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Director: Igor Kovalyov
Release Date: 1996
Rating: ★★★
Review:

Made during his stay at the Klasky Csupo studio ‘Bird in the Window’ is Igor Kovalyov’s first film made in the US.

Despite his contemporary commercial work on e.g. Rugrats and Duckman: Private Dick/Family Man, Kovalyov’s independent style has lost nothing of its enigma. ‘Bird in the Window’ is a film in several very short scenes with mutual relationships that are hard to decipher.

A man returns home to his house in the countryside, but his wife clearly hides something for him. Why can’t he see the child that’s running around? What’s with the two Chinese characters playing chess? And what’s the role of the gardener? ‘Bird in the Window’ certainly suggests a lot without clarifying a thing. Even the opening scene in which a bird violently chases a winged bug is as disturbing as it is puzzling. ‘Bird in the Window’ may be less obviously surreal than his celebrated ‘Hen His Wife’ (1989), Kovalyov’s way of story telling still is one of suggestion, not explanation.

Note how Kovalyov uses seemingly trivial images to tell his tale: the man throwing an apple at the gardener, the man eating all the grapes, the woman lying in a bath, a cockroach creeping – all these short scenes contribute to the ominous feeling, full of suppressed eroticism.

The tense atmosphere is greatly enhanced by the great sound design, which offers us many noises not seen on the screen: cows mooing, a plane flying by, a clock chiming, the woman running down the stairs and slamming doors, a dog barking etc.

Watch ‘Bird in the Window’ yourself and tell me what you think:

‘Bird in the Window’ is available on the DVD ‘Desire & Sexuality – Animating the Unconscious Vol.2’

Airing Date: May 11, 1996

Dexter’s Rival

Director: Genndy Tartakovsky
Stars: Dexter, Dee Dee, Mandark
Rating: ★★★★
Review:

‘Dexter’s Rival’ introduces Dexter’s arch nemesis, Mandark (who apparently is called Astronominoff in real life).

In this episode Mandark outwits Dexter in every single task at school, being genuinely smarter than Dexter is. Even Mandark’s lab is much bigger than Dexter’s (and even contains a death star lurking outside). This of course, greatly upsets Dexter, but then he discovers that Mandark has one weak spot…

Mandark immediately is a priceless character – his arrogance, his typical way of talking and his trademark offbeat laughter make him a perfect foe. The way he perceives Dee Dee is a particular highlight of this episode, turning Dexter’s big sister in a piece of pure romantic beauty.

Dial M for Monkey: Simion

Directors: Paul Rudish & Genndy Tartakovsky
Stars: Dial M for Monkey
Rating: ★★★
Review:

In ‘Dial M for Monkey: Simion’ monkey does not only have superpowers, he also lives in a futuristic science fiction world, even though this episode has the same introduction as the previous two Monkey episodes.

In this episode we see a little more of agent Honeydew, but most of the time is devoted to a very long speech by the villain, Simion. This tale of revenge simply bursts with familiar superhero tropes, but that doesn’t necessarily make it very funny. Like the other ‘Dial M for Monkey’ episodes ‘Simion’ remains mediocre at best, and the episode pales when compared to the bridging Dexter’s Laboratory episodes, ‘Dexter’s Rival’ and ‘Old Man Dexter’.

Old Man Dexter

See the post devoted to this episode

‘Dexter’s Rival/Dial M for Monkey: Simion/Old Man Dexter’ is available on the DVD ‘Dexter’s Laboratory Season One: All 13 Episodes’

Airing Date: May 4, 1996

Dexter Dodgeball

Directors: Craig McCracken & Genndy Tartakovsky
Stars: Dexter, Dee Dee
Rating: ★★★½
Review:

In ‘Dexter Dodgeball’ Dexter gets a substitute coach at school, who doesn’t care for the boy’s excuse note to excuse him from gym class. Instead, Dexter is forced to ‘play’ dodgeball every day of the week, which means he’s bombarded by bullies every day of the week. But then next week Dexter takes revenge…

The substitute coach is a direct echo from similar personas in Ren & Stimpy, while the scenes of Dexter’s Revenge have clear mecha anime influences. Like many other episodes of Dexter’s Laboratory the episode ends rather abruptly and a bit cornily.

Dial M for Monkey: Rasslor

Directors: Paul Rudish & Genndy Tartakovsky
Stars: Dial M for Monkey
Rating: ★★★
Review:

In ‘Dial M for Monkey: Rasslor’ an alien wrestler called Rasslor challenges all earth’s superheroes to combat him. If they lose, he will destroy the Earth.

