Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

Cats

Rated: G

Directed by: Tom Hooper

Screenplay by: Lee Hall, Tom Hooper

Based on: Old Possum’s Book of Practical Cats by T. S. Eliot, the musical “Cats” by Andrew Lloyd Webber

Produced by: Debra Hayward, Tim Bevan, Eric Fellner, Tom Hooper

Starring: James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson and introducing Francesca Hayward.

‘It’s party time, with your permission, of course.’

With dark streets lit by the neon signs of, The Egyptian and, The Rising Sun, cats prowl the streets…

Based on the multi award winning musical (including seven Tony Awards), Cats, I expected a lot of, well, cats singing.

That is the nature of the beast, so to speak.

What I wonder is how to write a review about a musical when I really can’t stand the things.

And I have to say the movie got so bad, it was kinda good. Sometimes.

Take Skimbleshanks (Steven McRae) the Railway Cat. He had nothing else in the story except being a tap dancing, ginger cat that lives on the railways. It still tickles me because it was just so bad.

But, I love that ginger Railway Cat!

Weird, right?!

The whole movie is just a little bit weird. But basically, Victoria (Francesca Hayward) gets dumped by her owner in the streets and suddenly, all the street cats start singing about being a Jellicle cat and how one cat gets chosen by Old Deuteronomy (Judi Dench) for another life at the annual Jellicle Ball.

With a few, I mean a FEW, jokes thrown in like, Cat got your tongue; and other jokes in the same bad dad joke arena, the film is all about singing and dancing. To the point the question was asked, ‘Who is Deuteronomy?’

And I thought, No doubt they’ll sing about it… Guess what, they sang about it.

I couldn’t wait for the film to be over so I could cleanse my brain with a crime thriller of some description.

Then, either because I got used to the painfulness, accepting the cat reality, or, the movie got a little better, I found myself moved by the beautiful sweet voice of Victoria. And I could visualise some of those beautiful ghosts (from some of the more famous songs fans will be well aware of).

But most of the time, I was scratching my head (influenced by that cat scratching behaviour, no doubt), wondering, why?

Playmobil The Movie

Rated: G

Directed by: Lino DiSalvo

Screenplay by: Blaise Hemingway, Greg Erb and Jason Oremland

Story by: Lino DiSalvo

Produced by: Aton Soumache, Dimitri Rassam, Moritz Borman, Alexis Vonarb, Axel Von Maydell, Timothy Burrill and Bing Wu

Starring: Anya Taylor-Joy, Jim Gaffigan, Gabriel Bateman, Adam Lambert, Kenan Thompson, Meghan Trainor and Daniel Radcliffe.

‘I’ll be the girl I used to be.’

Marla (Anya Taylor-Joy) has her whole life in front of her and expresses this enthusiasm to explore the world by singing with her little brother, Charlie (Gabriel Bateman).

Oh yeah, Playmobil The Movie, is a musical (see the score by musician Heitor Pereira (Despicable Me trilogy, Madagascar: Escape 2 Africa, The Smurfs movies, Minions, Smallfoot, Angry Birds Movie 2 and original songs, co-written by Anne Preven).

Then the film takes a dark turn when tragedy strikes the brother and sister.

Fast forward four years later and Marla no longer has her fresh, wide-eyed view of the world, her little brother accusing her of not knowing how to have fun.

It’s all a bit cringe-worthy until the duo fall into the Playmobil world where the characters turn into live-action Playmobil figurines.

Finding themselves in an action-adventure with car chases and villains and dinosaurs, all the Playmobil® toys that have been around since 1974 come to life as brother and sister fight alongside Vikings and a suave James Bond. So the film’s about finding the excitement and zest for life they both lost when Marla had to become sister and parent.

The animation from ON Animation Montreal (Julien Bocabeille (How to Train Your Dragon 1 and 2, Puss in Boots, Rise of the Guardians, The Croods, Mr. Peabody and Sherman, Kung Fu Panda 2 and 3, Penguins of Madagascar and The Boss Baby)) is well put together using the stiff toys then adding movement and life with materials like cloth, and there were moments of fun with villain, Emperor Maximus (Adam Lambert) sitting behind a buff body painted on one side of his chariot.

But this is a film directed at a young audience so there wasn’t much for me to enjoy except some fun changes in genre along the way.

