Sort of feels like an extended short film, with the beautiful, meditative first act being followed up with an unexpectedly plot heavy next two that, while entertaining (see the reject bots), lose a bit of the film’s initial quiet poignancy. Still, the eco-future themes and imagery are striking, and the character and relationship development for WALL·E and EVE is present throughout, is remarkable given their lack of faces and dialogue, and rightly gets center stage back at the climactic re-boot.
Three teens discover that their neighbor’s house is really a living, breathing, scary monster. (IMDb)
Love the spooky fun premise and the classic Stand By Me-esque kids-solving-mystery trope but the execution underwhelms: cop duo aside, the humour is lacking (a lot to do with the often awkwardly stilted dialogue and animation I think) and the payoff for the haunted house intrigue is a bit of a downer that clashes with the film’s comedy-horror tone. The first two acts are still decent enough though due to the strength of its concept and a few good elements (Buscemi’s voice is on point).
CREEPY QUOTE: Bones: “Everybody knows what he did to his wife.” Zee: “Why? What? What did he do to her?” Bones: “He ate her!”
Mockumentary captures the reunion of 1960s folk trio the Folksmen as they prepare for a show at The Town Hall to memorialize a recently deceased concert promoter. (IMDb)
The classic doc-style direction is nailed here, and within this setting a brilliant script and deliciously natural turns all around create characters and situations so authentic-feeling you forget you’re watching a fictional film. The humour is consequently organic and mellow, spiked with just the right amount of deadpan outrageous-ness to solidify the film as a comedy while still maintaining it’s doc-facade. Good music and even a touching moment add further value to this great mockumentary.
Ron Burgundy is San Diego’s top rated newsman in the male-dominated broadcasting of the ’70s, but that’s all about to change for Ron and his cronies when an ambitious woman is hired as a new anchor. (IMDb)
An unashamedly purely comedic endeavor; any deficiencies in film-making are pointless to talk about because every aspect of the movie exists entirely to generate laughs. Hilarious characters and dialogue (led by Ferrell’s boisterous Burgundy) and outrageous scenes of which only half contribute to the plot (see “Afternoon Delight” sing-along; violent news-team brawl) add to a continually running satire of male-centrism to produce a top-notch comedy that nails its humour scene after scene.