Rasslor is voiced by real wrestler Randy Savage (1952-2011), but more interestingly, this episode introduces the Justice Friends, which eventually would replace Dial M for Monkey as bridging parts of Dexter’s Laboratory episodes. Thus we can already see the Captain American-like Major Glory, the Thor-like Valhallen and, yet unnamed, the Hulk-like Krunk, as well as numerous other superheroes. None of these manages to beat Rasslor, and the alien wrestler refuses to combat Monkey…

The result is one of the more enjoyable Dial M for Monkey episodes, even if the speed drops as soon Monkey enters the stage.

Dexter’s Assistant

Directors: John McIntyre & Genndy Tartakovsky
Stars: Dexter, Dee Dee
Rating: ★★★
Review:

In ‘Dexter’s Assistant’ Dexter conducts an experiment in which he needs somebody to press a button at the bottom, while he is on top of a giant machine. Because Dee Dee clearly isn’t able to do the job, he makes an assistant out of his sister by replacing her tiny brain for a giant one…

This is a fun episode, but it unfortunately has a rather predictable story line, and as often in this series, it ends rather inconclusively. The best scene may be that of Dexter with long hair, courtesy of Dee Dee’s hair lotion invention.

‘Dexter Dodgeball/Dial M for Monkey: Rasslor/Dexter’s Assistant’ is available on the DVD ‘Dexter’s Laboratory Season One: All 13 Episodes’

Airing Date: April 27, 1996

On April 27, 1996 the series ‘Dexter’s Laboratory’ started in earnest, creating quite a stir, and influencing many television animation film makers with its original blend of 1950s design and animation, and cinematic anime influences. The series lasted four seasons, spread over eight years, but alas, alas, only the first season has been released on DVD.

In the first season every episode consisted of two Dexter’s Laboratory parts, bridged by an episode of either ‘Dial M for Monkey’ or ‘The Justice Friends’. Neither bridging series amounted to much more than filler material, and they were almost completely dropped in the second series.

Dee Deemensional

Director: John McIntyre
Stars: Dexter, Dee Dee
Rating: ★★★★★
Review:

‘Dee Deemensional’ opens spectacularly with Dexter trying to battle a giant monster in his lab to no avail. To save the day he sends his sister back into time to warn him. But as may be expected his past self takes little heed to all Dee Dee has to say to him, and even a humiliating surrender won’t help him in the end. ‘Dee Deemensional’ is a delightful play with the concept of time travel, even though Dexter’s attempt to alter the future appears to be doomed.

Dial M for Monkey: Magmanamus

Directors: Paul Rudish & Genndy Tartakovsky
Stars: Dial M for Monkey
Rating: ★★★
Review:

‘Dial M for Monkey: Magmanamus’ introduces an off-spin character from the Dexter’s Laboratory universe. It appears that Dexter’s unassuming test monkey secretly is a superhero. This episode is penned by Craig McCracken of later Powerpuff Girls-fame, and it already shows his passion for superheroes and monster movies. Monkey has to battle an annoyed lava monster called Magmanamus, who only tries to sleep, but who’s pretty annoyed by all human noises.

This episode is noteworthy for its very limited animation, with some shots being practically stills. Only Magmanamus himself is animated quite broadly, but his character unfortunately is all too talkative and rather tiresome.

Monkey never got the same status as the surrounding Dexter episodes, and was dropped halfway the first season, although the character remained in Dexter’s Laboratory, and got one episode in Season Two. Indeed, ‘Dial M for Monkey: Magmanamus’ hardly fulfils its premise, and is more entertaining as a spoof of cheap 1960s superhero shows than as entertainment in itself.

Maternal Combat

Directors: Rob Renzetti & Genndy Tartakovsky
Stars: Dexter, Dee Dee
Rating: ★★½
Review:

Dexter’s mother is ill, so Dexter builds a ‘momdroid’ to help to clean the house. All goes well, until Dee Dee grabs the remote. ‘Maternal combat’ is one of the less inspired Dexter’s Laboratory episodes: part of it is devoted to Dee Dee’s cooking, which is hardly related to the main story, and the episode fizzles out as if the studio was out of ideas. The best part is when Dexter’s Dad returns home, and greets his wife three times, unaware that two of them are, in fact, robots.

‘Deedeemensional/Dial M for Monkey: Magmanamus/Maternal Combat’ is available on the DVD ‘Dexter’s Laboratory Season One: All 13 Episodes’

Director: Genndy Tartakovsky
Release Date:
October 26, 2012
Rating:
 ★★★
Review:

This short is set in Hotel Transylvania from the film of the same name and features Bigfoot trying to sleep, while being hindered by a green witch, who in fact tries to keep him sleeping.

