Animated

dirs: Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord & Christopher Miller

2018

Arguing about which of the Spider-Man movies are the ‘best’ is pointless, fruitless, demeaning, creepy and needlessly nerdy. After all, everyone knows Spider-Man 2 was the okayest, if not the best.

So it’s a settled argument. Phew. Now we can go back to arguing whether Nazis are really Nazis anymore or whether people need that much oxygen to breathe and whether Australia Day should be celebrated on April Fool’s Day or not.

And after that’s settled, maybe we get back to the new, real argument, which is: Which is the second-best Spider-Man flick?

Well, that argument has now also been settled with the release of this hilarious and utterly transcendent animated Spider-Man movie that artfully combines so many elements from the long and storied Spider-Man backstory, while also looking forward in gleeful and energetic ways.

Yes, okay, everything is superheroes these days and I’ve pretty much given up arguing against it, so now we’re just looking at the nuances and the ebbs and flows within the broader genre to see where the latest entries stack up. That’s all you can do. Twenty years ago the movies were mostly drama, a lot of action, some comedies and the occasional animated movie. Now it’s 90% superheroes, 5% shit blowing up, 4% people screaming at each other in place of drama and 1% whatever the hell is streaming on Netflix, mostly weak stand-up comedy. And most of that is older comics blaming the world for why we don't think they’re that funny anymore.

There’s something undeniably exuberant about this flick, something which this hero and his extended family is best known for, despite the dark turns the story might take. Visually it’s sublime and nuts, and it’s all in service of the story, insane as the story might be. But whoever Spider-Man is, the hero is always more like an actual person outside of the suit, brilliant but working class, highly functioning but ground down by life.

Miles Morales is a young teenager who really isn’t struggling with that much other than feelings of insecurity and imposter syndrome at the elitist school his hardworking parents have squirreled him into. There he is, existing quietly in his own universe, minding his own business, when he gets bitten by a genetically-engineered radioactive magic spider, don't you know.

dir: Travis Knight

2016

I wanted to love this, I really did. I love most of the stuff that the animators at Laika Entertainment have come up with thus far. They’re idiosyncratic as purveyors of animation, getting the distinctive look you’re not going to confuse with any of the other studios that comes from still using a lot of stop-motion (physical) animation in their movies.

It’s certainly the brightest and best looking of their works, shiniest and cleanest, compared to Coraline, The Boxtrolls and ParaNorman, which all looked somewhat gothic (in Coraline’s case) or a bit gangrenous. They were shooting for a mass audience, and they didn’t get it, which is a bit of a shame.

It’s ambitious, too. It opens with a woman in a boat trying to get somewhere in a terrible storm, one which wrecks her little boat and wounds her terribly, but even worse she is not alone. A baby boy is with her, and they crawl together into a cave to die.

It’s a very idyllic cave, beautiful ocean views, though probably a bit drafty. Some time passes, and the baby becomes a boy, and what a boy. He looks after his damaged mother, who sits motionless all day, and raises money for some rice by telling stories at a nearby village.

dir: Charlie Kaufman

2015

Anomalisa is a pretty depressing film, at least I found it depressing. It’s possible that I found it depressing because it seems to be about depression, or at least the main character seems to be suffering from it.

It’s also… an odd film to describe, and it sounds far more amusing to describe than it ends up being. Being from the mind of Charlie Kaufman, he who came up with the screenplays for such out there and phenomenal stuff as Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind, you are right to expect that there’s some strange artistry going on. And there is.

To say that the story is entirely told with puppets again makes this sound comical, but in reality this is stop motion animation with some very expressive and articulated puppets. It’s also in the service of a story mostly set in or around a drab hotel room.

dir: Peter Docter

2015

Finally.

We’ve missed you, Pixar. I’ve missed you. I’ve missed the days when you made beautiful, touching, insanely fun animated movies that we could watch again and again and feel joyful about each time.

It’s been a while.

The supreme virtue Pixar used to hold, prior to its purchase by Disney, wasn’t just that it was producing the best looking computer animated movies of their day. It was that it was making the kinds of movies with the kinds of stories that other shittier companies wouldn’t or couldn’t make. Anyone can make an animated movie, seemingly. Only Pixar was making Pixar-like movies, if you’ll allow the obvious tautology.

Its run was almost unprecedented. The only other company I can think of that had such a sustained consistent run in terms of originality and quality is probably Studio Ghibli. That came to an end seemingly after Up, I think. I mean, some of the other Pixar flicks haven’t been completely terrible (Brave was an okay attempt at doing something ‘different’ for Pixar but the same as everyone else, but there just isn’t any compelling reason to ever pop that Blu-Ray in the machine, ever, no pressure from the kids, either).