The Addams Family

Rated: PG

Directed by: Conrad Vernon and Greg Tiernan

Screenplay by: Matt Lieberman, Pamela Pettler

Story by: Matt Lieberman, Erica Rivinoja, Conrad Vermon

Based on Characters by: Charles Addams

Produced by: Gail Berman, Alex Schwartz

Starring: Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Finn Wolfhard, Nick Kroll with Better Midler and Allison Janney.

The Addams Family has always been about the dark and creepy; the humour based on the inversion of what is horror and terrible, think spiders being unleashed from under Morticia’s (Charlize Theron) dress to weave together a spider bridge to cross a bottomless pit… Now that’s Addams Family normal. While all that’s sweet and rosy is awful and intolerable, is normal – see spider bridge mentioned above.

Morticia cuts the rose flower leaving the theory stem. That’s how she likes it. Morticia carries a pose of thorny stems as she walks down the aisle to marry her one true love, Gomez Addams (Oscar Issac), ‘To be joined in the damning void of matrimony’. To marry in their homeland before the villagers chase away the scary couple, along with their monstrous guests and bridal party. They must make their way to a safer place where they can be themselves, somewhere to raise a family, somewhere like the state hospital for the criminally insane. In New Jersey. Perfect.

#MeetTheAddams is the tagline for this new animated version, the movie the origins of the Addams, taking the story back to the beginning, to introduce the family once again with the familiar characters captured like Uncle Fester (Nick Kroll), delightful with his, ‘I think I can see my house from here. No, that’s a women’s prison.’

And the children, the memorable murderous Wednesday (Chloe Grace Moretz) and demolition, forever-trying-to-outsmart-and-kill-his-father, Pugsley (Finn Wolfhard).

The film becomes the lead-up to Pugsley’s thirteenth birthday, to complete the Sabre Mazurka in front of all the cousins and monstrous family. To become a man.

There’s more to this film than the inversion of what’s horror and what’s nice, there’s also assimilation and the fight against always having to be the same. Wednesday becomes friends with a normal: Parker (Elsie Fisher). And shows her rebellion by wearing, OMG, a pink unicorn hairclip.

So, yeah, there’s that inversion again. But there’s also acceptance of the individual. I like that in a movie.

Add ‘plastic’ woman, Margaux (Allison Janney) trying to re-model the abode, the casa Addams insane asylum, and you’ve got fun times and a good watch with the kids without being too childish or too adult.

Hell, it’s worth a watch just to see Lurch (Conrad Vernon) done-up like a Christmas tree.

Knives Out

Rated: M

Written and Directed by: Rian Johnson

Produced by: Ram Bergman, p.g.a., Rian Johnson, p.g.a.

Starring: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Michael Shannon, Don Johnson, Toni Collette, LaKeith Stanfield, Katherine Langford, Jaeden Martell, Noah Segan, Edi Patterson, Riki Lindhome, and Christopher Plummer.

Knives Out is a classic who-done-it that begins with the drama of violins playing as chasing dogs run from the rising gothic structure that houses the Thrombey family.

I love a movie that begins with dogs, this one with a wry hint of humour that continues as private investigator Benoit Blanc (Daniel Craig) investigates the mysterious suicide of famous multi-millionaire author, Harlan Thrombey after celebrating his 85th birthday.

Made like a familiar murder mystery, think, Murder She Wrote (a nod given as the mother of nurse Marta (Ana de Armas) watches transfixed in Spanish) or an adaptation of one of Agatha Christie’s novels, there’re the usual suspects, here a family, eldest daughter and self-made, Linda Drysdale, married to Richard Drysdale bearing trust-fund brat who refuses to grow up, Ransom (Chris Evans), along with Walt (Michael Shannon), the son who looks after the publishing business with no real work of his own… Then there’s widower and daughter-in-law, Joni (Toni Collette) and college-kid, Meg (Katherine Langford), living off hand-outs while hiding their dirty deeds. And let’s not forget grandson Jacob, the politically ambitious kid who spends too much time in the bathroom, probably masturbating to Nazi propaganda.

Then there’s nurse Martha. She’s the one who always beats Harlan at playing Go.

It’s a different genre from director and writer, Rian Johnson, his previous work, Looper (2012) (if you haven’t watched this action / sci-fi yet, you’re in for a treat) and more recently, Star Wars: The Last Jedi (2017) (one of the best to date, in my opinion) epic journeys that start in one place and finish somewhere completely different.