Surprisingly, Tartakovsky’s crew animated this cartoon in 2D, not 3D, and the short features Tartakovsky’s comedy style as we know it from his television series ‘Dexter’s Laboratory’. Thus we watch strong poses, outrageous takes and jumpy animation.

Unfortunately, the film is too short to build up some great comedy. The witch essentially wakes Bigfoot only twice. If you compare this to say Tex Avery’s ‘The Legend of Rockabye Point’ it’s easy to see where this film remains stuck in being a nice attempt, while Tex Avery’s is the pinnacle of comedy. Funny animation alone isn’t enough, a film needs gags, too.

Watch ‘Goodnight Mr. Foot’ yourself and tell me what you think:

‘Goodnight Mr. Foot is available on Blu-Ray and DVD ‘Hotel Transylvania’

Director: Genndy Tartakovsky
Release Date:
September 8, 2012
Rating:
 ★★★
Review:

2012 was the year of animated horror. No less than three American animated feature films of that year were horror themed: Laika’s ‘Paranorman’, Disney’s ‘Frankenweenie’ and Sony’s ‘Hotel Transylvania’. Of these three ‘Hotel Transylvania’ is the least scary (it isn’t scary at all), the least original and the least impressive.

‘Hotel Transylvania’ marked the feature direction debut of Genndy Tartakovsky, the Russian-American genius behind Cartoon Network hits Dexter’s Laboratory and Samurai Jack. Both series were impressive efforts of style and animation, being conceived in a strong idiosyncratic and very attractive style, making full use of limited animation in the best UPA sense, instead of the dull cheapstake sense of Saturday morning television television of the 1970s and 1980s.

In that respect, ‘Hotel Transylvania’ is quite a letdown. Neither the design nor the 3D computer animation shows anything betraying Tartakovsky’s style, and are, in fact, pretty generic. True, the animation style is very cartoony, with wild takes and jerky movements, and this undoubtedly at least partly betrays his influence, but Sony Pictures Animation already had adopted this style in ‘Cloudy with a Chance of Meatballs’ (2009). The most interesting piece of cartoony animation is the absurdly smooth way Count Dracula strides, which looks like a homage to Dora Standpipe’s moves in ‘The Dover Boys at Pimento University or The Rivals of Roquefort Hall’ (1942), but may also have been inspired by the Martian woman in ‘Mars Attacks!’ (1996) .

‘Cloudy with a Chance of Meatballs’ (2009) also was a more stylized film than ‘Hotel Transylvania’, which struggles with the homogeneity of its design. Some characters retain some plastic cartoony appearance (Count Dracula, the Monster of Frankenstein), while others are over-textured, adding unnecessary realism to their appearance (Wayne the Werewolf, Murray the mummy).

There’s even an unsettling difference between the two love interests who form the heart of the film: the rather goofy youngster Johnny is designed and animated broadly, and hard to take seriously. During the first half of the film he comes across as incredibly stupid and empty, and his transition into a genuine love interest isn’t entirely convincing. Dracula’s daughter Mavis, on the other hand, shows some real depth, and she is the only character animated straight and sincerely between a multitude of cartoony monsters. In fact, Mavis is the only character one cares for, and it’s a shame we see so little of her.

This is because ‘Hotel Transylvania’ is not her story, but that of her father, count Dracula, and this tale of a single, overprotective father owes a little too much to ‘Finding Nemo’ (2003). Somehow this theme was in the air, because the next year Illumination would follow suit with ‘Despicable Me 2’. Count Dracula’s progress unfortunately is pretty formulaic, as are the themes of friendly monsters (done better by Dreamworks in ‘Monsters vs. Aliens’ from 2009) and ‘the ‘enemy is not as bad as he seems’ (done more successfully in ‘Paranorman’). And by 2012 the happy musical finale, so fresh as it had been in ‘Shrek’ (2001) already was an all too tried way to end things. Also, the premise of the hotel isn’t entirely convincing. Count Dracula may be convinced the outer world is a threat, but his guest flock from all over the globe – they surely should know better?

Don’t get me wrong. ‘Hotel Transylvania’ is not a bad movie. It’s even quite enjoyable. On the up side the voice cast is quite good. Adam Sandler actually does a good job as Count Dracula, Selena Gomez is excellent as Mavis, and Kevin James, Steve Buscemi and Cee-Lo Green fit their characters Frankenstein, Wayne and Murray very well. There are some fine gags, the film moves at a lively pace, and the story at least moves forward without any sidetracks.

