Akira (1988)

In a post-apocalyptic Tokyo a young biker gang member named Tetsuo is transformed by a secret government experiment. Tetsuo gains extraordinary telekinetic powers which eventually lead to his rampaging downfall.

Fig 1: Tetsuo

Akira’s Neo-Tokyo is a highly atmospheric and grimily stylistic megalopolis that echoes the cyberpunk style of Ridley Scott’s Bladerunner (1982). The films rich atmosphere is arguably derived from visuals only achievable in animation, “gusts of wind from chopper blades, ground shattering in blocks, ka-tooming bursts of fiery explosions, the strobes, lights, and neon of Neo-Tokyo in 2019, even the rush and squeal of racing motorcycles. And there are the visions of Tetsuo.” (Gibson 2010).  This, along with the epic scope of the film itself, understandably makes one cynical about the prospects of the 2013 live action remake. The films gritty, pulpy, visceral and sometimes violent sense of atmosphere makes it a visually engrossing experience.

Fig 2: Neo-Tokyo

Akira also boasts a soundscape with an equal level of engrossing power to that of its visual landscapes. The booming, industrial ambience fills one with a tense and potent sense of a society on the edge of collapse.  

The film explores the themes of youthful rebellion, atomic disaster and powers corrupting influence. These themes are heavily rooted in Japanese culture but have international resonance.  Akira is yet another example of how animated film does not need to conform to the family friendly, Disney model. Critic Jay Cocks describes the film as, “a violent adventure tale, a head- bending sci-fi morality play and a venture into the higher realms of animation art that kicks all the squishier conventions of the genre right in their well-upholstered butt” (Cocks, 1993). The film, although dark in tone, does not succumb to the worst excesses of the animi genre. 

 

Image List

Fig 1, Tetsuo, Available at: http://realotakugamer.com/akira-live-action-remake-canceled-fans-rejoice

Fig 2, Neo-Tokyo, Available at: http://neotokyopedia.wikia.com/wiki/Neo-Tokyo

Bibliography

Jay Cocks, 1993, Time Magazine,  A Pulp-Style Pop Epic, Available at:http://www.time.com/time/magazine/article/0,9171,977583,00.html

Brian Gibson, 2011, VUE Weekly, Neo-Tokyo, Available at: http://vueweekly.com/film/story/akira1/

Mary and Max (2009)

Mary and Max (2009) is an Australian stop motion animated film from director Adam Eliot. The film tells the story of two pen pals who have never met. Mary is a lonely eight year old girl who lives a dysfunctional life in the suburbs of Melbourne. Max is a reclusive Aspergers sufferer living in a grim New York ghetto. The two become pen pals when Mary choses Max’s name at random from a phone book. The film follows the development of the characters and their relationship over many years.

Fig 1: Aspies for Freedom

Stylistically, the characters and environments are extremely exaggerated, and almost grotesque. This is perhaps a representation of the way the characters view themselves, the people around them and there environments. There are two distinct, but equally muted, colour pallets for the two locations in the film, New York and the Melbourne suburbs. Australia is a gloomy sepia tone representative of humdrum suburban life. New York has a hard egged, grimy, film noir inspired black and white tone.  

Fig 2: Colour Pallet

The film explores adult themes with a darkly comic and witty sense of humour.  Mental illness, anxiety, death, suicide, alcoholism and sex are not subjects usually considered suitable for animation but Eliot proves that, in the right hands, they certainly can be. Possibly, the reason this works is because of the innocents of the story telling style.  Slant Magazine critic Chris Cabin echoes this suggestion, he states that: “Mary and Max should now finally be included in the list of recent animated films that deal head-on with bleak adult themes and yet bring out a wide-eyed wonder in their imaginative aesthetic” (Cabin2010). 

  Mary and Max impresses as a technical wonder in addition to being a beautifully told, adult and thematic story. The film balances realism, adult themes and dark comedy with a consistent heart-warming honesty.  

Bibliography

Chris Cabin, Slant Magazine, Mary and Max, Movie Review, July 19th 2010, Available at: http://www.slantmagazine.com/dvd/review/mary-and-max/1776

Image List

Figure 1, Aspies for Freedom, Available at: http://lynmidnight.blogspot.com/2011/08/silly-sunday-snapshots-max-and-mary.html

Figure 2, Colour Pallet, Available at: http://www.thesun.co.uk/sol/homepage/showbiz/sftw/3191562/Alex-Zane-reviews-Mary-And-Max.html

Mars Attacks (1996)

Based om the card game of the same name, Mars Attacks (1996) is director Tim Burton's tribute to the 1950's sci-fi B-Movie Genre. A race of Martians with a twisted sense of humour invades the Earth. A naive human race believes the Martians to be peaceful, the Martians find this hilarious.

