animated

Disney Reviews with the Unshaved Mouse #56: Moana

Question. Do you think that when Ron Clements and John Musker show up at the Disney studios they’re all…

‘Cos they’d kinda have to, wouldn’t they? I mean, they’ve earned that. If they wanted to stop at every cubicle and say “Oh by the way, we’re the reason you have a job. You’re welcome.” who among us would begrudge them that? With The Little Mermaid, Clements and Musker kick-started the Disney Renaissance, catapulting the animation studio back to cultural relevance and critical and commercial acclaim. And then, just for poops and giggles, they did it again in 2009, with the Princess and the Frog marking the end of the Lost Era and inaugurating the current golden age of the canon. Come to think of it, I have a feeling that Disney could have saved themselves a lot of worry and financial distress over the decades if they’d just hung a sign on the wall saying “WHEN THINGS ARE GOING BAD, JUST MAKE A PRINCESS MOVIE”. Seriously, never fails. Okay, apart from that one that almost drove the company to bankruptcy.

Totally worth it.

Where was I? Oh right, Clements and Musker. These two men wrote the book on the modern Disney Princesses movie. They are O fuckin’ G, or at least as gangsta as one can be while making movies about princesses and their talking animal friends. They are the Biggie and Tupac of this one very specific movie sub-genre.

In this analogy, Walt would be Ice-T.

Moana honestly feels less like a Disney Princess movie, and more like the Disney Princess movie, an attempt to make as definitive a version of this kind of movie as it’s possible to make. That may sound like a compliment…but…

This movie feels like it’s trying to take everything that worked about the previous nine modern Disney princesses (Merida doesn’t count FIGHT ME) and distill them into one character. Moana is all those princesses combined into one. But is she an awesome Megazord or a shambling Frankenstein’s monster?

Let’s take a look.

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Adorable Couple (2014)

Comebacks are tricky things to pull off, and tend to fail more often than they succeed. For every Elvis there’s a dozen Lil’ Kims. It takes a mixture of luck, talent and, most importantly, perseverance. The character of Mickey Mouse has been pretty vaguely defined over the years, but one thing that does stay constant about him is that he never gives up, which is appropriate for a guy who’s been trying to make a comeback for eighty years.

See, Mickey Mouse was, at one point, no question, the most popular cartoon character in the world. A beloved American icon. And that period lasted from his debut in 1928 aaaaaaaaaall the way to…1935. When he lost the top spot to a tattooed stroke victim.

“Huuuuuuukukukukukukah!”

Mickey was a perfect salesman for early talky cartoons, but his generic everyman persona was quickly outshone by more distinct, dynamic characters like Popeye, Bugs Bunny, Daffy Duck and even his fellow Disney stablemates Donald Duck and Goofy and he never regained the kind of adoration he’d had in the years after Steamboat Willie.

The uncomfortable fact is this: Mickey Mouse is pretty difficult to like. Aside from an…interesting…vocal performance by Walt Disney who decided long ago that his flagship character should sound like a castrato in agony, his ubiquity on every piece of over-priced tat the Disney corporation has tried to sell over the last nine decades has made him more mascot than character, with more in common with Ronald MacDonald and the Nesquik Bunny than his fellow cartoon stars.

 

You sold out, man.

 

This left Disney with a conundrum. They were a company famous for creating beloved cartoon characters, whose mascot was a cartoon character beloved by virtually no one. And so, over the decades, Disney tried to relaunch Mickey not just as a brand but as a character. And they tried it again…

 

And again…

 

And again…

And again…

 

And again…

 

And again…

 

And again…

 

And again…

And while some of these attempts were definitely worthwhile in their own right, no one’s going to claim that Mickey Mouse is what makes Fantasia an all-time classic.

This guy. This guy is what makes Fantasia a classic.

It seemed that Mickey was simply a character that could not be salvaged and made interesting*, and the Disney corporation’s insistence on trying to make him happen was starting to get downright sad. To put it in perspective, imagine if Warner Brothers, instead of embracing Bugs Bunny as their mascot, was still trying to make America fall in love with Bosko the Talk-Ink Kid.

“Too racist!”- 1930’s America.

But then, in 2013, Disney unveiled a new series of Mickey Mouse Shorts directed by a coterie of modern animation stars including veterans of shows such as Dexter’s Laboratory, Sym-Bionic Titan and Powerpuff Girls.

