This film is surely,
Of all the Pixar Cars films,
One of the top three.
This film is surely,
This film is surely,
Of all the Pixar Cars films,
One of the top three.
A sweet short film about a bully’s relationship with a lost and found box in a playground might just make your ticket to Cars 3 worth the entry fee.
Dave Mullins is a first time director but has been working with Disney since 1995 and Pixar since 2000, working in the animation department for the likes of Up, Monsters Inc., Ratatouille and Inside Out. It is clear that his attention to detail and love of a great story is at the heart of this film, which is brought to life wonderfully in a story that lasts only a few minutes.
The film opens with the lost and found box attracting the attention of the children in the playground of a school boy, encouraging them to play with the contents. However, the school bully J.J. begins teasing his class mates by taking away their toys and teasing them in the process. However, when the contents of the lost and found box come to life and start to turn the tables on him, he quickly learns a fast lesson in being nice to his peers, awakening memories he’s hidden inside himself that may be the real problem behind his poor behaviour.
It’s incredibly difficult to create something with such a large story and get the whole point across in a strictly limited timeframe, but Mullins and his team completely manage it. The short is, essentially, a silent film, but it has no difficulty in delivering a succinct but strong message.
The audience, which were mainly children, were completely captivated and gave a spontaneous round of applause at the end of the screening.
You can watch the opening 40 seconds below.
I always try to stay positive about a film I’ve seen. With that in mind, I can happily announce that Cars 3 is one of the top three films in the series.
The wayward plot that feels deeply familiar on many levels. It’s Rocky III on wheels, with the care and attention of The Karate Kid III. This does little to rescue a franchise that looked in danger of sinking since the poorly-regarded Cars 2.
Put simply, Cars 3 is defined by lacklustre character designs and a thinly veiled attempt to use a film as a means to sell merchandise and toys.
This time around, Lightning McQueen (the returning Owen Wilson) is struggling as an ageing racing car. An arrogant young car named Jackson Storm (Armie Hammer) has shown up and is utilising modern technology to achieve better performance from his specs, forcing cars based on the older technology into retirement. McQueen refuses to retire and pushes his car too much in the final race of the season, leading to a horrific crash that takes him months to recover from. Determined not to retire, McQueen takes on additional training at a new facility sponsored by Sterling (Nathan Fillion), though he seems to want McQueen to retire and turn him into a brand rather than let him keep racing. Regardless of this, he’s given a personal trainer called Cruz Ramirez (Cristela Alonzo) who he quickly strikes up a love-hate relationship with.
One of the tough sells for the film outside of North America is that McQueen is essentially a stock car racer. NASCAR is the second most popular sport on American televisions, but is largely unpopular in Europe and the UK. Indeed, the sport is ridiculed by many who see it as vastly inferior and less exciting than the likes of Formula One and MotoGP. Perhaps as a British film fan I am spoiled when I see stock car racing – maybe the subtleties of the skill involved are lost on me. But converting that into an exhilarating plot point in a film is an unenviable task and something I don’t think is achieved in Cars 3.
For all the disappointment associated with the story, the visuals are nothing short of stunning. There have been huge advancements in animation in the eleven years since the original’s release. The benefits are felt with the backdrops, which feel somehow much more life-like than it’s predecessors. Even the character design, which is hampered by the restrictive nature of bringing cars to life, feels more advanced; a clear sign they’ve learned from two predecessors.
At its heart, this film eventually ends up being a buddy movie. Whilst it takes a while to get there, it’s an important move to bring the film closer to the original movie. I didn’t like either of the first two instalments, but Cars 3 stands alongside the original as being more in line with the Pixar ethos. It is, as the investors would say, “on brand”. So, whilst the first-time director Brian Fee has taken no risks here and the outcome is something that probably won’t overly please anyone, but nor will it offend anyone.
A safe bet that will maintain the franchise and opens the door for further sequels. Bland, forgettable, but pleasant enough to keep its target audience happy.
Though I do think Cars 2 is a better film.
My second day at Glastonbury this year found me out for the lightweight I really am. I’m sat in my tent at 23:20 now, having given up for the night. There are probably four hours of quality entertainment ahead of me but I simply can’t hack it.
My day started swimmingly with a trip to the Pilton Palais for a screening of The Adventures of Prince Achmed. The performance was accompanied by the Guildhall Electronic Music Studio. The film and accompaniment were top quality and it was a well-chosen start to the day.
After wandering with some friends for a while, I stumbled across a man playing a great selection of covers songs at the Open Arms Bar. We watched a handful of songs, sand heartily (if ironically) to “Take Me Home Country Road” and then set off towards the West Holts Bar. This is where I was “that guy” – the one that randomly helps out with a pub quiz without anyone asking him to. Everyone loves that guy. Right?
Our next step, bizarrely, was to visit Shangri-La and watch Napalm Death. I’m going to be honest – the songs merged into one another and I was hardly impressed by any of their music. Perhaps I was too far back but it didn’t feel like any of their songs were distinct enough or had enough dynamics to encapsulate a crowd who started the set with interest if not enthusiasm.
We tried then to see Everything Everything at the Williams Green stage. The crowds were busy for this set, which was possibly the worst-kept secret of the weekend. Alas, we gave up by the second song and moved on.