Although Mars Attacks has a modern day seting (1996) it takes on the aesthetics of a 50's movie. The costumes, sets, music, sound effects and characters are all designed to give a 50's feel. Tim Burton is obviously a massive fan of the films of this era. The film is abundant with references and nods to other movies. One of the most blatant examples is the design of the Martian flying saucers; they are lifted almost directly from Earth vs. the Flying Saucers (1956).

Fig 1: Flying Saucers Above the White House (Earth vs. the Flying Saucers 1956)

Fig 2: Martians Approaching Earth (Mars Attacks 1996)

The film is a comedy but the jokes are hit and miss, “the picture is lacking in the uproarious humour that might well have ensued from the material, which instead inspires occasional laughs but, much more often, bemused fascination and wonderment at the bizarre imaginations and impressive skill of the filmmakers” (Todd McCarthy 2008). Most of the successful gags derive from the mean spirited and sadistic nature of the Martian's. This type of comedy is reminiscent of creature features such as Gremlins (1984). The film is also relatively poorly paced; this is especially notable in the overlong build up to the Martian arrival “Up to that point, Mars Attacks, has been spinning its wheels while it introduces its earthbound cast” (Janet Maslin 2003).

Fig 3: Martians

Despite its flaws Mars Attacks remains a fun and imaginative film.

Bibliography

Janet Maslin, New York Times, May 20^th 2003, Available at: http://movies.nytimes.com/movie/review?res=9F04EEDA173EF930A25751C1A960958260&partner=Rotten Tomatoes

Todd McCarthy, Variety, August 25^th 2008, Available at: http://www.variety.com/review/VE1117436916?refcatid=31

Image List

Fig 1, Flying Saucers above the White House, Available at: http://www.chicagoreader.com/Bleader/archives/2007/01/09/klaatu-barada-nikto

Fig 2, Martians Approaching Earth, Available at: http://www.alicia-logic.com/capspages/caps_viewall.asp?titleid=28

Fig 3, Martians, Available at: http://starstorecom.blogspot.com/2009/04/mars-attacks-tim-burtons-flawed-pulp.html

District 9 (2009)

District 9 (2009) is the feature film debut of director Neill Blomkamp. Two decades ago an alien craft settled above the South African city of Johannesburg. The Aliens aboard the craft, seemingly stranded, settled in an area under the ship known as District 9. District 9 has now become a poverty stricken slum.

District 9 has a similar premise to The Day the Earth Stood Still (1951) with an alien craft arriving in the middle of a built up area.  It could be said that District 9 is a modernised version of this premise. However District 9 dose differ drastically, the aliens are not on earth to bring a message of piece, they are simply stranded. 

Fig 1: The Ship above Johannesburg

Another similarity with The Day the Earth Stood Still is the films focus on the way the aliens are treated by humanity. The Day the Earth Stood Still uses aliens to express a fear of atomic warfare. District 9 uses its aliens to express fears of racism and any form of segregation. This can be observed in the films illusions to the plight of black South Africans during the apartheid.

However the film is not simply an out-dated critic of the apartheid, "it’s about the legacy of that hateful regime, how its insidious influence has produced a country where the previously disenfranchised black citizenry are beginning to turn on an even more deprived social group: immigrants" (Lane 2009).

Fig 2: Genuine Apartheid South Africa Racist Sign

Fig 3: Poster used to promote District 9

The film is extremely satirical in its approach, particularly at the beginning. However it transitions seamlessly into its more serious moments “the film's tone moves easily from the comic to the cruel” (Landesman, 2009). The unapologetic politically satirical tone of the film is reminiscent of Sci-Fi cinema of the 70’s & 80’s “Perhaps we're witnessing a new dawn for politically engaged sci-fi and horror” (Huddlestone 2009).

The visual style of the film draws from a number sources to create something unique. The film is partially cinema verite, part mock documentary, and there are also some more traditional sequences particularly the ending. The interview segments of the film are reminiscent of the TV series The Office (2001-2003). Despite a relatively low budget, the special effects prove that CGI can be as effective as practical effects. The CG aliens seemed to have been created with as much care and attention as the practical sets they inhabit.


Fig 4: Prawn Creature
District 9 is a very original, entertaining and politically engaged sci-fi film.

