Moomins are unknown in Ireland, I know quite a few people who are fans, but the whole Moomin phenomenon just kind of completely passed me by. My blind spot on the Moomins honestly extends to most things Scandinavian. I just don’t know that much about those countries apart from the fact they constantly conspire to keep Ireland out of the top five on the Human Development Index, the Nordic Marcia Brady to our Gaelic Jan.

“Sweden did it again! Sweden, Sweden, Sweden!”

Okay. So. The Moomins. What are they? I don’t know. I mean literally, I have no idea what they’re supposed to be. Wikipedia describes them as “fairy tale” characters, which is just wonderfully specific. I suppose, since they’re called “Mumintrolls” in Swedish they’re supposed to be trolls from Scandinavian folklore but…

Yeah, how did I not get that?

Well anyway.

Okay. So. The Moomins. They’re a family of white, hippo…things. Who hang out. And have whimsical adventures tinged with an unmistakeable air of melancholy. They were created by a Swedish-speaking Finn named Tove Jansson who wrote and illustrated nine books featuring the characters between 1945 and 1993 and who also takes a hell of a stylish photograph.

Who you know fresher than Tove, riddle me that?

There have also been EIGHT cartoon series based on them, and numerous movies with the most recent being released this year. They are, like all things that are cute but difficult to explain, huge in Japan.

And yes, they have their own theme park.

Because Europe.

So, now we’re ready to talk about the movie? Oh, we have not even begun to unpack all this.

So, one of those eight (!) cartoon series was Opowiadania Muminków, an Austrian, German and Polish co-production that ran between 1977-82. Then, in 2008, a Finnish company took that series and edited into a single movie called Moomin and Midsummer Madness, the English dub of which I am reviewing today. So, to recap.

Swedish speaking Finn writes a book.
Germans, Austrians and Poles adapt it into a TV series.
Finns adapt TV series into movie.
Americans dub movie.
Man kills God.
Man creates dinosaurs.
Dinsosaur kills man.
Woman inherits the earth.

Got that? Okay, let’s do this.

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The Fantastic Four (1994)

Sometimes, a movie comes along that is so notorious, so terrible, so gosh-fucked appalling that no one reviewer may safely tackle it alone. To that end, Unshaved Mouse has teamed up with the illustrious NewtCave and Erik Copper to review the never-released Roger Corman-produced superhero movie; The Fantastic Four.

UM: Hi guys and welcome to Unshaved Mouse. Make yourselves comfortable, don’t touch the continents. They bite.

“Hssssssssssss!”

UM: So. Erik. Newt. What the fuck did we just watch?

EC: I was under the impression that we were just witness to the birth of the anti-christ of comic book movies.

NC: Pretty much. This thing gets my vote for “Worst Marvel Film.” Including Howard the Duck.

UM: Was it though? I mean, can’t we grade of a curve? There were extenuating circumstances here.

NC: Fair point, furry one. But let me put it this way. Elektra? Released in theatres. Hulk? Released in theatres. Howard the Duck? For some reason, still released in theatres. Roger Corman’s Fantastic Four? Kept secret. Kept safe.

EC: Gandalf’s wise words were still not strong enough to keep this mess off of the internet, though. Because as we all know, technology is the MOST powerful of the dark arts.

UM: Speaking of dark arts, Erik, aren’t you supposed to be dead?

EC: Huh?

UM: Yeah. I totally fed you to a shark at the end of our last review.

EC: Oh yeah. Dick! That was the single most tortorous experience of my life! I had to chew my way out of the shark’s stomach! I still have nightmares! I

UM: Heh.

EC: It’s not funny!

UM: It was funny to everyone who wasn’t you. Which, y’know, was the entire human race. Needs of the many, Erik.

NC: Should I step outside while you two work through your prior history?

UM: Nah baby, we cool. Let’s get started. Newt, as our resident Marvel buff, what can you tell us about the good ol’ Fantastic Four?