And that brings me to here. I was too tired to carry on and made my way back to my tent, even though I desperately wanted to see a friend performing with The Trojans. Exhausted and in need of some rest, I’m hoping I last longer tomorrow night for the huge headline set from Radiohead. I’m sure they’ll have an uplifting song or two to get me through the tiredness barrier.
The Red Turtle may find it hard to be discovered by a dedicated mainstream market. This is almost inevitable for a feature-length traditionally-animated film that involves no spoken words at all, with a simple but thought-provoking story line. Its limited release reflects a genuine assessment of the expected appeal to the wider market.
This is a shame because the film is a genuine triumph.
The film opens with a man being thrown around helplessly in an unnamed ocean. Struggling to fight the waves, he falls unconscious, later waking up on an uninhabited island.
The nameless man never speaks, aside from the occasional “Hey!”, whilst his heritage is also somewhat ambiguous. Shipwrecked on an island and left to fend for himself, he busies himself with building a raft to escape and reunite himself with the outside world. However, a large red turtle prevents him from escaping, attacking the raft every time he attempts to leave. When it unexpectedly washes up on shore, he faces a conundrum – free it or exact revenge.
If you have any fears about The Red Turtle maintaining your attention, you needn’t. It’s one of the most engrossing films I’ve seen this year.
The beauty of the film comes in its simplicity. With no character back stories, no names, no requirement to set the scene beyond the initial opening gambit, we’re left to ponder its surprisingly inspirational content.
Around halfway through the film, the man’s decision to flip the turtle on its back is doubtlessly divisive. Left without much else to focus on, my mind inevitably ended up wondering what I would do in the same situation. The turtle dies, which the man immediately regrets and feels great sorrow for. I felt equally guilty for feeling like he wasn’t completely in the wrong. A senseless murder of an innocent animal, but one that felt partly justified as revenge.
It’s a simple act that drives the more fantastical second half of the film. The lifeless body of the turtle disappears and is replaced with a young, beautiful woman, whom the man subsequently falls in love with.
Clearly, this is a film that is steeped in the metaphorical, encouraging the viewer to think about the deeper meaning of what they are seeing – and giving them the space to do so.
The turtle is a visual representation of man’s relationship to nature. Even as the stranded man fights against the tides and tries to leave the island, the turtle forces him back onto the island, on which he has everything he could possibly need to simply continue to survive. The turtle evenrtually provides him with companionship and, later, a child, this providing him with a fulfilling life too.
It is a tale in part about man’s short-sightedness towards a nature that gives him everything, highlighting the knee jerk reaction to things he doesn’t understand. It is about the cycle of human life, about the destructive nature of humanity and about the forgiving nature of the surrounding environment – a nature that is forced to adapt to humanity’s shortcomings and still provide a platform for all life – human or otherwise – to continue.
For anyone with a passing interest in the future of the planet, beautiful animation or engrossing stories, this is a must-see.
My Life as a Courgette is a stop-motion animated film directed by first-time feature director Claude Barras. Short in length but big in heart, it has a way of drawing the viewer in and delivering a weighty emotional drama, despite its saccharine veneer.
It tells the story of the titular Courgette, a boy who is forced into an orphanage at the age of nine. He has come from a lonely and unhappy background but quickly learns to adapt and find his path with the six other children he lives with, notably the over-confident Simon and new girl Camille, whom he takes an immediate liking to.
The narrative is carried out from the perspective of the children, which gives rise to some elements of humour whilst giving the situation a melancholic edge. These are children all going through the same issue, as one child puts it they’ve “ran out of people to love them”.
The animation is truly beautiful and endearing, with a unique character design coupled with an a seamless stop-motion animation style. It is simply a joy to watch.
You’ll be hard-pressed to find a more emotionally-involving story in cinemas right now. This is one that needs to be seen.
My Life as a Courgette is out in cinemas now. You can watch a free ten minute preview below.
Two new trailers have been released for Mary and the Witch’s Flower, the debut film from Japanese animation company Studio Ponoc.
Watch them first, then read on to find out more.
Studio Ponoc is a new Japanese animation house based in Tokyo. The head of the company is Yoshiaki Nishimura, who was lead producer for two Studio Ghibli films: When Marnie Was There and The Tale of Princess Kaguya.
It is clear to see the similarities with the best of Ghibli in the above clips, and it’s not just Nishimura who connects the two studios.
Hiromasa “Maro” Yonebayashi is directing the feature, having also directed Ghibli films The Secret World of Arriety and When Marnie Was There. He also worked as an animator on the likes of Spirited Away, Princess Mononoke, Howl’s Moving Castle and Ponyo on the Cliff by the Sea. Essentially, he was a key player at Ghibli.
Maro pens the script alongside Riko Sakaguchi, the screenwriter of The Tale of Princess Kaguya, another excellent Ghibli film released in 2013 to critical acclaim.
Takatsugu Muramatsu returns as film composer, having provided the score for When Marnie Was There.
There is currently no official U.K. release date for Mary and the Witch’s Flower, but it is scheduled to hit cinemas sometime in 2017. Traditionally Ghibli films took around a year to make the transition to English and finally get a release in the U.K., but who knows if the same rules will apply here.
Whatever happens, there will be a huge amount of interest in the film when it surfaces.