There’s something a bit off about Flushed Away. There’s some lazy storytelling, but I can forgive it since the rats aren’t physiologically accurate anyway and it is really enjoyable to watch–no, it’s something a lot more base. It’s obvious no one really cares. Aardman productions used to have passion by default–they were stop-motion and stop-motion meant a lot of time making things work–Flushed Away is CG and there’s just something off in the storytelling’s adaptation to the technology. I’m not a fan of CG–I’ve gotten better about it, much like I got to be a DVD supporter over laserdisc (I’m forced to out of necessity)–but Flushed Away’s problems aren’t in the literal adaptation. The fiancée thought the film was the traditional Aardman style, so it’s a visual fit, but the laziness hasn’t got anything to do with the technology. It’s the damn story. There are some nice moments to the film, but it’s all really pat. Maybe it’s just because it goes platonic… Maybe I’m pissed because it’s a cheat.
Anyway, there’s something great stuff–the casting is real good, particularly Kate Winslet, which surprised me. She’s willing to have a lot of fun and her character’s good, surprising even. Hugh Jackman plays the foppish rat who ends up in the sewer and he’s fine, but almost impossible to identify with for a lot of the film. Not in a bad way, he’s just the butt of the jokes. Bill Nighy is great as a thug rat, big shock, but Jean Reno is wasted. Not because his character is “Le Frog” (get it?), but because it’s Jean Reno and that casting is supposed to mean something. It doesn’t. He’s just a French guy.
If you do see the film–and I do recommend it, I’ll probably buy it because it is a pleasant diversion–and you notice there are characters missing from the trailer (I guess Aardman found it easier to produce scenes to cut on computer instead of in reality), you’re not alone. In fact, you’re seeing the big problem with Flushed Away. It’s too short (IMDb says eighty-four minutes and I say long credits) and it’s too slight. It’s an exercise in amusement, nothing more.
Directed by David Bowers and Sam Fell; written by Dick Clement, Ian La Frenais, Christopher Lloyd, Joe Keenan and William Davies, based on a story by Fell, Peter Lord, Clement and La Frenais; edited by John Venzon; music by Harry Gregson-Williams; production designer, David A.S. James; produced by Cecil Kramer, Lord and David Sproxton; released by Paramount Pictures.
Starring Hugh Jackman (Roddy), Kate Winslet (Rita), Ian McKellen (the Toad), Jean Reno (le Frog), Bill Nighy (Whitey), Andy Serkis (Spike), Shane Richie (Sid), Kathy Burke (Rita’s Mum), David Suchet (Rita’s Dad) and Miriam Margolyes (Rita’s Grandma).
Posted in 2006, Adventure, Animation, Color, Comedy, English, Family, Paramount Pictures, UK, USA
Tagged Andy Serkis, Bill Nighy, Cecil Kramer, Christopher Lloyd, David A.S. James, David Bowers, David Sproxton, David Suchet, Dick Clement, Harry Gregson-Williams, Hugh Jackman, Ian La Frenais, Ian McKellen, Jean Reno, Joe Keenan, John Venzon, Kate Winslet, Kathy Burke, Lord, Miriam Margolyes, Peter Lord, Sam Fell, Shane Richie, William Davies
So how does Nick Park do feature-length? He does really good.
The Wallace and Gromit adventures are always good (is there one that’s less than the rest, I think so, but can’t remember which one), so I wasn’t worried about The Curse of the Were-Rabbit in that way. Maybe I wasn’t worried about Were-Rabbit at all. I suppose, during the endless previews for shitty “family” movies, there was a tingling of possible badness, but it went away during the the opening credits of Were-Rabbit.
Wallace and Gromit are audience proprietary… people show you the Wallace and Gromit movies. When you meet another person who loves them, you sort of nod. There’s no secret handshake, but it’s implied. I suppose that’s the worst worry of Were-Rabbit, that it would somehow fail and Wallace and Gromit would then fail. Nick Park’s done an amazing thing–he’s managed never to disappoint and Park’s got a really varied audience.
I don’t know, necessarily, that I want another Wallace and Gromit feature, though. I want the same methods in making it applied to short films, just so we get more stories. Still, it’s amazing how much Park got away with–he assumes the audience has a real familiarity with the characters, something you probably aren’t supposed to do with films of this nature, something I’m sure DreamWorks had went into a fit about (they also wanted to replace Wallace’s voice).
I don’t really know what else to say about it.
Directed by Nick Park and Steve Box; written by Box, Park, Mark Burton and Bob Baker; directors of photography, Dave Alex Riddett and Tristan Oliver; edited by David McCormick and Gregory Perler; music by Julian Nott; produced by Claire Jennings, Carla Shelley, Peter Lord, David Sproxton and Park; released by DreamWorks Animation and Aardman Features.
Starring Peter Sallis (Wallace), Ralph Fiennes (Victor Quartermaine), Helena Bonham Carter (Lady Campanula Tottington), Peter Kay (P.C. Mackintosh), Nicholas Smith (the Rev. Clement Hedges) and Liz Smith (Mrs. Mulch).
Posted in 2005, Aardman Features, Adventure, Animation, Color, Comedy, DreamWorks Animation, English, Family, UK
Tagged Bob Baker, Carla Shelley, Claire Jennings, Dave Alex Riddett, David McCormick, David Sproxton, Gregory Perler, Helena Bonham Carter, Julian Nott, Liz Smith, Mark Burton, Nicholas Smith, Nick Park, Peter Kay, Peter Lord, Peter Sallis, Ralph Fiennes, Steve Box, Tristan Oliver