NC: Probably more than is either necessary or interesting. But, limiting myself to relevant information, the Fantastic Four have often been referred to as “Marvel’s First Family.” and that’s only because that’s exactly what they are. Back in the ancient past of 1961, Stan Lee took it upon himself to create a team of superheroes like none that had come before. Instead of a bunch of square-jawed Super Friends, he elected to make a team that was more like a family trying to make the best of a bad situation.

UM: With Square Jaws.

EC: Rather rubbery and slightly malleable jaws, too.

NC: When The Fantastic Four #1 hit newsstands, they didn’t even have costumes or secret identities. They were all about breaking the norms of what people had come to expect from the superhero genre.

UM: I think the FF was really the big bang of the modern Marvel universe. So many of the characters and concepts that make up that world got their start in the pages of Fantastic Four. Doctor Doom, Black Panther, the Inhumans, the Skrulls, the Kree, the list just goes on and on.

NC: Exactly. The company wasn’t even called “Marvel” before the FF came along. Anything before that was published under the not-so-timeless brand of “Timely.”

EC: It was incredible how fast the superhero boom took off. Most of the heroes we know today didn’t even start off as anything other than one-off stories that were just too popular to remain that way. Spider-Man? He first appeared in Amazing Fantasy #15. Thor? He was first introduced in Journey into Mystery. Iron Man? Tales of Suspense. These heroes didn’t start off timeless, but they slowly captured our hearts. The Fantastic Four is no different.

UM: Which is kind of why it’s so sickening how Marvel are treating this title now, basically sweeping it under the rug because they can’t get the movie rights back from Fox.

NC: Well, to be fair, they’re doing that with ALL the properties they haven’t regained the movie rights to, which seems a bit like dirty pool to me.

UM: I dunno dude. The day I see Wolverine and Spidey at the dole office maybe. It seems like the Fantastic Four have gotten it worse than anyone.

EC: I don’t even know who’s side to be on. Fox is being a child not willing to share its toy, and Marvel is being a child throwing a tantrum because they want that toy SO VERY BAD.

NC: It’s a crappy situation, and I think everybody involved lost. I mean, I know we’re supposed to reserve judgement on Fant-four-stic… but yeah. ‘Nuff said, am I right?

UM: I will lay good money on it being the best Fantastic Four film ever.

EC: I will lay good money on it being an attempt. And that’s about all I can give it.

NC: I will lay good money on the team being rebooted with the SAME DAMN STORY enough times that the filmmakers all throw their hands in the air and finally adapt Neil Gaiman’s Marvel 1602.

UM: Ah, the Fantastick Four!

EC: Yes, and Peter Parquagh! (GOD WHY?!)

UM: Okay, but what about today’s movie? If I may?

NC: Go right ahead.

UM: I thank ye. So, back before Marvel decided to stop letting other companies fuck up their characters and just do it right themselves, they sold the movie rights to the Fantastic Four for a song and a wink to a German producer named Bernd Eichinger. Eichinger had a limited amount of time to make the movie or else the rights would revert to Marvel so, when he couldn’t get the money in time, he teamed up with legendary cheapo movie-maker Roger Corman to make a superhero movie in three weeks with $1 million. The resulting…thing…was never meant to be seen by human eyes. It was solely created to allow the company to hold on to the movie rights. Thankfully, such shady business practices would never occur in Hollywood today.

Ha! It's a joke! Because it happens all the damn time!

Now how did that get there?

UM: So, just how bad can it be?

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Asterix in Britain (1986)

TINTIN CAN SUCK A DICK!

Sorry! Sorry! That was uncalled for. I apologise unreservedly. Old habits just die hard. See, when I was growing up, every public library in Ireland had a well stocked collection of both Asterix books and Tintin books (because this is the greatest damn country on Earth). And pretty much every playground was divided, Sharks and Jets style, between Tintin fans and those of us who felt that the tales of a group of superpowered Celtic warriors battling against the most powerful empire on earth might be a tad more compelling than the adventures of LITERALLY THE MOST GENERIC MAIN CHARACTER IN ALL OF FICTION…

Sorry. Sorry. Sorry.

