Tim here. It’s been a weird week for fans of old animation. Nathaniel already said his piece (which is indistinguishable from mine) on the news that Warner is re-rebooting Scooby-Doo a mere 12 years after the first grisly first live-action/animated reboot of the ‘70s cartoon (the recent death of Casey Kasem, mere days before the announcement, now looms as some sort of grim karmic metaphor). And in the last couple of days, we’ve been hit with the first promotional artwork for an in-development Popeye feature at Sony Animation, and the news that DreamWorks has purchased the rights to Felix the Cat from the family of the 95-year-old slapstick animal’s creator.
Entries in animated films (182)
In Contention loves How To Train Your Dragon 2 and ranks all of Dreamworks Animation. God there's some dross in there but Prince of Egypt is way way too low
Variety on Jonah Hill's blooming career and recent homophobic slur
AV Club looks back at Montgomery Clift in Red River (1948). My favorite Western
Gawker The Chicago Sun Times apologizes for a recent bit of transphobic nonsense regarding Laverne Cox (Orange is the New Black) that they MUST have known was unwise. People will publish anything to get clicks these days.
Playbill Bradley Cooper in The Elephant Man on stage this fall
Scene Magazine interviews Jonathan Groff on his Looking / Frozen gay ascendance (great photos)
Metro a woman wants a divorce from her husband because he didn't like Frozen
MNPP ooh, a Tilda Swinton image (very conservative look for her) from Trainwreck
Variety interviews the Academy Chairman of The Emmys on changes and controversies including 10 episodes vs. 22 and half hour versus hour shows
Empire Inception reunion: Tom Hardy in talks to join Leonardo DiCaprio in The Revenant (previously discussed)
Coming Soon Roland Emmerich's Stonewall finalizes its cast adding Jonathan Rhys Meyers and more
CHUD catches you up on who is directing what for Marvel including horror director Scott Derrickson taking on Dr. Strange
Awards Daily Jupiter Ascending pushed to February 2015
"Philip Seymour Hoffman on Happiness"
This animated short, part of PBS's "Blank on Blank" series uses an interview conducted with the late actor from 2012.
I don't always get around to stories when they hit. Join me in the catch-up comments...
By now you've heard and digested or, more likely given this crowd (you didn't even comment on that juicy misogynistic She-Hulk debacle!), ignored the drama surrounding Disney/Marvel's Ant-Man movie. The long and short of it: Edgar Wright, of Shaun of the Dead / Scott Pilgrim fame who is unarguably adept and inventive about action-comedy (a unique skill given how unfunny action 'comedies' usually are), abruptly left over creative differences. Now from the roster of potential replacements (none of them even ⅕ as interesting as Wright), one has already fallen away. Leaving us sad for Paul Rudd (probably locked into the role for a decade) and Joss Whedon's Avengers: The Age of Ultron (doesn't Joss need Ant-Man to have his story work since Ant-Man created Ultron?)
The probable answer as to why is that Disney/Marvel, now that they've won all the moneys in the world and are surely empowered by the knowledge that audiences are lemming-like about these things and will turn out in droves for even dud superhero movies (Thor: The Dark World, Amazing Spider-Man 2, Iron Man 2), can afford to dump directors with artistic vision and focus on generic bosses who will just keep the assembly line running with less "ideas" / back-talking. Capitalism eventually ruins everything. Marvel sadly didn't learn the inspiring lesson they could have from hiring Joss Whedon. He made The Avengers the success it was, basically rescuing The Black Widow entirely, understanding how tiresome Iron Man had become and how to limit the dose, finding a way to make Thor and Hulk work in a team format even when they've never worked on their own. You need an artist to accomplish these kinds of juggling miracles and feats of resuscitation, not hired hands.
The silver lining? This Ant-Man debacle did inspire the parody Michael Haneke twitter account to chime in...
Who Stopped Roger Rabbit 2?
It's a story that never quite dies. It is... undead. The Dissolve performs the oft performed reanimation of that story corpse wondering why the sequel never happened and if it might happen now since the original people all still want it to. Who Framed Roger Rabbit (1988) is the Movie of the Week over there which is why they're asking.
In a Hollywood culture that prizes franchises and recognizable characters above all else it is a still a SHOCK in all caps that this sequel never came to be. In many ways this movie is the movie that proved to Hollywood that people would go nuts for a mix of new envelope pushing visual effects mixed with old school nostalgia. Which you could argue led to Toy Story which you could argue led to everything. I am ultra fond of that movie (I'd have easily nominated it for Best Picture that year) but I also have a not-so secret amount of affection for the fact that it never produced a sequel.
Why would I not want a sequel to something I love that much? Well, sequels are in so many ways our collective junk food and in an era where movies produce not only sequels but reboots and straight-to-dvd spinoffs and other forms of money-grubbing self-cannibalizing, Roger Rabbit feels comparatively monumental in its mystic standalone purity.
Big Hero 6 Teaser
I meant to share this last week and completely forgot. I don't have much to say about it other than that it is adorable despite doing nothing other than ripping off The Incredibles (2004) for its "too fat for this suit" slapstick teaser but people have very short memories about these things so everyone can LOL anew
Tim here. This weekend, Disney’s latest attempt at brand leveraging, Maleficent, will be open, and critical word so far is not terribly positive, with only one consistent bright spot being called out in even the most savage reviews. That being Angelina Jolie’s performance as the titular wicked/misunderstood fairy. And this should come as absolutely no surprise to anybody, given that putting Jolie in the role was the only real justification the project ever had. And even moreso given that Maleficent, first introduced in the company’s 1959 animated feature Sleeping Beauty, has long been agreed to be one of the studio’s best villains, and one of the best in movies generally.
Some months ago, I said my piece on just why Maleficent was such a top-notch character, and I’ll refrain from belaboring the point again here. Instead, I hope you’ll indulge me if I take this opportunity to spend a moment praising her creator – her original creator, before screenwriter Linda Woolverton (who wrote the awful 2010 Alice in Wonderland) and director Robert Stromberg (the production designer of the awful 2010 Alice in Wonderland) had a chance to make her some kind of half-assed avatar of heavily corporatized feminism. I’m referring to Marc David, one of the famous Nine Old men animators at Disney between the ‘30s and ‘60s, the supervising animator on the original Maleficent.
Tim here. By now, you've undoubtedly all heard the biggest news of the summer movie season so far: there’s a conspiracy by Big Hollywood to bury the little cartoon indie that could, Legends of Oz: Dorothy's Return.
“Legends of which, now?” I can already hear some of you asking.
Exactly the point! As producer-fundraiser Greg Centineo so sagely put it:
We’re nobodies in this industry. And we stepped into a deep, deep ocean with some very, very big sharks. Some of those mainstream critics have not just trashed the movie, but literally tried to crush it… You don't have to be a rocket scientist to figure out something is wrong there.”
It's a well-established fact that critics and audiences tend to agree about 100% of everything, and the movies with the best reviews always make the most money. Surely only a shadowy cabal of self-sabotaging distributors and bought-and-paid for critics could be responsible for the film’s box office failure, and I am disgusted that you might even think it’'s because a handful of con artists fleeced a whole bunch of rich idiots out of their investments on a movie whose reported $70 million budget is clearly nowhere to be seen onscreen, obvious even from the trailer.