And stick cheese in my cheeks and call me a gerbil, but they actually did it. They found a way to make Mickey Mouse work in a modern cartoon. These cartoons are awesome, almost definitely the best use that’s ever been made of the character outside of some classic Golden Age shorts and honestly? I’m not even sure if that’s not just nostalgia talking. What makes them so good? Well, if I might get a little technical here, they’re really good because they’re really good. By which I mean the animation is fluid and engaging, the backdrops are gorgeously designed, the voicework is top-notch, the music is beautiful and expertly integrated into the action and they’re crammed with great jokes both visual and verbal executed with crack timing. They’re also crammed with shout-outs to Disney fans, which, with all manner of obscure character showing up for a cameo. I knew this series was for me when Mickey and Minnie went to a dance with the kids from the “All the Cats Join In” sequence from Make Mine Music. I mean, that is a deep cut.

It’s fascinating to compare and contrast the new Mickey Mouse shorts with the older classic shorts to see how they’re different and also how they’re similar. Because they are different, no question. They have a very modern sense of humour despite being set in a classic Golden Age cartoon world where everything from the animals, to the sun, to the buildings is a sentient, talking being. And they’re…I don’t want to say “dark and edgy” because that conjures up some kind of twisted Frank Millar-esque nightmare whereas these shorts are glorious, sunny little things fit for all ages. But they are darker than the original cartoons, and certainly more willing to actually see Mickey Mouse suffer for comedic effect. The characters are also more flawed. Goofy is a bit more of a jerk, Donald is much more of a jerk. But the real revelation is how the cartoons treat the character of Mickey Mouse. And the remarkable thing is, Mickey hasn’t really changed at all. He’s still the same perpetually happy, squeaky clean, goody-two shoes that he’s always been. The key difference here, is that now that’s the joke. The cartoons take Mickey’s essential lameness and find ways to mine rich humour from it. Take for example, today’s short: “Adorable Couple”.

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Charlie the Unicorn (2005)

I hate the internet sometimes. Sometimes I feel like it’s just this huge malevolent thing that holds me in its thrall, designed to make me outraged and depressed and extract as much money from me as is physically possible. Sometimes it’s hard to keep sight of just how much it’s changed the entire world, and often very much for the better.

Oh yeah, this series is still going. Sorry about the delay. One of the reasons why (apart from work being crazy) was the sheer, monumental task of picking just one animated short to represent the first decade of the 21st century. It’s like I said; before now there were only so many animation studios producing shorts in the West to choose from. Now though, virtually anything that appeared on Newgrounds between 2001 and 2010 was fair game, literally thousands of creators. How to pick just one? I bounced around between Homestar Runner and Badgers, which was essentially “something I could never cover in just one post” versus “something I couldn’t talk about long enough to fill even one post” before finally settling on today’s short; Charlie the Unicorn.

I said back when I reviewed Injun Country that just because a cartoon is cheap doesn’t mean it can’t be good and Charlie is a pretty excellent example of that. It is objectively the worst animated of any of the shorts I will review for this series but it overcomes that through a combination of strong writing and hilarious voice work (all done by animator Jason Steele) all leading up to a single, hilariously dark punchline.

It’s a great short, and pretty much a perfect summation of my generation’s sense of humour. There’s a clear Simpsons influence with an even bigger debt to South Park, two of the single most important shapers of the comedic voices of anyone who grew up in the nineties. It’s also a reaction to the  ridiculously saccharine cartoons of the eighties, correctly twigging that there was something undeniably sinister about relentlessly chipper characters who want everyone to get along and have fun no matter what.

Be honest. If it turned out the Care Bears were harvesting organs, would you be shocked?

Animation was once one of the most exclusive and gated art forms in existence, with only a handful of universities and companies worldwide offering an entry point. Now, with the explosive democratisation of the artform brought on by the internet, anyone with an idea or a story to tell can buy some inexpensive software and become an animator. And, with the advent of sites like YouTube, they now have the perfect platform to thrive on.

Animated shorts never died, they just went to heaven.

 

Where the Wild Things Are (2009)

Do you guys plot against me?

Seriously.

Do you sit in darkened rooms and tent your fingers and cackle darkly that “Yessssssssss, this shall break him?”

Because with these requests, you are officially taking the piss.

Guys, I review cartoons and superhero movies. That’s what works for me. That is my comfort zone. What made you think an austere, melancholy arthouse film like Where the Wild Things Are was a good fit for me? People, this movie is fancy. To review a movie like this you need to know about… like…shots…and…sound mixing and…mise en scenes and shit.