I apologise to all fans of Tintin and Hergé and his wonderfully crisp ligne claire style. Some wars are still being fought long after they say “We have peace.”

I acually love the Tintin books, I just wish Herge had wised up and renamed them “The Adventures of Captain Haddock and his ginger sober companion.”

Okay. So. Asterix. When I announced two weeks ago that I’d be reviewing an Asterix movie the response was predictable mix of “Yay Asterix!” from my non-American readers and a big “who’s the blonde midget Viking?” from my American readers so now’s probably a good time to explain who and what Asterix is.

Hey, I know which side my blog is buttered.

So Asterix is a Franco-Belgian comic that is still going since its first appearence in 1959 but was originally created by René Goscinny and Albert Uderzo. The setup is this; it’s 50 BC and Rome has conquered all of Gaul (modern day France). All? Not quite. A tiny village of indomitable Gauls stills holds out against the Roman invaders thanks to a magic potion brewed by their druid, Getafix, that gives the Gauls superhuman strength. The heroes of these stories are Asterix, the blonde short-arse, and his buddy Obelix, who was dropped in a cauldron of magic potion as a baby and so is just superhumanly strong all the time (why the Gauls don’t just do this with all their babies is never explained). The main gag is not entirely dissimilar to that of the Flintstones, the past and present are pretty much exactly the same. The series draws its humour from many sources; slapstick, political satire, puns (as in, every single character’s name is some kind of play on words) and especially from affectionate riffs on European cultural stereotypes (the Goths are always punctual, the Greeks have flat noses like figures on urns etc). Despite the basic premise being “French people make fun of foreigners” the series is hugely popular, not only in its native France but everywhere in Europe from Malta to Finland.

“I literally could not give two fucks about…holy shit, ASTERIX!? I love that guy!”

Asterix is also huge in Latin America, India and even China. How popular is he? Goscinny and Uderzo have sold more books worldwide than any other French author. That’s right. More than Victor Hugo. More than Balzac. More than Dumas.

Well, its not like DArtagnan has his own theme park, does he?

Well, D’Artagnan doesn’t have his own theme park, does he?

So why are these books so popular? Well firstly, they’re just really, really good. Seriously. The artwork is beautiful, the character designs are Disney good in terms of being expressive, appealing and versatile and they’re goddamn hilarious. Also, the Asterix series have been blessed with legendarily good translators (the series has been adapted into over 100 languages). And yet Asterix has never really found much purchase in the United States. Why is that? Culture gap, partially. A joke about how Corsicans are constantly swearing vendetta would probably prompt some head-scratching on the other side of the Atlantic.

“You’ve made an enemy today, Mouse.”

“Oh, get in line.”

But mostly I think it was just due to bad timing. To get a foothold in the United States comic market Asterix would have needed to become popular in the fifties, before the Silver Age began and American comics just became SUPER HEROES SUPER HEROES SUPER HEROES SUPER HEROES FROM NOW UNTIL THE END OF TIME. The distributors for European comics just weren’t there and so Asterix missed his shot unfortunately. Oh well. Fear not Americans. It may be tricky for you to track down copies of his books but you can still watch one of the many fine animated adaptations of Asterix books that have been made over the years HAHAHAHAHAHAAAAAAAAAAHAHAAAAAA …*collapses into a weeping pile.*

Oh Christ.

There have been nine (NINE!) animated Asterix movies and four live-action movies (all starring Gerard Depardieu as Obelix).

My God man. You were in Jean De Florette.

Now, I haven’t seen all of the animated movies. But I have seen a LOT of them. And they can be broken down into four categories;

1) The ones with terrible animation,

2) The ones with terrible voice acting,

3) The ones with terrible animation and voice acting.

4) The ones with ALL THREE.