But all the tropes, the almost obligatory fart joke, all the formulaic plot twists, the uninspired designs and stock characters and the generic music make that the film doesn’t stand out from the crowd. This film is just mediocre. Surely, Genndy Tartakovsky should be able to do better. At least it didn’t help that he was only the sixth (!) director involved in this film. At least we can enjoy some of his appealing 2D artwork during the titles, but that’s of course cold comfort after the real thing. Nevertheless, ‘Hotel Transylvania’ would sprout two sequels, with a third coming this way this year.

Watch the trailer for ‘Hotel Transylvania’ and tell me what you think:

‘Hotel Transylvania’ is available on Blu-Ray and DVD

Directors: Laurent Boileau & Jung
Release Date:
June 4, 2012
Rating:
 ★★★
Review:

One of the striking developments of the 21st century was the advent of the animated documentary. Of course, the genre is much, much older, arguably going back to Winsor McCay’s ‘The Sinking of the “Lusitania“’ (1918), but the animated documentary film remained a scarcity throughout the 20th century, and never went beyond the length of shorts.

All that changed with the highly influential Israeli film ‘Waltz with Bashir’ (2008), arguably the very first feature length animated documentary. Subsequent films of this type often told personal stories, if not only told with, then at least augmented with animation, e.g. ‘Tatsumi’ (2011), ‘Kurt Cobain: Montage of Heck’ (2015, with added animation by Hisko Hulsing) or ‘Tower’ (2016).

‘Couleur de peau: miel’ is such a personal story. The film is based on an autobiographical graphic novel by Belgian author Jung, who is of Korean descent, and who was adopted at a young age. His story is told with an all too prominent voice over, and in live action, depicting the present Jung, now 44 years old, visiting Korea, with the use of 8mm films shot by his father in the 1970s, and with computer animation, depicting several of Jung’s childhood memories.

The film succeeds in showing the troubled existence of adopted children, and their struggling with their identity. Jung, for example, doesn’t feel entirely part of the family, and indeed, his parents sometimes snap that they see him differently from their own natural children. Worse, he feels uprooted, feeling neither completely Belgian nor Korean, and feeling alienated from both. This leads to a troubled youth, with Jung being far from a good boy. This unfortunately makes it rather more difficult to identify with him, for he often acts as a real jerk, being full of mischief, for example falsifying his school report.

The French title literally translates as ‘Skin Color: Honey’, and the animated sequences certainly use yellows, together with browns and grays as their principal coloring. Jung also has some dire memories of his early Korean days, which are rendered in more depressing grays than the Belgian sequences. These colors dominate the beautiful, two-dimensional background art.

For the animation the film makers have resorted to 3D computer animation, because it was cheaper. Unfortunately, it also looks cheaper, hampering an otherwise fine film. The characters are a strange hybrid of drawn images projected on three-dimensional models, and never become convincing characters. Instead, they look like wandering marionettes, uncannily devoid of life. In fact, the character animation is so ugly to look at that the emotions of Jung’s memories never really come off. I certainly wonder what a better film ‘Couleur de peau: miel’ could have been, if the film makers had made in traditional 2D animation… Now, we’re stuck with a film that certainly is interesting, but falls short in moving its audience.

Watch the trailer for ‘Couleur de peau: miel (Approved for Adoption)’ yourself and tell me what you think:

‘Couleur de peau: miel'(Approved for Adoption) is available on Blu-Ray and DVD

Director: Earl Hurd
Release Date:
August 21, 1921
Stars: Bobby Bumps & Fido
Rating:
 ★★★
Review:

In ‘Hunting an’ Fishing’ Bobby Bumps does exactly that, and in an area where it’s prohibited, too. But how he’s supposed to know? He has blasted off the ‘no’ from a ‘no hunting allowed’ sign while trying to hit a rabbit. In any case, soon the gamekeeper is on his tail…

‘Hunting an’ Fishing’ looks uncommonly cheap for a Bobby Bumps cartoon: the background art is extremely limited, and Hurd uses quite some animation cycles. More interesting is the fact that this short seems like a very early ancestor of the chase cartoon. A great deal of the cartoon features the gamekeeper chasing Bobby, and Bobby and Fido trying to get rid of the fellow in various ways.

Yet, the best gag is reserved for a completely different set of characters: a bird and a frog using a sleeping rabbit’s stomach to rock themselves to sleep as well. This is an inventive, unique and surprisingly well staged gag.