Instead of a journey, Knives Out is one of those stop situations where the characters are held in one place. So it’s all about the details of the setting, the entrance of house-keeper, Fran (Edi Patterson – also fantastic in the series, Righteous Gemstones) captured in the angle of a mirror, the trick window, the books and figurines and paintings that catch the eye while looking for clues. And the dialogue takes the mind in different directions, away from the central investigation as the family discusses racism or not being racist while handing nurse Martha a dirty dish to be put away.

So yes, it’s a murder mystery with clues dropped for the sharp observer as private investigator, Blanc pieces together the real story of the patriarch’s death, but it’s the wry humour and the distraction I enjoyed:

Martha answers her mobile, ‘Hi Walt.’

‘Hi Martha. It’s Walt.’

‘Hm.’

There’s a stellar cast here, although, I’ve got to say Daniel Craig’s southern drawl as Blanc dragged for me – brat Ransom even highlighting the annoying accent.

I wonder if it’s because I’m so used to Craig as Bond these days, with that British accent?

Evans was the highlight for me. And Jamie Lee Curtis as the dry eldest, self-important daughter. And Toni Collette perfected the quiet desperation of the self-help guru relying on hand-outs, hence the quiet desperation.

So, there’s quality here and attention to detail.

Some of the humour missed the mark, see above: the southern drawl.

But overall, Knives Out is good fun.

Official Secrets

Rated: MA15+

Directed by: Gavin Hood

Script Written by: Gregory Bernstein, Sara Bernstein and Gavin Hood

Based on the Book Written by, Marcia Mitchell and Thomas Mitchell: ‘The Spy Who Tried to Stop a War: Katharine Gun and the Secret Plot to Sanction the Iraq Invasion’

Produced by: Ged Doherty, Sarada McDermott

Starring: Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans, Adam Bakri, Ralph Fiennes, Conleth Hill.

Described as the untold true story of Katharine Gun, this is a film of a GCHQ translator and spy who took a stand against a war that, in the end, was never backed by any hard evidence.

I remember that first Iraqi war in 1991 – the green lights of warfare on the news like a computer game. And I remember watching the Twin Towers burn and the silence while watching with work colleagues. Jets flew over the city on that first day of the second invasion (2003). In Australia the war was felt. And fought. And protested against.

Yet, I can’t recall hearing about the leaked documents of Gun.

So the story here is gripping.

Weapons of Mass Destruction.

That was the line.

We went to war because of imminent threat.

Without hard evidence of this imminent threat, the declaration of war was needed to be pushed through the UN.

The Americans desperate to push the vote through send an email to the British GCHQ requesting agents to dig into the UN delegates to find information to turn votes in favour of going to war.

Concern about the legalities of the request, Katharine Gun investigates:

Who sent this email?

Who is Frank Koza?

And because MI6 don’t like the idea of this war;

And when journalist from The Observer, Martin Bright (Matt Smith) is told there won’t be a D-1 sanction against leaking the email;

Suddenly, who is Frank Koza? Becomes a someone.

Instead of the propaganda feed to the media, here, the film shows the other side, the attempt to stop the machine.

From the viewpoint of Gun (Keira Knightley), this is more a drama than spy thriller. This is the story about a relatable woman with no political ambitions or motivations, just an impulse to do the right thing, ‘Just because you’re the Prime Minister doesn’t mean you get to make up your own facts.’

I’m not always a fan of Knightley, but the weight of the film rests heavily on her ability to hold a relatable view of the injustice of what Gun sees is an illegal war pushed through by any means; to show and understand the impulse to do the right thing, to be a whistle blower, without coming across as being over-zealous.

And she’s great in this role: To make a stand, then realise what’s she done, to standing by her stance, Gun risks everything: her relationship with Kurdish husband, Yasar (Matthew Goode) seeking asylum, her job and her freedom.

It’s a cloak and dagger with a wry British humour. There’s the underground carpark scene, but really this is an exchange of information while playing tennis. This is a story from the newsroom and from the viewpoint of a woman trying to live an everyday life.

Who would have thought spell-check took part in allowing a war?!

But in the end, Gun’s continued freedom after admitting the leak speaks to the lengths of coverup and denial about the significance of unfounded evidence of imminent threat.

Doctor Sleep

Rated: MA15+

Directed by: Mike Flanagan

Based on the Novel Written by: Stephen King

Screenplay Written by: Mike Flanagan

Starring: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis, Zahn McClarnon, Emily Alyn Lind, Selena Anduze, Robert Longstreet, Carel Struycken, Catherine Parker, James Flanagan, Met Clark, Zackary Momoh, Jocelin Donahue, Dakota Hickman.