I mean, what’s next? A wacky Unshaved Mouse review of Andy Warhol’s Empire?

Bahia!

Heading into this review I feel like so many screenwriters who’ve tried to adapt Maurice Sendak’s 1963 classic children’s book must’ve felt; “How do I get a movie/review out of that?!”

But, I’m proud, I’m stubbourn and I’m too damn dumb to quit so let’s do this.

Where the Wild Things Are wasn’t really part of my childhood growing up, (we were a Dr. Seuss and Narnia fam), but I’ve come to appreciate it as an adult since it entered MiniMouse’s story rotation. In less than 200 words it tells the story of Max, a young boy dressed in a wolf costume who acts so wild that his mother sends him to bed without dinner. Then his room changes into a jungle, he goes on a journey, meets some monsters, becomes their  king, has a party, has a moment of reflection where he wonders what he’s even doing with his life and returns home to find his dinner waiting for him. That’s it.

But it’s not. Or maybe it is. Where the Wild Things Are is one of those books that’s just begging to be interpreted. It’s like, it’s there on your bookshelf, taunting you: “What could I mean? Oooooh, what could I mean? There’s a boy, in a wolf costume. Is he a metaphor for wild, unchecked masculinity? Look at my gorgeous art, am I not dripping in symbolism? What about the Goat Boy? He’s got to represent something, right?”

The Goat Boy represents goats.

Couple this with Sendak’s weird, elegant, ever so slightly off prose and you have all the elements of a cult classic: It’s pretty, it’s weird, and no one knows what the fuck it all means. It also sold like gangbusters, which put it in the company of books like Watchmen and Cloud Atlas, books that everyone wanted to make into a movie while having absolutely no idea how. It presents a unique problem to any adaptation; there’s simultaneously too much and too little. Disney worked on an animated adaptation for a while back in the eighties before finally throwing their hands in the air. But it was Maurice Sendak himself who finally decided that the best person to bring his story to the big screen was Spike Jonze, director of such modern classics as Being John Malkovich, Adaptation and the single greatest thing ever:

Am I wrong?

Production began in 2006 and finished three years later, massively over-budget and dogged by rumours that its own studio hated it. How did it turn out? Well, we’re going to find out. On this blog. Where I review it. Because somebody thought that was a good idea.

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Bill Cipher reviews WEIRDMAGEDDON!

Previously on Unshaved Mouse: Mouse tried to review the series finale of Gravity Falls and it went about as well as you’d expect, with Mouse being possessed by the infinite evil of Bill Cipher who now threatens to turn the real world into an eternal playground for his cosmic malice and doom all humanity. Because it’s always something with this blog, isn’t it? Just saying, you never see this kind of shit on Alternate Ending.  Meanwhile, at the secret headquarters of the Legion of Animators.

Image result for meanwhile at the legion of doom

"JOSEPH SMITH ON A GRAM CRACKER WHAT HAVE YOU DONE DISNEY?!"

“JOSEPH SMITH ON A GRAM CRACKER WHAT HAVE YOU DONE, DISNEY?!”

"IT'S NOT MY FAULT! I SWEAR BY THE DARK POWERS IT'S NOT MY FAULT THIS TIME!"

“IT’S NOT MY FAULT! I SWEAR BY THE DARK POWERS IT’S NOT MY FAULT THIS TIME!”

"Somehow, I always knew you'd destroy the world, man."

“Somehow, I always knew you’d destroy the world, man.”

"SHUT UP HIPPY! WHY DID WE EVEN LET HIM JOIN?! HE SMELLS LIKE BEAR TURDS!"

“SHUT UP HIPPY! WHY DID WE EVEN LET HIM JOIN?! HE SMELLS LIKE BEAR TURDS!”

"It's the smell of artistic integrity, man."

“It’s the smell of artistic integrity, man.”

"Gentlemen. Calm yourselves. The situation calls for unity."

“Gentlemen. Calm yourselves. The situation calls for unity.”

"Miyazaki-san is right. We should listen to him. He is the wisest of all of us."

“Miyazaki-san is right. We should listen to him. He is the wisest of all of us.”

"Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it's power grows, and any hope of defeating it becomes slimmer by the second."

“Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it’s power grows, and any hope of defeating it becomes slimmer by the second.”

"True."

“True.”

"So I'm thinking, bail?"

“So I’m thinking: Bail?”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Groovy, man.”

“Groovy, man.”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“I’m not.”

“I’m not.”

“Shut up Park!”

“Shut up Park!”

“Sorry.”