‘Hunting an’ Fishing’ is available on the Blu-Ray/DVD-combo ‘Cartoon Roots: Bobby Bumps and Fido’

Director: Earl Hurd
Release Date:
January 24, 1919
Stars: Bobby Bumps & Fido
Rating:
 ★★★
Review:

‘Bobby Bumps’ Last Smoke’ starts with Earl Hurd’s hand drawing Bobby Bumps, tickling him on the way. Then finished he gives the boy a cigarette, and immediately the scenery sets in.

Bobby starts smoking enthusiastically, but soon gets dizzy and throws the cigarette away. The cigarette smoke transfers him and Fido to a sultan’s palace in a 1001 Arabian night version of Turkey. The duo rescue a lady from the Sultan’s dungeons, with Bobby knocking out all the guards, and some lions, with the lady’s former ball and chain. He earns the damsel’s kiss in reward, which turns out to be Fido licking him.

Now, one would suspect that ‘Bobby Bumps’ Last Smoke’ is a typical anti-smoking cartoon, with Bobby giving up smoking after this trippy experience. But no, the one thing he’ll never do again isn’t smoking, but “insulting a sultan”. And so, with this pun, the short ends.

‘Bobby Bumps’ Last Smoke’ boasts elaborate human designs and intricate background art, but as with most animated cartoons from the 1910s, the animation is limited and jumpy.

‘Bobby Bumps’ Last Smoke’ is available on the Blu-Ray/DVD-combo ‘Cartoon Roots: Bobby Bumps and Fido’

Director: Josh Cooley
Release Date: November 3, 2015
Rating: ★★★
Review:

‘Riley’s First Date?’ is an unnecessary, but fun spin off short from ‘Inside Out‘. During this short a boy comes to visit Riley, an event freaking out her parents, until Riley’s father and the boy suddenly find something they have in common.

As in ‘Inside Out’ we take a look inside the four protagonist’s heads, this time focusing on dad’s inside. Nevertheless, Mom and dad are less round characters than they had been in ‘Inside Out’, being little more than cliches. The boy, too, is more a caricature than a real person, sitting lethargically and mindlessly in his chair most of the time. The only real person in this short is Riley herself, but she hardly takes part.

Let’s face it, ‘Riley’s First Date?’ doesn’t come near the sophistication of ‘Inside Out’, but it doesn’t aspire to, and can be safely regarded as ‘just a bit of fun’.

Watch ‘Riley’s First Date?’ yourself and tell me what you think:

‘Riley’s First Date?’ is available on the Blu-Ray and DVD of ‘Inside Out’ and ‘Pixar Short Films Collection 3’

Director: Sanjay Patel
Release Date: June 15, 2015
Rating: ★★★
Review:

Sanjay’s Super Team’ is animator Sanjay Patel’s semi-autobiographical dive into his own childhood.

The film stars a small Indian boy who just loves superheroes, greatly disturbing his praying father. When he joins his father’s praying, he accidentally blows out the candle for the Hindu Gods. This prompts a dream sequence in which the smoke brings forth a large demon, battled by the three Gods in his father’s little shrine: Hanuman, Durga and Vishnu. These become Sanjay’s new superheroes.

This short is cute and clearly made with love. Moreover, the film is a welcome foray into the world of other cultures. But the cartoon is hampered by the extreme designs on little Sanjay and his father (both are extremely large headed and wide eyed), and the rather cheap-looking computer effects during the dream scene. Moreover, the battle scene in itself is typical for superhero films, and of no particular interest, and in the end the film is too short to engage with little Sanjay and his emotional bond to his father. Of course, this is hinted at during the final scene, but one whishes Patel had spent more time on father and son rather than on the generic superhero battle scene.

‘Sanjay’s Super Team’ was played in theaters before ‘The Good Dinosaur‘ and was nominated for the 2015 Academy Award, which eventually went to ‘Bear Story’ from Chili.

Watch ‘Sanjay’s Super Team’ yourself and tell me what you think:

‘Sanjay’s Super Team’ is available on the Blu-Ray’s and DVD’s ‘The Good Dinosaur’ and ‘Pixar Short Films Collection 3’

Director: Emily Hubley
Release Date:
1995
Rating:
★★★

‘Her Grandmother’s Gift’ is directed and animated by Emily Hubley, and narrated by her mother, Faith Hubley.

Faith Hubley recalls her own first period, and the unhealthy attitude her own mother had towards this natural phenomenon. Emily Hubley illustrates this remarkably frank and autobiographical tale with images that are related to but different from her own mother’s art. The younger Hubley relies much less on animation cycles than her mother, and pimps her images with collage art, photographs and the use of bits of cut-out animation. Her style is less poetic than her mother’s, but her images support her mother’s narrative very well.