Bibliography

Cosmo Landesman, Times [UK], District 9 Movie Review, September 7 2009, Available at: http://www.timeout.com/film/reviews/87388/district-9.html

Anthony Lane, New Yorker, District 9 Movie Review, September 7 2009, Available at: http://www.newyorker.com/arts/critics/cinema/2009/09/14/090914crci_cinema_lane

Tom Huddlestone, Time Out, District 9 Movie Review, September 4 2009, Available at: http://www.timeout.com/film/reviews/87388/district-9.html

The Day The Earth Stood Still (1951)

The Day the Earth Stood Still (1951) is a massively influential sci-fi classic by director Robert Wise. The development of atomic weaponry has made humanity a threat to the stability of the rest of the galaxy. A humanoid alien name Klaatu arrives on earth in a flying saucer with his giant robot servant Gort. He is on earth to warn the nations of the world to desist in there war like ways or be destroyed. 

 

Fig 1: The Arival of Klaatu

Klaatu is looked upon with fear by the majority of humanity after he escapes the custody of the US Government. Klaatu is eventually killed by police but is resurrected by Gort. It is at this point in the story that parallels with the life of Jesus Christ becomes blatant, if it wasn’t already. This was very controversial at the time, the film makers were forced to add a line confirming the existence of god. However the idea of updating the Jesus myth to a 1950’s setting is extremely interesting “Robert Wise looks at the Atomic Age and wonders:  What would Jesus do?" Croce (2009).

Fig 2: Klaatu's Final Speech Before Ascending

The film could also be interpreted as a criticism of the way the United States views its own interventions (Korean War). Perhaps Wise is trying to demonstrate the hypocrisy of imposing morality on foreign cultures using threats and intimidation. Or perhaps a less cynical interpretation would be more accurate. Maybe the film is simply attempting to illustrate the importance of global harmony, “the film holds out hope for the United Nations that has yet to be fulfilled” (Canavese, 2008).

The film has some very impressive Special effects for a 1950’s film. The initial flying saucer landing on The National Mall is particularly impressive. The slick, simple and classic design of both the ship and Gort the robot look fantastic.

Fig 3: Flying Saucer on The Mall

Despite a few cheesy dated moments The Day the Earth Stood Still, with its political themes, great story and characters, remains relevant, interesting and entertaining.

Image list

Fig 1, Arrival of Klaatu, Available At: http://videarius.eu/s/the%20day%20the%20earth%20stood%20still%20summary

Fig 2, Klaatu's Final Speech Before Ascending, Available At: http://coolalbumreview.com/?p=11471

Fig 3, Flying Saucer on The Mall, Available At: http://silent-volume.blogspot.com/2010/02/day-earth-stood-still-1951.html

Bibliography

Fernando F. Croce, CiniPassion, Dec 8^th 2009, Available At: http://www.cinepassion.org/Reviews/d/DayEarthStoodStill.html

Peter Canavese, Groucho Reviews, Dec 30^th 2008, Available At: http://www.grouchoreviews.com/reviews/3280

Best Worst Movie (2009)



Best Worst Movie (2009) is a documentary about the making of the supposed worst movie of all time Troll 2 (1990). Troll 2 has become a cult classic and is loved rather than loathed by a dedicated fan base. The child star of Troll 2, Michael Stephenson, directed this documentary.



Fig 1:  Michael Stephenson

Stephenson begins the documentary in a clever way by introducing, without context, small town dentist George Hardy, a man so friendly even his ex-wife likes him. He is actually one of the stars of Troll 2 but this is not revealed until after his introduction. After the introduction, Hardy’s mother is asked, what did you think of George's movie? At this she bursts out laughing and the audience is compelled the laugh with her. This is a great way to introduce people to Troll 2 especially if they haven’t seen it before.

The Phenomenon of Troll 2's popularity is explored fairly extensively it this documentary. There is no real definitive conclusion, however it is suggested that because the film was made with such genuine passion audiences respond positively.  The fans of Troll 2 are very genuine in their love for the film; it is not an ironic joke, “It’s as if the movie’s lack of self-consciousness allows them to shed their own” [Adams, 2010].

 Fig 2: Crowd of Troll 2 Fans Gather for a Screening in Toronto

This documentary works because it treats the subject matter in a sympathetic way. It is not cynically mocking Troll 2, its cast, crew or the fans who love it.  Although many of the people interviewed are presented in a humorous way it never feels nasty or disrespectful.  It is celebratory and attempts to deconstruct what it is about Troll 2 that makes it so popular despite its poor quality.

Bibliography

Sam Adams, 2010, Salon.com, Available at: http://www.salon.com/2010/05/14/best_worst_movie/

Image List

Fig 1,  Michael Stephenson, Available at:http://www.bloodygoodhorror.com/bgh/reviews/03/09/2009/best-worst-movie

Fig 2, Crowd of Troll 2 Fans Gather for a Screening in Toronto,  Available at: http://www.best-horror-movies.com/best-worst-movie.html