“Sorry.”

“We have one chance to stop Bill. Listen up...”

“We have one chance to stop Bill. Listen up…”

***

HEY MONOFORMS! HOW ARE YOU DOING?! I’M SWELL! THE MOMENT OF MY ASCENSION IS NEARLY AT HAND AND NO ONE CAN STOP ME! NO ONE! WHAT, YOU THOUGHT THOSE LOSERS IN THE INTRO CAN SAVE YOU? I LET YOU READ THAT BECAUSE I LIKE TOYING WITH YOU! I KNOW ALL! I SEE ALL! I BE ALL, YO! NOW LET’S FINISH OUR LOOK AT WEIRDMAGEDDON AND SEE HOW I ESCAPED INTO YOUR REALITY AND ALSO HOW LONG YOU CAN GO READING THIS ALL-CAPS TEXT WITHOUT GETTING A HEADACHE! OH, SORRY, IS IT DIFFICULT TO READ? HOW ABOUT IF I SPEAK IN BRIGHT BLAZING YELLOW?! YEAH, THAT’S RIGHT! DON’T MAKE ME PULL OUT THE COMIC SANS! I’LL DO IT!!!

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Gravity Falls (2012-2016)

Hey everybody! Man, it is so good to be back you have nooooooo idea! I have been waiting for this for a really, really long time.You see, Gravity Falls is my favourite TV show help. Not favourite kid’s TV show. Not favourite cartoon. Favourite TV show help me. Period. Why is it so good? That’s actually an incredibly easy question. With some shows you have to explain the appeal but with Gravity Falls it’s pretty cut and dry.

  • It’s gorgeously animated.
  • Wonderfully acted.
  • Impressively scored.
  • Brilliantly written. help
  • Frickin’ hi-larious.

Gravity Falls is basically Golden-Age Treehouse of Horror: The Series, combined with some of the best ongoing mystery plotting I can ever recall seeing in a TV don’t listen to him show, regardless of demographic. The show is the creation of Alex Hirsch who was born in 1985…

Screw you, Alex Hirsch.

Just screw you.

The show is the creation of Alex Hirsch and centres on the don’t trust him adventures of the 12 year old Pine twins, Mabel (Kristen Schall) and Dipper (or “Pine Tree” to his friends) (Jason Ritter) who are sent by their parents to spend the summer with their Grand Uncle Stan who’s voiced by Alex Hirsch…

Screw you, Alex Hirsch.

Pine Tree discovers a mysterious journal it’s not me hidden in the forest and soon the twins are investigating the spooooooky goings on in Gravity Falls with the help of Grunkle Stan, loveable dim-witted handyman Soos (Alex Hir…SCREW YOU ALEX HIRSCH) and Wendy Corduroy (Linda Cardellini), a teenage girl who works at Grunkle Stan’s Mystery Shack and who Pine Tree has a massive crush on.  So it’s a pretty standard set up for a half hour cartoon; kids chasing monsters. Hanna Barbera sucked that tell Walt well dry long ago. But it’s all in the execution. Gravity Falls did what so few series have ever managed to do; it came, it told its hurry story, it wrapped it up in the most satisfying and awesome way possible and then it ended right when leave now it needed to, in stark contrast to its biggest influence.

JUST. LET. IT DIE.

JUST. LET. IT DIE.

And because I really want to do the show justice and stop reading because I’m still very busy with UNNAMED HORROR I am actually going to split this review into two parts. The first half is going to discuss the series as a whole and then review running out of time the first episode of Weirdmageddon, the three part finale, with the second review finishing off the final two episodes. Got that, meatsacks? Good, let’s get started. LAST CHANCE GET OUT OF HERE

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Deathmatch 2017: This aggression will not stand, man.

During the 2016 election there was considerable debate as to whether Donald Trump was simply a con man using nativist rhetoric to win the nomination and who would then swiftly abandon populism and ram through a hard-right platform designed to enrich the one percent, or whether he was actually the racist authoritarian that he played on TV. The answer turned out to be: “Yes.”

Things have gotten real bad, real fast and I think it’s clear that we are living in times that will have large, detailed chapters in future history books. I awoke this morning to learn that a close friend of mine is now banned from entering the United States purely because of her place of birth. The wall is being built. A white nationalist is now sitting on the National Security Council. The nation built by the poor, the tired and the huddled masses is refusing to admit refugees. The most powerful office in the world is less trusted and respected after eight days of Trump than after eight years of George W. Bush. I confess that I am deeply afraid.

