GKIDS acquires Song of the Sea

Tim here with some great news for everyone who loved the 2009 Best Animated Feature Oscar nominne The Secret of Kells (which should, really, be everyone). GKIDS, the indie that Kells first put on the map, has announced that they'll be distributing diretor Tomm Moore's second feature, Song of the Sea, though they've rather cagily failed to announce a date just yet (the film is still in production). Based on the distributor's past history, I'd expect an Oscar-qualifying run in the fall, followed by a full release sometime in the spring of 2015, which isn't terribly comforting to those of us who want to see it, like, now. Just based on the images available on Moore's blog for the movie, it looks like the animators at Cartoon Saloon have taken the illuminated manuscript aesthetic gone to even richer, more tactile places.

Like The Secret of Kells, the new movie tells a story inspired by Irish folklore: in this case, selkies, a race of seal-humans whose previous cinematic appearances include the John Sayles family movie The Secret of Roan Inish and the Neil Jordan romantic drama Ondine. Kells veteran Brenan Gleeson is back to do voice work, and the music will once again by courtesy of Bruno Coulais and the band Kila, whose work was almost as key to the effectiveness of the earlier movie as the imagery was.

Having found Moore's last film to be one of the most fresh and enjoyable animated films in years, I'm ecstatic to have this clear indication that his new project will be treated with care for a North American audience. GKIDS has pushed films to four Oscar nominations in five years, including current nominee Ernest & Celestine; I'd (foolishly?) lay good money on Song of the Sea being part of the same conversation a year from now.

Review: The LEGO Movie

'If you build it, they will come.' They'll come in droves. It's 2014 and at this point, it's safe to say that Hollywood has mastered the art of pandering to the masses. They deliver exactly what we are pre-conditioned to want. The box office charts each year are now completely filled by franchises and pre-branded efforts. Frozen, for example, isn't a true original, but the 12th episode of the Disney Princess franchise that's been breaking box office records since (gulp) 1937. It's now extremely rare for a non-sequel non-pre-branded film to ever become a mammoth hit; only one "original" per year even cracks the annual top ten now (Gravity in 2013, Ted in 2012, none in 2011) which is a big downturn from the Aughts which themselves weren't as original as the Nineties.

All of which brings us to this weekend's chart topper, THE LEGO MOVIE. With its built-in nostalgia for childhood as well as a huge swath of pre-licensed characters to dangle in front of your 3D glasses (Gandalf, Batman, Han Solo, Wonder Woman, and dozens more), it's easy to approach the new hit expecting the worst. But there's no need! I'll use Bad Cop / Good Cop (voiced by Liam Neeson) to illustrate the situation and my own immediate mood swing as the movie built its case.

[BAD COP] The LEGO Movie would be a massive hit even if it were terrible.

[GOOD COP] Who cares? It's wonderful!

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Will the real Maleficent please stand up?

Tim here. We’ve all had a few days for the recent trailer for Disney’s upcoming pillaging of former glories live-action Sleeping Beauty riff Maleficent to sink in (full disclosure: all I get is a big rotten whiff of Snow White and the Huntsman with a bigger role for its face-saving Prima Donna as the villain). So I’d like to take a moment to rewind 55 years back to the first Maleficent, for no better – and certainly, no worse – reason than that she’s one of the very best villains not only in the Disney canon, but in cinema as a whole. And while it’s never the wrong time to pay attention to one of the finest pieces of draftsmanship in the whole of American character animation, it’s nice to have an excuse.

The question, “Why is Maleficent so damn awesome?” has many answers, but here’s the easy one: black. 

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The 2013 Best Animated Short Oscar nominees

Mickey Mouse is up for his first gold in agesTim here. Having already looked at the newly-minted Best Animated Feature Oscar nominees, let's turn for a little bit towards that category's older, smaller sibling, Best Short Subject - Animated. We already briefly discussed these films back when the 10-title shortlist was announced, but now that it has been whittled down to five, let's take a more in-depth look at each of them.

Feral (Daniel Sousa and Dan Golden)
For solely aesthetic purposes, this would be my favorite of the nominees. It's a simple enough story: a boy raised by wolves is brought back to civilization and has a hard time of it. The greatness lies in the marriage of that scenario with rough impressionistic images, some which look like extra-bleak newspaper comics, some which look like somebody was trying a sheet of paper apart using a pencil.

It's the most distinctive of the five by far, looking handcrafted because it so emphatically is: some of the images are drawn on computer, some are hand-painted, but they all have a desperate crudeness that lacks the polish of most animation, and this couldn't be a better fit for the material. It's available to rent for $1 on Vimeo.

Mickey Mouse, friendly witches, and more below the jump

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The Best Animated Feature 2013 nominees

It's Tim, wishing everybody a Happy Nomination Day! Obviously, the above-the-line categories hog most of our attention on this holiest of holy days (and they should – they’re kind of amazing this year), but there are 20 whole categories that have nothing to do with acting. And 19 of those don’t involve gawking at the hypnotically amateurish trailer for Alone Yet Not Alone.

So with that in mind, let’s take a closer look at some of those other categories, and since I’m the resident animation guy, I assume it’s no surprise that I’m heading straight for Best Animated Feature. A race that is already kind of shocking because of an omission that, if not quite Tom Hanks/Emma Thompson scale in its “my God, did they really snub…” outrageousness, still pulled a pretty big gasp out of me this morning. I refer to the absence of Monsters University, only the second eligible Pixar film to ever miss out on a nod since the category’s creation in 2001. [more...]

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