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STop of Form
Bottom of Form ffi Practice SAC - Sample Review. HOW WOULD YOU RESPOND TO THIS REVIEW? SOME IDEAS ARE PROVIDED……
Modern Animation - Alexander Zalben filmcritic.com
It's a bit of an obvious statement at this point in film history that animation isn't just for kids anymore. From Fritz The Cat to last year's Waltz With Bashir, animation hasn't been the sole domain of wisecracking, family-friendly animals for a good long time. Still, given that more 'adult' animation doesn't necessarily tear it up at the box office, there's a certain degree of fearlessness that goes into making a feature length animated film on more mature topics. Multiply that fearlessness by a factor of ten if you're making a full length claymation film about depression and loneliness. Multiply it by hundred if you're Director/writer Adam Elliot, and you actually make the whole thing work.
The Roald Dahl-esque Mary and Max paints two lost souls on opposite sides of the Earth who become unlikely friends. Mary Daisy Dinkle (Bethany Whitmore, then later Toni Collette) is an eight-year-old girl living in Australia (where everything is brown) with her monstrous mother and taxidermist father. At the post office one day, she randomly picks a name out of a New York phone book. That name is Max Jerry Horowitz (a vocally unrecognizable Philip Seymour Hoffman), an obese Jewish man with Aspergers, who lives in New York, where everything is black and white. They start writing each other, and continue to write each other throughout their lives, filling the role of, literally, the only friend each other has.
There are times when the film gets a little too precious for its own good, over describing a scene, or adding a few too many quirks. And at ninety minutes, the movie ends up with a little flab in the middle (not unlike Max!). This is to be expected, in certain sense, as Elliot has only previously worked on shorts, including the Oscar winning Harvie Krumpet. Adding an extra
Bottom of Form ffi Practice SAC - Sample Review. HOW WOULD YOU RESPOND TO THIS REVIEW? SOME IDEAS ARE PROVIDED……
Modern Animation - Alexander Zalben filmcritic.com
It's a bit of an obvious statement at this point in film history that animation isn't just for kids anymore. From Fritz The Cat to last year's Waltz With Bashir, animation hasn't been the sole domain of wisecracking, family-friendly animals for a good long time. Still, given that more 'adult' animation doesn't necessarily tear it up at the box office, there's a certain degree of fearlessness that goes into making a feature length animated film on more mature topics. Multiply that fearlessness by a factor of ten if you're making a full length claymation film about depression and loneliness. Multiply it by hundred if you're Director/writer Adam Elliot, and you actually make the whole thing work.
The Roald Dahl-esque Mary and Max paints two lost souls on opposite sides of the Earth who become unlikely friends. Mary Daisy Dinkle (Bethany Whitmore, then later Toni Collette) is an eight-year-old girl living in Australia (where everything is brown) with her monstrous mother and taxidermist father. At the post office one day, she randomly picks a name out of a New York phone book. That name is Max Jerry Horowitz (a vocally unrecognizable Philip Seymour Hoffman), an obese Jewish man with Aspergers, who lives in New York, where everything is black and white. They start writing each other, and continue to write each other throughout their lives, filling the role of, literally, the only friend each other has.
There are times when the film gets a little too precious for its own good, over describing a scene, or adding a few too many quirks. And at ninety minutes, the movie ends up with a little flab in the middle (not unlike Max!). This is to be expected, in certain sense, as Elliot has only previously worked on shorts, including the Oscar winning Harvie Krumpet. Adding an extra