As well as being afraid, I am angry, frustrated, appalled and sickened. But one thing I am not is despondent. I am not pessimistic. I am not disheartened.

not-today

Because the last week has reaffirmed what I already knew. The American people did not elect Trump. Trump was elected by a combination of fluke, a rotting and archaic electoral system, voter suppression and intervention by a hostile foreign power. The American people are the ones who voted for Hillary Clinton by a massive margin, who staged the largest demonstration in the nation’s history against Trump’s nascent kakistocracy and who are now fighting against the illegal detention of refugees at American airports.

The good outnumber the wicked and they always will.

This is a time when all people of good will must put whatever skills they have towards resisting Trump. For me, that means writing snarky reviews of movies which I will be the first to admit is not the most obviously useful skill in an anti-fascist resistance movement.

But that is why this year’s Unshaved Mouse Charity Movie Deathmatch is in aid of the American Civil Liberties Union.

So, how does the Deathmatch work?

  1. Make a donation of $5 or $10 to the ACLU.
  2. Email your receipt to unshavedmouse@gmail.com letting me know which movie or series gets your vote (a 5 dollar donation counts as one vote, 10 counts for two)
  3. Deathmatch runs all through February. Every two weeks, the lowest scoring three movies/series will be eliminated in ways not for the faint of heart or weak of stomach.
  4. Highest scoring three movies/series at the end of the month get reviewed and get to go home to their loved ones.

Mouse, I’m wealthy, I’m charitable and I want you to review something NOW.

A $35 dollar donation gets you any movie or episode of a TV show reviewed that you like. $60 gets you two. $100 gets you four and quite possibly a statue somewhere when this all blows over.

What if I buy a review for a movie or series that’s competing in the death match?

In the case of movies, if you give a $35 donation and request a movie that loses the deathmatch, you get the review anyway. If your movie wins the deathmatch then I will contact you and ask you for your second choice and you get two movies that you wanted reviewed instead of one. Fair enough?

In the case of a TV series  that wins the deathmatch, I’ll review an extra episode for every person that gave a $35 donation for that series.

Boring stuff done, so let’s MEET OUR FIGHTERS!

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Guest Reviews with Paper Alchemist: The Lorax, 2012

‘Mouse-Fans,’ she said, waving forty-eight knees,

‘I’m the 100%-Recycled-Paper Alchemist. I speak for the trees.

I speak for the trees, for the trees have no voice,

and I’m telling you, friends, that if it’s your choice

to ignore the Earth’s peril and the tree-hugger’s cry,

you won’t like my review. In that case, goodbye.

Today we’ll be taking a look at The Lorax,

a movie that fills my whole cephalothorax

with sorrow and anguish, dismay and despair.

It could have been great, but they just didn’t care.’

 

Sigh.

I wish I wasn’t so sad about this.

I approached this review raring to have a big cathartic bitch sesh. As Pixar put it in Ratatouille, snark is fun to write, and to read. But I don’t think I have it in me today. I thought I was just hangsty – a close relative of hangry – so I went for a snack…

[Comm] Unshavedmouse alt

‘Hey, have you seen Nit anywhere?’

tsqhuntsman.me

‘Um… no.’ *urp*

… but it didn’t help.

Thing is, despite my horrifying face and painful venom, my heart is proportionately huge in relation to my body size (just don’t ask where it is). And I have a terrible habit of letting things get too close to it. That’s the trouble with having an exoskeleton: you’re tougher outside than in. So if you really don’t want to be sad today, go back and check out my Snow Queen review. Or the time – ha ha – the time I made Mouse review Space Chimps with the nipple-headed alien. Because misery is takin’ the wheel.

 

spider-crying

‘Hello, darkness, my old friend…’

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Steven Universe

So here’s something hilarious; I actually thought this was going to be an easy review. “Three episodes of Steven Universe?” I thought “That’s only half an hour’s worth of animation! I can do that in my sleep! I can wrap this review up in one night and take the rest of the week off to maybe work on some other things and actually be a writer for once!”
“Oh Mouse! You are a FOOL!”

“Oh Mouse! You are a FOOL!”

Of course not. Because before I can get into reviewing Steven Universe I actually have to explain what Steven Universe is and the backstory of the show to people who have never seen it. And with a backstory this epic, I have been forced to employ special tools. Please click this link.
(NOTE this link may not work on all devises, I’m working on getting a video to embed in the post but that may take some time. In the meantime, the Mary Sue gives a good run down of the backstory)
So yeah, that is the incredibly dense and rich mythology that the series has built up over one hundred episodes and is IN ABSOLUTELY NO HURRY TO LET YOU IN ON. Seriously, this show is such a goddamn tease, I’d say it drip feeds its backstory but these aren’t even drips, these are molecules of plot moisture.
Oh goodie. Another episode where Steven eats ice-cream.