But honestly I think that even with top-notch talent in every area it would be damn hard to make a good Asterix movie that still resembled the original in any meaningful way. The comedy just doesn’t…work when you translate it to film. The timing is always off, it just doesn’t translate well (which is ironic, since Asterix is one of the most successful examples of translating comedy in human history). Today’s movie is Asterix in Britain, an adaptation of the eighth Asterix book and one of my personal favourites, firstly because it’s just classic Asterix and also because it included this guy:

His name is O’veroptimistix. He was the only Irish character to ever appear in these books. He had one line, that included the word “Begorrah”. And I loved him.

So. Will the movie be a one, a two, a three or a four? Let’s find out.

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Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003)

So one day Music was walking down the street somewhere in early twentieth century America and he was feeling on top of the world. Thanks to fancy new technologies like the wireless and phonograph, and this crazy new thing called “Jasz”, more people were listening to Music than ever before and that suited Music just fine.

“Hey there Mistah Music!” the newspaper boys would call as they heard him pass by and Music would tip his hat to them courteously.

Occasionally a bum would yell “You think yer so big! With your phonygrams an’ ragtime! I remember when you was bein’ spit out of a harmonica!” And then Music would drag the loud-mouthed drunk into an alley way, knife him repeatedly, and leave his body as a warning to the other bums.

He stopped on a street corner to roll himself a ludicrously expensive old-timey cigar. It was then that Music saw a tiny, starving artform, no more than a few years old, flickering and shivering on a filthy doorstep.

“Hey kid.” Said Music “What’s eatin’ ya?”

“Golly gee!” Said the infant artform “Who said that?” (Because of course, Music cannot be seen, as Music is an eight legged dragon covered in hooks and shimmering scales that go up and down, up and down and anyone who saw him would instantly go mad.)

“What’s your name, son?” Music asked kindly.

“Animation, mistah.” said Animation “I was just born and ain’t got no cultural relevancy. And I wants cultural relevancy so bad!”

“Well Animation.” Said Music “I’ve been looking for a smart young visual medium to help me expand my business ventures. I like you kid, ya got moxie. You got razzmatazz comin’ out the hooey. You and me could do great things together, kid. Whattya say?”

And so Music and his young new protégé formed a partnership that would stand the test of time. So influential was the fusion of music and animation that it even wiped out other artforms that were hugely popular at the time but have now been almost totally forgotten, like smell sculpture, colour-dancing and Grand Schmopera.

Animation has grown up a lot since the early days and can now stand on its own two feet as a medium. But if you look at the very early animated shorts from the twenties and thirties, you see that animation was almost solely used to give a visual component to music. There’s a reason those series of cartoon shorts have names like Looney Tunes, Silly Symphonies and Merry Melodies. And the link lasted long after animation had started maturing into a more narrative based style with its own way of telling stories. At Disney, even after Snow White and Pinocchio we still had movies like Make Mine Music, Melody Time and Fantasia where the animation is very much guided by and in service to the music.

Animation and Music, to put it plainly, are tight. They go way back. They’re best buds. When Film kicks Animation out of the house, he crashes on Music’s couch. Music was the best man at Animation’s wedding, Animation is the godfather of Music’s child…Music…Junior…okay the analogies are breaking down in a big way, moving on.

Interstella 5555: The 5tory of the 5ecret 5tar 5ystem is French electro act Daft Punk’s 2003 album Discovery. Daft Punk are a band who…

Um…

Shit shit shit. Okay, I really didn’t want to do this, but I’m going to have to ask for some help from by evil brother, The Unscrupulous Mouse. See, he may be a twisted maniac, but he’s also a pretty awesome musician and he knows more about house music than anyone else I know.

"Ha" I knew the day would come when you would bow before my greatness, brother!"

“Ha! I knew the day would come when you would bow before my genius, brother!”

“Oh get on with it.”

“Wait a minute, Mouse.”

“What is it, Nit?”

“I thought The Unscrupulous Mouse was your brother Eamonn? Donal’s your brother who’s a musician!”

