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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

Director: Émile Cohl
Release Date: 1910
Rating: ★★
Review:

L'enfance de l'art © Émile CohlThis animation film uses both cut-out, stop-motion and pen animation in a mix unique to Émile Cohl.

Nevertheless ‘L’enfance de l’art’ is among Cohl vaguest and least impressive films: things are just happening on the screen, like a monster disturbing a painter or some monsters drawn on human hands. We can also watch some morphing images of animals and more monsters. In this respect the title is well chosen…

Watch ‘L’enfance de l’art’ yourself and tell me what you think:

 

‘L’enfance de l’art ‘ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Pete Doctor
Release Date: November 2, 2001
Rating: ★★★★★
Review:

Monsters, Inc. © PixarPixar’s fourth film can be considered the studio’s best up to that point.

The very idea of monsters needing to scare children to fuel their city is a masterstroke. As is their mutual fright for children. The idea of closet doors leading to a parallel world is used to the max, especially in the breathtaking finale, whose premise is both logical to the plot as strikingly original and totally unexpected. Nothing to the story is predictable, and its lead characters Sully, Mike and Boo and their nemesis, the slithery Randall, are very well developed.

The only two lesser points may be Monstropolis itself, which is a surprisingly unimaginative copy of an average American town, and the film’s humor. Compared to Dreamworks’s ‘Shrek’, released earlier that year, Monsters, Inc.’s humor is rather mild. It heads for steady smiles, not for loud guffaws. Moreover, the loudmouth comic sidekick, the green eyeball Mike (voiced by Billy Crystal), never really gets convincingly funny or very sympathetic, and he pales compared to Eddie Murphy’s Donkey in ‘Shrek’.

No, the main selling point of Monsters Inc. is heart: the endearing ‘love story’ between top scare Sully and the little child Boo is completely convincing. This makes ‘Monsters, Inc.’, apart from being startlingly original, a sweet film. One that is able to move you time and time again.

Besides, ‘Monsters, Inc.’ displays some spectacular effect animation, the highlight being Sully laying in the snow, with his hair blowing in the blizzard, something unseen up to that point.

In 2013 ‘Monsters, Inc.’ fell prey to Hollywood’s sequel mania ,spawning the prequel ‘Monster University’.

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