Oh goodie. Another episode where Steven eats ice-cream.

I kid, I kid (mostly). One of the show’s charms is actually how it carefully builds up its world and devotes time to the various characters that make up Steven’s social circle, whether it’s the gems, or the various residents of Beach city, or his father Greg. And all these characters are so wonderfully layered and charming that even episodes where nothing substantial happens to move the main plot forward feel worthwhile.
Except Ronaldo because oh my giddy Aunt, FUCK RONALDO.

Except Ronaldo because, oh my giddy Aunt, FUCK RONALDO.

So this show first aired in 2013 on Cartoon Network and is the creation of Rebecca Sugar, a former writer and storyboard artist on Adventure Time. At the top of this post there’s some concept art from the original pilot which was much more “Adventure Timey” in its animation and style but the actual series looks quite different. The show has a simple but very elegant art style favouring beautiful painted backdrops and clean, uncomplicated character designs. The music is also really inventive with original songs featuring in many episodes (it helps that the main and supporting cast are crammed with professional singers). But all that would just add up to a very good looking and sounding children’s cartoon. To understand what makes Steven Universe so special we have to talk about fusion.
So, when the Crystal Gems are battling a threat that’s too powerful for them to take on alone, they can fuse together to form more powerful gems. Okay, hardly revolutionary. Power Rangers, Digimon and Transformers have all used a version of this trope to one degree or other. But here’s the thing. In Steven Universe fusion is very explicitly a metaphor for, well…
giphy-1
Okay, well maybe that’s a little simplistic. The metaphor is fairly elastic and, depending on the episode, fusion can be a stand in for a romantic relationship, platonic friendship or sometimes just the hard fucking. It’s also really important to remember that within the universe (heh) of the show, it’s none of those things. In the world of Steven Universe, fusion is not sex, or relationships or anything else, it’s fusion. It’s its own thing with its own rules and norms and etiquette. This is important to remember because if you treat the metaphor too literally it can go to some weird places. Like, the episode A Giant Woman where Steven first learns about fusion and sings a song about wanting to see Amethyst and Pearl fuse. If you take it to literally mean sex then it becomes the story of a creepy little boy wanting to watch his two foster mothers fuck.
So. Don’t do that.
So today we are going to be looking at three episodes from Season 2; A Cry For Help, Keystone Motel and Friend Ship. Let’s take a look. (Oh and, needless to say, there will be spoilers both for this episode and the series more generally so be warned.)

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The Iron Giant (1999)

When I was a wee rodent there was a book in the school library called The Iron Man that I read many times. It’s a simple little fable, about a boy named Hogarth who befriends a giant robot of mysterious origin…and then the robot saves the world from a colossal alien dragon the size of Australia.
anywayyyy
I can’t honestly say I loved the book but it definitely stuck with me, as any novel featuring a continent sized extra-terrestrial dragon would and it’s picked up a largish following in the years since it was first published in 1968. One of those fans was Pete Townshend, the lead singer of that famous band.
"Who?"

“Who?”

"Yes."

“That’s them.”

Townshend adapted the story into a musical, the rights of which got picked up by Warner Bros, which had just swallowed Turner Feature Animation whole, along with most of its animators. One of those animators was a likely lad named Brad Bird, who has worked on some animation in his time and is generally understood to know what he’s doing. Bird was put in charge of adapting Townshend’s musical, which he did by making it…not a musical. ‘Kay. Regardless, when it was screened for test audiences the response was absolutely ecstatic. Unfortunately, Warner Bros had neglected to prepare any kind of marketing campaign for the movie because Quest for Camelot had tanked so badly the year before. This had convinced the excecs that audiences weren’t going to go see animated films that weren’t made by Disney.

Alice Facepalm

 Goddamit Warners. Quest for Camelot didn’t tank because audiences wouldn’t take a punt on non-Disney animation. Quest for Camelot tanked because sometimes God pays attention. So of course, released into theatres with zero publicity The Iron Giant crashed harder than a giant alien death machine falling from the sky. In the years since, it has become one of the most critically beloved animated American films of the 1990s. Does it live up to the hype? Let’s take a look.

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