“Eh…he’s…look, he’s a composite character. I have three younger brothers. He’s based on all of them.”

“Younger? But TV Tropes said he’s based on your OLDER brother!”

“Yes. Sometimes TV Tropes can be wrong.”

“Gasp!”

“Look, are we doing this thing or what?”

“Enlighten us, Maestro.”

“A person can talk endlessly about Daft Punk’s music career. Their iconic house tracks revolutionised dance music in the mid 90’s and their re-imagining of funk music brought it roaring back into the mainstream right up to the present day.”

“But the main reason for Daft Punk’s success is that they are completely anonymous. That means that it is impossible to hate them! They have no opinions, attributes or features and so can be judged solely on the merits of their music. The hipsters can’t hate them because their earlier music can be compared to what is popular in the underground scene at the minute, and all of the mainstream listeners can’t dislike them because….well I honestly believe that social media has brainwashed these people so they will like anything they’ve heard more than fifty times in the one day (Example: Get Lucky). “

“You don’t like Get Lucky? You monster!”

“In conclusion, the only reason you can hate Daft Punk is because they’re French and have silly names. Now if you’ll excuse, my dark genius is needed elsewhere.”

Interstella 5555 is certainly not the first attempt to turn an album into a full length movie (you’re got The Wall and Yellow Submarine to name two), nor is it the first time Japan and France have collaborated in animation (Uly-seeee-eeeeeeeeee-eeeee-es). You might not know this (I certainly didn’t), but manga is absolutely HUGE in France, making up around half of all comics published there.

Likewise, animé has had a big presence on French TV for many decades, with most young Frenchlings having grown up watching shows like Dragon Ball Z and Robotech. Little wonder then, when Daft Punk were looking for a studio to animate their album, they looked East, not West. Specifically, they turned to legendary animator Leiji Matsumoto (the guy behind practically every animé TV series from the seventies and eighties) and Interstella 5555 is the product of their creative union. How did it turn out? Let’s take a look.

So the movie begins with footage of an interview with Matsumoto, flanked by Daft Punk in their robot costumes, discussing the origin of the film. Although, what with the grainy black and white footage, it looks more like the bit in a fifties sci-fi movie where the mad scientist announces to the world that his robot army will destroy them all.

“Fools! You called me mad! You denied the beauty of my children! But now the whole world shall bow before the steel legions of Doctor Matsumoto!”

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Tokyo Godfathers (2003)

(DISCLAIMER: All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material. New to the blog? Start at the start with Snow White.)

I sometimes get asked for advice on writing by desperate people who’ve got nothing left to lose and I usually give them some pap about being true to your art and letting the story flow naturally and blah blah blah. If I was honest, there’s really only one rule with writing; “It’s not what you do, it’s how you do it.” Trite? Yes. Cliché? Absolutely. But also true.

I feel I owe you all an apology. Last time I tore into From Up on Poppy Hill because of its story problems, it’s lack of payoff, its glacial pacing. And it has all of those things. But this is the truth of the matter: I watched that movie and had an emotional reaction to it. I didn’t like it. And then I used those problems I mentioned before as justification for why I didn’t like it, both to myself and to you. And this is not just me. Every critic does this. We have subjective, emotional, often illogical reactions to movies and then use film theory to present those reactions as objective, dispassionate and perfectly sound. This doesn’t mean that From Up On Poppy Hill is a good movie, it just means that when I depict the movie as being bad because it breaks Law X of good screenwriting I’m being disingenuous. On the most fundamental level, I didn’t like it because I didn’t like it.

This was brought home to me rather powerfully by today’s movie, Tokyo Godfathers. This movie breaks two rules that are supposed to be pretty ironclad. Firstly, the action of the plot is largely driven by coincidence. Secondly, the ending only misses out on being a literal deus ex machina because it doesn’t involve a machine. And yet, it works. It really works. It works like German ants.