Watch ‘Her Grandmother’s Gift’ yourself and tell me what you think:

https://vimeo.com/89536021

‘Her Grandmother’s Gift’ is available on the DVD ‘The Hubley Collection Volume 2’

Director: Phil Mulloy
Release Date:
1995
Rating:
★★★

‘Remember to Keep the Holy Sabbath Day’ is the most absurd and arguably the funniest of Phil Mulloy’s ‘The Ten Commandments’ films.

The short tells the strange (and rather silly) tale of Ezechiel Mittenbender, a citizen of Joesville, Mulloys mythical town, which he had introduced in ‘Thou Shalt Not Steal‘. When Ezechiel witnesses the landing of a flying teacup, he gets abducted by evil aliens called Zogs. The Zogs want to destroy the earth, but Ezechiel saves the day by reminding the Zogs that it’s Sunday…

The Zogs have genitalia where our heads would have been and vice versa. Mulloy clearly delighted in these creatures, because they would return in his ‘Intolerance’ double bill of 2000/2001.

‘Remember to Keep the Holy Sabbath Day’ is available on the BFI DVD ‘Phil Mulloy – Extreme Animation’

Director: Douglas McCarthy
Release Date: August 25, 1995
Stars: Bugs Bunny, Daffy Duck, Yosemite Sam, Tweety, Laszlo, Penelope Pussycat, Pepe le Pew a.o.
Rating: ★★★
Review:

‘Carrotblanca’, as the title implies, is a parody on the classic feature ‘Casablanca’ (1942) and appears on several DVD releases of that film.

The short, however, originally was shown theatrically, accompanying the live action feature ‘The Amazing Panda Adventure’ in North America and the animated feature ‘The Pebble and the Penguin’ internationally. Thus, the film is a clear product of the cartoon renaissance, reviving many characters from the classic Looney Tunes and Merrie Melodies.

The most familiar faces have the starring roles, so we watch Bugs Bunny as Rick Blaine, Daffy Duck as Sam, Yosemite Sam as ‘General Pandemonium’, Tweety as Ugarte, Sylvester as Laszlo, Penelope Pussycat as Ilsa, and Pepe le Pew as Captain Louis. Also visible are e.g. Foghorn Leghorn, Sam Sheepdog, Porky Pig, the Crusher, Beaky Buzzard, Miss Prissy, Giovanni Jones and Pete Puma. Strangely absent are Elmer Fudd on the Looney Tune side, and Signor Ferrari on the Casablanca side.

The short compresses the original movie into a mere eight minutes, and parodies many of its classic scenes, including the flashback scene. As expected, the result is rather silly, but unfortunately not very funny, as somehow most of the gags fall flat (it doesn’t help that Tweety goes into a Peter Lorre impersonation four times). The film remains at its best when parodying the feature, but as soon as the cartoon characters go into their own routines the results get unpleasantly stale. Thus the film is more a product of nostalgia than one breathing new life into the decades old characters.

Thus ‘Carrotblanca’ may not be an essential film, yet it’s still a fun watch, I guess more for Looney Tunes lovers than Casablanca lovers. If anything, the short showed that the characters still had potential to entertain, a notion Warner Bros. cashed on with the feature length ‘Space Jam’ (1996).

Watch ‘Carrotblanca’ yourself and tell me what you think:

‘Carrotblanca’ is available on several Blu-Ray and DVD editions of ‘Casablanca’

Director: Brian Wood
Release Date: 1994
Rating: ★★★
Review:

‘Mr Jessop’ tells the simple story of a man who goes to town to buy some perfume for his wife, who stays home, frantically cleaning.

This plot may not sound too interesting, but Brian Wood’s way of telling this story certainly is. In his vision even this every day action is depicted so uniquely that it becomes something completely different. In his world everybody is obsessed with looking, continuously watching each other and the products on the shelves.

The film has a very nervous atmosphere, greatly helped by the soundtrack, and at points reaches an atmosphere of pure paranoia. The animation itself too is nervous, with expressionistic images, lots of deformations, tunnel-perspectives and animated backgrounds. Wood’s drawing style is crude and expressionistic, even if it retains a certain cartoony quality. And even though the ending feels like a punchline, it’s Wood’s unusual, frantic style that stays in your head after watching the short little film.

Watch ‘Mr Jessop’ yourself and tell me what you think:

‘Mr Jessop’ is available on the DVD ‘The Best of British Animation Awards 1’

Director: John Eng
Airing Date: May 1, 1995
Stars: Duckman
Rating: ★★★
Review:

In this episode Ajax’s English teacher discover that Ajax is a poet. Soon Ajax recites his totally incomprehensible poems to a huge audience at a hip beatnik club called Kolchnik’s.