Doctor Sleep is the sequel to Stephen King’s famous novel, The Shining (1977).

The film here, follows on from director Stanley Kubrick’s 1980 classic, never-to-be-forgotten interpretation featuring the axe-wielding Jack Torrance (Jack Nicolson) – ‘Here’s Johnny!’, opening in Florida, 1980, where Danny Torrance (Ewan McGregor) lives with his mother far away from any snow, far away from the Overlook Hotel.

But the Overlook Hotel hasn’t forgotten him or his Shining.

Using his magic tricks Danny manages to keep the monsters locked away. But he can’t escape his own demons or the rage he inherited from his father.

Like the novel, addiction continues to plague Dan. Except this time, we see his addiction and his journey to recovery.

Running away Dan can’t escape from himself but he finds compassion and through compassion he finds himself.

Looking for another bright light, Abra (Kyliegh Curran) finds a shining kindred spirit in Dan. She introduces herself, writing, Hell😊

Following the detail of the novel we find Rose The Hat (Rebecca Ferguson) and her crew of empty devils who are the, True Knot who are also looking the next bright shining light.

This band of monsters are hunting those most pure. Children.

‘Live long, stay young. Eat well,’ says Rose The Hat.

And Abra might be the most pure and brightest of all.

So there’s addiction, then redemption, compassion and all the grime of child-killing-devils contrasting to give the horror more kick.

But it’s not all black and white.

Screenwriter and director Mike Flanagan has captured the different layers of character that Stephen King writes so well (and why I’m such a fan), so Dan has his dirty deeds and the evil Rose The Hat is somehow likable in her loyalty to those in her inner circle.

And it’s a good story. Shown well.

The soundtrack is restrained yet powerful as a heart beats steady, creating a suspense in the waiting that hangs when the beat stops so I could feel and hear my own heart, waiting for the next door to open, the next magic trick.

The stars wheel, gravity shifts, turning a room to slide into another place.

Yet the trickery isn’t over-done.

Flanagan has managed to get the detail of the novel without losing sight of the story.

I really enjoyed the book and have read it twice so I was hoping for a worthy adaptation.

And I got it.

Pain and Glory (Dolor Y Gloria)

Rated: MA15+

Written and Directed by: Pedro Almodóvar

Produced by: Agustín Almodóvar

Executive Producer: Esther García

Original score: Alberto Iglesias

Director of photography: José Luis Alcaine

Starring: Antonio Banderas, Asier Etxeandia, Leonardo Sbaraglia, Nora Navas, Julieta Serrano, César Vicente, Asier Flores, Penélope Cruz.

Spanish with English subtitles.

‘If you don’t write or film, what do you do?’

‘Live, I guess.’

Pain and Glory is a drama, a life story shown in monologue and intimate conversation.

Salvador Mallo’s (Antonio Banderas) life is filled with patterns and colours, water and tiles, suspension and scars.

The story of the film circles his life as he remembers teaching a young builder to read and write when he was growing up in the catacombs with his mother, as he remembers his career writing and making films and the past disagreements with friend and actor, Alberto (Asier Etxeandia) whom he hasn’t seen since the premiere of his most successful film thirty-two years ago.

He remembers as the pain of his ailments take pieces from him, his back pain, his migraines, his choking – he can’t create anymore, but he can remember.

This is a film that bleeds the present and the past so the trigger of smoking heroin with the man described, ‘You’re the opposite side of that text,’ Salvador falls, taking him back to the time when he experienced his first desire, his first love, the escape from the ‘bad ring’ of Madrid, to get away from the temptations of addiction to Havana and the Ivory Coast.

But sometimes, love isn’t enough.

He has no regrets. To recover from his past, he writes the story.

So the past and present are intertwined like his writing translated into this film.

Director and writer, Pedro Almodóvar has taken pieces from his own life, translating them into the film like the character Salvador makes films about his past.

The hair, the setting of the apartment the same as the man himself, Pedro.

Antonio Banderas has just won the Cannes 2019 Best Actor Award (the film selected to compete for the Palme d’Or) for his performance here. And I can see why. He just seems to get better with age. His humble sincerity a warmth felt through the screen. He’s endearing.

