Finally watched this Laika movie. I love love loved the look, beautiful stop-motion with ghostly effects. A total visual triumph, and I wish we’d caught it in theaters. Didn’t expect the screenplay to suck, though. Overall story is fine, weird kid in town can see ghosts, has to use his powers to save the town from a vindictive witch, but most of the plot points and dialogue were boring and obvious, led by a veritable who-cares of voice acting. Maybe it’s just because we watched it on Halloween (Katy’s sole SHOCKtober film) and treaters interrupted the movie every five minutes so I couldn’t get sucked into its particular atmosphere.
The ultimate meta-storytelling, misfit-family, humans-vs-gods, origami-magic, epic-quest movie featuring the ultimate ass-kicking monkey.
My only complaint about the gorgeous stop-motion, which features a centerpiece sailboat battle that is possibly the best scene I’ve ever seen accomplished in animation, is that it’s all so perfectly executed that you often can’t tell it’s stop-motion.
We stayed through the credits to see my favorite armaturist’s name on the big screen – way to go, Spake!
I was pretty much an emotional wreck for the last 25-30 minutes of Kubo. It’s not that I was surprised by the twists–very soon after we meet Monkey and Beetle (the former of whom voices Kubo’s actual mother), it’s pretty clear that they’re not just metaphorical stand-ins for his parents, but literal ones. It’s that the way the script handles the notion of accepting death and treating it as a fitting end to our “story” was unexpected and achingly humane.
The physical reality of their characters conveys an otherwise impossible sense of impermanence, and reveals stop-motion to be the perfect vehicle for a story about the beauty of being finite. The movies have explored the afterlife almost as thoroughly as they have life on Earth, but this one is so powerful because of the precision with which it articulates these immortal ideas of transience.
T. Robinson for The Verge:
One of Laika’s ideals is that only one animator should work on a given scene at a time … for instance, in a scene where Kubo stands in a wooded area and a wind blows through the trees, that’s the work of a single animator moving every leaf and branch separately. The process is incredibly laborious: On Kubo, 27 animators worked simultaneously on their own scenes, each trying to achieve the company goal of 4.3 seconds of animation per week, and more often, only hitting about three seconds per week.
Another delight from Laika. Think we both enjoyed this even more than Coraline. Insect-eating Boxtrolls live beneath the city, taking scraps and bits of shop signage from the above world and transforming them into machinery. Also they have a human boy who thinks he’s a boxtroll until, while fleeing from the town’s obsessive boxtroll exterminator Archibald Snatcher (whose reward for total extermination will be admittance to high-society cheese tastings), he bumps into a macabre little girl who helps him discover that he’s the long-lost son of a missing inventor.
I particularly liked the armatures.
Stop motion inventors with an obsession for cheese obviously brought to mind Wallace & Gromit, so we watched The Wrong Trousers a few nights later.