But then Duckman sells his son away to the ‘Watermark’ company (an obvious parody of Hallmark)… The introduction of the humongous Watermark company is a great little piece of cinema and involves some animated backgrounds, a rare feat since the early 1930s.

‘Research and Destroy’ is one of the most straightforward of all Duckman stories, with a clear story from start to end. Highlight is the screwball image that returns as a running gag throughout the picture, but most interesting is the supercomputer assembling metadata on all customers. In ten years time this would become more than true…

Watch ‘Research and Destroy’ yourself and tell me what you think:

This is Duckman episode no. 21
To the previous Duckman episode: In the Nam of the Father
To the next Duckman episode: Clip Job

‘Research and Destroy’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Norton Virgien
Airing Date: April 24, 1995
Stars: Duckman
Rating: ★★★
Review:

When Cornfed gets a visit from one Ng claiming to be his son, he has to get back to Vietnam to find out the truth. He asks Duckman to come along. Duckman brings his family with him as Cornfed pays for the trip and the family demands a vacation.

While the Duckman family amuses themselves in the war-themed ‘Euro Asia Land’, Cornfed looks hopelessly for his wartime love interest Mai Ling. The Vietnam setting allows for some spoofs on Vietnam films, like ‘Apocalypse Now,’ ‘Forrest Gump’ and ‘Good Morning Vietnam’. Unfortunately, the pace is rather slow and rambling, hampering the flow of the episode.

Fluffy and Uranus have a larger role than normally: when the two cute teddy bears ask for a vacation for themselves after eleven years of hard work, Duckman makes them explode inside a microwave. Yet, later we watch them entertaining Ng by showing him slides, much to Ng’s distress.

This is the first Duckman episode to use a shortened intro, leaving out the introduction of Duckman’s co-stars.

Watch ‘In the Nam of the Father’ yourself and tell me what you think:

This is Duckman episode no. 20
To the previous Duckman episode: The Germ Turns
To the next Duckman episode: Research and Destroy

‘In the Nam of the Father’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Paul Demeyer
Airing Date: April 10, 1995
Stars: Duckman
Rating: ★★★
Review:

‘America the Beautiful’ starts with a warning sign stating that “the following contains scene of heavy-handed and over-obvious allegories and is not recommended for small children and certain congressmen from the South”.

And indeed, this is an allegorical episode, with Duckman and Cornfed in search of America (who has taken form of a beautiful and noble woman) on behalf of some overtly cute little children. The quest takes them to a 1950s suburbia, a 1960s hippie university, a 1970s disco, and 1980s Wall Street. All the four have exploited America, giving nothing in return. Duckman finally finds America at a dump. The episode ends with a corny ‘We Are the World’-like song sung by all protagonists and the children called ‘We Are Here’.

The episode indeed suffers from heavy-handedness, and Duckman in particular, seems quite at loss here. The best part is when Duckman and Cornfed drive into the 1950s suburbia, which changes them from full color into black and white, prompting Cornfed to say “it appears they don’t allow people of color in this community“. Also remarkable, but much less functional is the beauty pageant-turning-into-a-big fight with which the episode opens.

Watch ‘America the Beautiful’ yourself and tell me what you think:

This is Duckman episode no. 18
To the previous Duckman episode: Inherit the Judgement: The Dope’s Trial
To the next Duckman episode: The Germ Turns

‘America the Beautiful’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Kevin Lima
Release Date: April 7, 1995
Stars: Goofy, Max, Pete
Rating: ★★★
Review:

‘A Goofy Movie’ arguably is the least known of Disney’s theatrical movies from the studio’s Renaissance period. The film is not even in its official canon of animated features. Maybe because it was Disney’s first animated theatrical feature based on a television series, in this case ‘Goof Troop’, which run from September to December 1992.

Now I’ve never seen an episode of this television series myself, but I comprehend that it does resolve around Goofy being a single father of his son, Maximilian (in short Max), and being neighbor to Pete, who is a single father of a son, too, Pete Junior or P.J. in short. ‘A Goofy Movie’ uses exactly this premise, focusing on the relationship between Goofy and his son, with Max being the undisputed main character of the movie.