And there’s more to the film than a character study as the scenes cut from the bright sun shining through the exposed roof of the catacomb house, to the animation of red broken lines like the branches of a tree exploding in the drawn lines of a brain, a contrast to the quiet suffering of a man embarrassed of his pain, refusing to allow his housekeeper to tie his laces, wearing loafers, catching taxis, lying in the dark.

But there are no complaints as he loses himself in memory.

This isn’t a sad film, more a poignant tale of all the darkness and light in life – sad and happy and true.

The overriding feeling I got from this film was grateful: life can be cruel, but it can also be kind.

Fisherman’s Friends

Rated: M

Directed by: Chris Foggin

Written by: Piers Ashworth, Meg Leonard, Nick Moorcroft

Produced by: Meg Leonard, Nick Moorcroft, James Spring

Music by: Rupert Christie

Cinematography by: Simon Tindall

Starring: Daniel Mays, James Purefoy, David Hayman, Dave Johns, Sam Swainsbury, Tuppence Middleton and Joel Clarke.

‘Never under any circumstances say, “Rabbit”.’

Revelling in Port Isaac for Henry’s (Christian Brassington) stag weekend, the London boys, Danny (Daniel Mays), Driss (Vahid Gold) and music exec and boss, Troy (Noel Clarke) are ready for some larger and yachting. Until they end up stranded at sea and getting ‘quite burnt’.

It’s up to the local Search And Rescue to fish to them to safety. Ironic being the crew are the local fishermen.

It’s like two different worlds collide: the city boys who own country estates and work for a record label and fishermen who risk their lives every day and sing sea shanties.

When the London boys come across their rescuers singing in the town square, boss Troy thinks it’ll be hilarious tasking Danny with signing the group to their label. Only for Danny to see more than just crusty fishermen signing, he hears history in their voices.

‘What’s that song?’ Danny asks Alwyn (Tuppence Middleton), the daughter of man-of-few-words, the words never wrong, Jim (James Purefoy) – ‘That’s the rock’n’roll of 1752.’

Based on a true story, Fisherman’s Friends is about the discovery of these ten men, and the journey from singing to raise money for the village Lifeboat Association to a million pound record deal with Universal Music, a top-ten album and playing the Pyramid stage at the world famous Glastonbury Festival.

But there’s more to these crusty sailors than a fine set of pipes. There’s the history, the proud Cornwell folk defining those on this side of the river Tamar, and them on the other side – like the emmets (the Cornish word for ants): those who come across and are a pain to get rid of.

There’s some PG humour that doesn’t get too carried away, to keep the boat floating along the storyline – see what I did there? Yep, that’s me getting carried away with the nautical theme because I enjoyed the ride, damn it.

The film reminded me of the songs we’d sing in primary school (What Shall We Do With A Drunken Sailor included) and dancing to folk music with kids from other local schools. And the gymkhana with the bag pipes and dog jumping competition.

It reminded me about community and generations of families buried in the same cemetery and knowing a place. Really knowing a place and people knowing you.

So rather than the underdogs winning and signing to that record label, there’s thought to place and where we stand in it and being able to take a man by his own merit. Including Jago (David Hayman), Port Isaac’s number one bingo caller. Bless him.

So yeah, I got a little swept away in the story.

And the guys did a good with the singing, no ‘taking the piss’ required.

Ready Or Not

Rated: MA15+

Directed by: Matt Bettinelli-Olpin and Tyler Gillett

Written by: Guy Busick & R. Christopher Murphy

Produced by: Tripp Vinson, James Vanderbilt, William Sherak and Bradley J. Fischer

Executive Producers: Chad Villella, Tara Farney, Tracey Nyberg and Daniel Bekerman

Starring: Samara Weaving, Adam Brody, Mark O’Brien, with Henry Czerny and Andie MacDowell.

The family known as Le Domas has been playing Le Bail’s Gambit since Great Grandfather Le Domas made a pact with Le Bail himself.

Marrying Alex (Mark O’Brien) and into the ‘dominion’ that is the Le Domas family (that fittingly made their fortune out of board games), the pact demands that initiate Grace (Samara Weaving) (and any new addition to the family) must play a game at midnight on the night of her wedding.

She loves Alex despite his weirdo, super-rich family.

So playing along with strange traditions to get along? Pft! Sure, why not?!