This the third of only four moves directed by the legendary Satoshi Kon before his tragic death from pancreatic cancer at the age of 46. I haven’t seen any of the others (although after seeing this you can bet your left buttock I am going to check them out). Even more unusually, each film in Kon’s tiny filmography seems to be wildly different from the others; Perfect Blue is a psychological thriller, Paprika is concept-heavy sci-fi, Millennium Actress is a time-travel historical romance and Tokyo Godfathers is a straightforward caper movie. I went into this movie fore-warned that Kon was the “David Lynch of animé”, an idea that seems to promise weirdness so potent that even staring at it would drive you to gibbering madness. Tokyo Godfathers is most definitely not the movie that I expected. It’s actually one of the least alienating and most accessible animé movies I’ve ever seen, which is impressive as my DVD has no English dub and I watched this one in subtitled Japanese. The story is actually grounded enough that there’s really no reason the movie couldn’t have been made as a live action feature (although we would have been missing out on some fantastic animation if it had been).

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The Prince of Egypt (1998)

Writing reviews is only partly why I do this blog. The other part is getting to know you guys; finding out your likes and dislikes, your passions and the things that drive you crazy. Learning the things that make you all wonderful unique human beings and then selling that information on to advertisers. And you’re a pretty diverse bunch. In the regular cohort of commenters I’ve met evangelical Christians, Mormons, Muslims, Jews, Atheists, Catholics and a larger-than-I-would-have-thought-possible contingent of furries.

“Not my fault. I didn’t ask to be this gorgeous.”

And by and large we all tend to get along and I’d really like to keep it that way. Sooo…just to remind everyone, today’s movie is Prince of Egypt, a 1998 animated movie based on the story of Moses. It is not a sacred text, even though it’s narrative is based on one depicted in a sacred text. But it’s a movie. Got that? It’s just a movie. And if I make jokes about Moses, please remember that I’m mocking Moses the character played by Val Kilmer and not the actual prophet and oh God, please, please don’t kill me I have a wife and child who’d kinda miss me oh dear God I don’t want to die.

Ahem.

So, let’s get a little background. The story of Moses and the Israelites’ escape from Egypt is probably one of the most widely known stories in human history, and only partly because it’s a foundation text of the three big Abrahamic religions. It’s just a phenomenal story, epic, sweeping, full of spectacular miracles and human tragedy. So it’s no wonder that there have been cinematic adaptations of Exodus for almost as long as there’s been cinema. Some stories work best on the page, and then there are some that are just crying out to be translated into a visual medium. When you read about Moses parting the red sea, or the plagues, or the pillar of fire, your first thought is “Damn. I want to see that.”

Preferably without having to look at any Middle Eastern people.

Prince of Egypt was the first traditional animated movie Dreamworks made back when they were still trying to do CGI and cel animation simultaneously. I’m actually not entirely sure whose idea the movie was. More than a few sources that I’ve read have said that this was a movie Katzenberg had been trying to get made for years at Disney and failing, but in the “making of” Katzenberg actually says that it was Stephen Spielberg who suggested doing an animated remake of The Ten Commandments. Possible that both men just had the same idea of course, but the way Katzenberg tells it he makes it sound like he was wandering in the desert looking for an idea and Spielberg spake unto him. Of course, after years of having his dream project shot down, Katzenberg might have just come up with the Spielberg story as a cover: “Oh, you think this is a bad idea for a movie? Well guess who came up with that idea. Stephen Goddamn Spielberg, that’s who.”

Realising that their new company’s reputation was riding on this movie, Katzenberg and Spielberg pulled out all the stops; A-list cast, a host of former Disney animators at the top of their game and songs and music by Academy/Tony/Grammy winner Stephen Schwartz and the FUCKING ZIM!!

“ZIIIIIIIIIM!”

This movie was Dreamwork’s coming out party, a clear warning to Disney that their reign as the undisputed kings of American animation was about to come to an end. But with all the time, money and A-list talent poured into this epic, did the final movie measure up to expectations? Let’s take a look.

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