Now, Goofy’s family life has always been odd, being the classic Disney character that changed the most during his career. And indeed, he has been seen having a son in a few of his classical cartoons, starting with ‘Fathers are People’ from 1951, but by that time Goofy had transformed into everyman George J. Geef, and this son clearly isn’t Max, as he’s called George Geef jr. In both ‘Goof Troop’ and ‘A Goofy Movie’ Goofy once again is his clumsy self, so he has evolved once more. Pete, too, has had a son in earlier entries, most notably in ‘Bellboy Donald’ from 1942. In ‘A Goofy Movie’ he’s not really the villain of the old days of old, but still a disruptive voice, not taking Goofy for full, and giving him ill advice.

Voice artist Bill Farmer reprises his role as Goofy from ‘Goof Troop’ and is an excellent successor to Pinto Colvig. Max is voiced by Jason Marsden, a different voice than in ‘Goof Troop’, in which he was voiced by a woman (Dana Hill). But this is understandable as the events in ‘A Goofy Movie’ take place several years after the ones in ‘Goof Troop’. Max’s singing voice is provided by Aaron Lohr.

Added to the mix, and apparently not present in ‘Goof Troop’, is Max’s love interest Roxanne, and the film starts with Max’s last day at school, on which he tries to impress Roxanne, in which he succeeds, and he manages to ask her on a date to a party. Unfortunately, his father, realizing he might be losing grip on his son, has planned a trip for two to some fishing lake, and Max invents a totally unconvincing lie of why he has to cancel the date, involving both Max’s and Roxanne’s pop idol Powerline (who, voiced by Tevin Campbell, sounds a little like Michael Jackson).

As said, the father-son relationship between Goofy and Max is the focal point of the cartoon, and as such the film is surprisingly realistic and down to earth, with Max being ashamed of his old-fashioned, awkward and clumsy father, and Goofy uncomprehending of Max’s interests as an independent teenager. However, the two learn to know and to respect each other on a rather forced road trip through America. In this respect, one can see ‘A Goofy Movie’ as a forerunner of ‘Finding Nemo’ (2003), which explores a similar theme.

The road trip, which takes place on Route 66, and which takes the two Goofs all through America, forms the main part of the film, and it’s surprising to note that this piece of Americana was animated in studios in Paris, France and Sydney, Australia. Unfortunately, ‘A Goofy Movie’ defies all realism in several scenes, hampering the heartfelt story with outlandish scenes, like the two Goofs encountering Bigfoot, falling off a cliff with their car, and escaping a waterfall in an all too improbable and inconsistent series of events.

Moreover, for a film starring Goofy there’s surprisingly little humor – it’s all not that goofy. Yet, the team has managed to keep Goofy’s optimistic and naive character, while adding some depth to the former simpleton, mostly his struggle in being a father to Max. Indeed, the film is at its best when keeping focus on the relationship between Goofy and Max. This focal point remains interesting despite the deviations from reality.

As a film of the early nineties, ‘A Goofy Movie’ is an obligate musical, and the movie knows three nice if forgettable songs by Carter Burwell, sung by Max, with Goofy joining in in two of them. They at least succeed in not being obnoxious.

The animation is of a very high quality, with considerable attention detail. There are some nice touches, like Max’s reflection in a window, or colors turning blue when Goofy gets sad.

In all, ‘A Goofy Movie’ is a nice little movie with a surprisingly mature theme. The film may not be a masterpiece, it’s of enough quality to be worth a watch.

Watch the trailer for ‘A Goofy Movie’ yourself and tell me what you think:

‘A Goofy Movie’ is available on Blu-Ray and DVD

Director: Norton Virgien
Airing Date: March 11, 1995
Stars: Duckman
Rating: ★★★
Review:

The second season of ‘Duckman: Private Dick/Family Man’ starts with a rather rambling episode in which Duckman tries to get famous by exploiting the sleazy reputation he got by pinching the butts of two sexy ladies on camera.

The set up of this episode is rather incomprehensible and involves the president visiting town, and three sexy but dumb ladies visiting Duckman’s office for no apparent reason. Also involved is a commercial fellow with shades, a ponytail and an annoying voice, making Duckman sign a contract to get him famous. Nothing is done with this devilish scheme, however.

Highlight of this otherwise disappointing episode is Duckman’s feature film on his life called “Pinch Me, Kiss Me Kill Me: The Duckman Story”. This part is acted out in live action, and includes over the top sexy women falling for the cool Duckman character as well as ridiculous dialogue full of sexual references, and even blatant advertising.

Watch ‘Papa Oom M.O.W. M.O.W.’ yourself and tell me what you think:

This is Duckman episode no. 14
To the previous Duckman episode: Joking the Chicken
To the next Duckman episode: Married Alive

‘Papa Oom M.O.W. M.O.W.’ is available on the DVD-box ‘Duckman – The Complete Series’

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