But when she draws that, ‘Hide and Seek’, card; and that playful, ‘Hide and Seek’ record starts spinning, the weirdo family hunting the new bride through the gothic rooms and corridors of the house, to capture her as a sacrifice, takes issues with the in-laws to a whole new level with each armed and at the, well, ready:

Mother to Alex and kinda sweet, Becky (Andie MacDowell): Bow & Arrow

Rich and crazy dad, Tony (Henry Czerny): Winchester Rifle

Tormented and alcoholic brother, Daniel (Adam Brody): Rifle

Ops, I did it again, sister-in-law, Emilie (Melanie Scrofano): Pistol

How does this work again? Fitch (Kristian Bruun): Crossbow

I was born evil, Charity – there’s the irony (Elyse Levesque): Spear Gun

The adage that people look like their pets but here I look like my weapon, Aunt Helene (Nicky Guadagni): Battle Axe.

If you’ve read this blog before you’ll know I like a good bloody horror with a dry sense of humour.

I can say there’s certainly some bloody moments here, tending to the visceral.

And the humour, although slightly over-done, had me smirking with a few snorts (not unlike Grace herself who isn’t against a snorting laugh when called for): brother in-law, Fitch Googling, ‘getting to know your crossbow’ before his attempt to murder his new sister in-law. And then there’s death-stare Aunt Helene giving the salutation to niece, Emilie (Melanie Scrofano), ‘You continue to exist’.

Perhaps not a laugh-out-loud tickle (more WTF is going on but I guess I’ll just have to roll with it), there’s a lot of fun here, played with wide-eyed and cool appreciation from Samara Weaving as the fighting-for-her-life and screaming-when-necessary, Grace.

And there’s a decent storyline that edges towards some twists but really more about the beautiful and self-deprecating, Grace. You want her to get out alive, which is the kinda the point of the movie.

Violence Voyager

Rated: Unclassified (18+)

Written and Directed by: Ujicha

Produced by: Yoshimoto Kogyo, Reo Anzai / Kimitsugu Ueno

Executive Producer: Hidesuke Kataoka

Music by: Jean-Paul Takahashi

Theme Song “Violence Voyager” by Boby (Aoi Yuki)

English Voice Director: Strathford Hamilton

Production: Hiroshi Fujiwara

Key Cast: Aoi Yûki, Naoki Tanaka, Saki Fujita, Shigeo Takahashi.

‘That one extra bit of summer fun was going to take Bobby through hell.’

Violence Voyager had its Australian Premiere at the recent MIFF – I thought it would be a good idea to review something different for upcoming Halloween. And yes, Violence Voyager is certainly something a bit different.

Set-up like a childhood adventure story, Bobby (the foreign American kid) tells his sick mother he’s going out to find flowers for her empty valse sitting on the windowsill. But really, he’s going to the mountain with his best buddy, his blood brother (sporting stitched cuts on their hands to prove it) Akkun – who also, strangely has what looks like scars on his forehead.

Added to the childlike voice-overs and the adventure aspect that includes Bobby’s cat, Derrick who tags along, the whole film is painted cardboard cut-outs with static facial expressions, the movement made by hand like kids playing with a shadowbox filled with toys.

But when the trio, Bobby, Akkun and Derrick-the-cat find a run-down Fun Park, the film becomes a nightmarish hell where kids never escape: they either become modified with all their nerve endings on the outside and their eyes pulled out of their sockets and placed on horizontal sides of their now square face, or they get dissolved to become food for half-robot hybrid human monsters under the command of park-owner but really scientist, Dr Binobo and daughter and navigator, Siori.

There’s a deceiving simplistic feel about this film, the voice-over slow and deliberate, the timing of the dialogue giving the most affect.

But there’s plenty of splattered blood and vomit and naked kids hung like hocks – the theme horrific and the images of those cardboard cut-outs bizarre.

Definitely not one for the kids to watch this Halloween. I wouldn’t classify Violence Voyager as ‘Family’.

Yet, for all its horror, the film was palatable because I was always delighted to see another clever technique giving texture to this bizarre tale like blue vapour rising around the cardboard Dr. Binobo making him look evil, a rising shadow over the cardboard Bobby to depict a pending doom and the kids armed with a super-soaker and dolphin water pistol squirting real water onto those monster robots giving the scene another dimension like those pop-up books I read in primary school.

And that juxtaposition lent another layer to the bizarreness of this simply, horrifically clever film.

With a bat, monkey and cat on your team, you can’t lose – well you can still become a deformed robot, humanoid monster, but in the world of Violence Voyager, that’s a win.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: