Tag Archives: Stop motion animation

Apocryphally Weird, It Came from the Reader-Suggested Queue

63*: WE ARE THE STRANGE (2007)

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“We live in strange times. We also live in strange places, each in a universe of our own. The people with whom we populate our universe are the shadows of whole other universes intersecting with our own.”–Douglas Adams

Weirdest!

DIRECTED BY: M dot Strange

FEATURING: Voices of Halleh Seddighzadeh, David Choe, Stuart Mahoney, Chaylon Blancett, M dot Strange

PLOT: In the phantasmagorical metropolis of Stopmo City, two outcasts—eMMM, a boy with the head of a doll, and Blue, an ethereal, suffering young woman—search for a cherished ice cream parlor. Ongoing battles between grotesque monsters make their journey perilous. An avenging hero, Rain, defeats many of the monsters, but when the ultimate evil is revealed to be a harlequin-faced beast of a man called HIM, eMMM and Blue will have to confront the menace themselves.

Still from we are the strange (2007)

BACKGROUND:

  • M dot Strange is the nom de cinema of San Jose-based Michael Belmont, who in addition to dappling in animation is a  web designer, musician, and video game creator.
  • Demonstrating multiple animation styles, the film was created on multiple platforms of varying sophistication and complexity, ranging from Adobe After Effects to Mario Paint.
  • M dot chronicled the making of the film in a series of videos (like this one) that built a fan base of more than a million YouTube followers. Upon its release, the trailer for We Are the Strange racked up 500,000 views in its first four days.
  • The film received the Golden Prize for Most Groundbreaking Film and the Silver Prize for Best Animated Film at the 2007 Fantasia Film Festival.

INDELIBLE IMAGE: So it is foretold: “He will return and strike down evil with a fist made of aluminum foil. Then, we will celebrate with many scoops of iced cream.” And so it comes to pass, when a bubble-shaped automaton emerges to face off against the big bad, and the hellscape Power Ranger at the controls is revealed to be our diminutive dollboy with the M on his forehead. For a film that devotes itself to style over substance and a pervasive gloom, it’s an unexpected flourish of feel-good storytelling and a nifty summation of the director’s particular blend of high-tech and lo-fi animation techniques. Alas, the promised ice cream is not in evidence.

TWO WEIRD THINGS: Living, hungering arcade game; a trip on the ice cream train

WHAT MAKES IT WEIRD: Multiple forms of animation and visual styles share space in a bouillabaisse of dread and visual overstimulation. Stop-motion mingles with computer-generated anime, and both appear alongside 2D paper-folding and hand-crafted miniatures. Every scene feels crafted to be as outlandish and disturbing as possible. The randomness of it all is sometimes eclectic, often cacophonous, and frequently intriguing.

Trailer for We Are the Strange (2007)

COMMENTS: This is not the first time that a movie challenges us to Continue reading 63*: WE ARE THE STRANGE (2007) →

Capsules, It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: LIVE FREAKY! DIE FREAKY! (2006)

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Beware

DIRECTED BY: John Roecker

FEATURING: Voices of Billie Joe Armstrong, Tim Armstrong, Theo Kogan, Kelly Osbourne, Davey Havok, Asia Argento, John Doe, Jane Wiedlin

PLOT: A denizen of a future, post-apocalyptic landscape discovers an account of a narcissistic cult leader and his murderous spree in Hollywood in the latter half of the 20th century. 

Still from Live freaky, die freaky! (2006)

COMMENTS: A line of defense of bad comedians is to complain when they get called on the carpet for telling offensive jokes that punch down. “Don’t be so offended,” they love to say. So it’s not an auspicious start for Live Freaky! Die Freaky! to kick off with a title card that warns us, “Rated X, not for the easily offended.” It’s a litmus test. If you’re in any way put off by what follows, you have no one to blame but your own uncool bleeding heart. Because giving offense is very much the order of the day.

Make no mistake, writer-director Roecker wants so very badly to shock you with his profane irreverence. Live Freaky! is a bouillabaisse of slanderous characterizations, insulting stereotypes, cheeky musical numbers, and puppet gore. It’s a parade of sub-“Davey and Goliath” animations naughtily saying the dirtiest things they can think of, and then winding up covered in blood. Everyone fails every possible variation of the Bechdel test because everyone endlessly boasts about their depraved sex practices (and one character indulges himself even after death). The meet-cute between the film’s lunatic messiah and one of his aspiring acolytes is a lengthy scene of explicit stop-motion doll sex while singing a jaunty music hall tune. It’s the creation of someone who saw Team America and concluded that the way to make that film’s notorious sex scene funnier would be to just do more of it. 

I suppose Live Freaky! is a bold example of not really caring about anything at all. From the moment we see a live-action post-apocalypse vagrant unearth an old copy of Healter Skelter (sic), we’re launched into a looking-glass version of the Charles Manson story where the inexplicably charismatic miscreant may be bad, but at least he’s a man of the people. His victims are portrayed as even worse: drug-addled, sex-obsessed, vulgar and dismissive of anyone who isn’t rich or famous like they are. Oh, wait. I’m sorry. Did I say Charles Manson? Of course I meant Charles Hanson. Absolutely nothing to do with that other fellow. In fact, you can tell that the filmmakers have done their due diligence removing any trace of the Manson family’s rampage,  because while the names may all seem familiar, they’ve cleverly replaced every first initial with an H. Yep, this story is about Sharon Hate and her friends Hay and Habigail. Totally different. You can’t possibly sue them. It’s all 3-D chess with these guys.  

The movie openly embraces a punk aesthetic, which is presumably why the voice cast is comprised of several major figures from the punk rock scene, led by Green Day front man Billie Joe Armstrong essaying Charlie through what feels like a Redd Foxx impression. He’s joined by Tim Armstrong (no relation) from Rancid, John Doe of X, plus friends from Good Charlotte, AFI, Blink-182, Tiger Army, White Zombie, Lunachicks, and the Transplants. (Also Jane Wiedlin of The Go-Go’s, which is just depressing.) And then they hand this collection of punk all-stars a series of lame songs without an ounce of punk in them. And aside from their punk bonafides, the other thing cast all have in common is that none of them can act. Every line is delivered as if it was the only take of a script received five minutes before recording. The closest thing we have to a professional actor, Ozzy Osbourne’s daughter Kelly, plays her grotesquely vain socialite with the same snooty, over-enunciated whine throughout. The best analogy for the cast I can think of is a bunch of friends who come over to help you move. Everyone’s there to lend a hand, but they’re really just there for the pizza.

This kind of thing is tolerable in a show like, say, South Park because the creators are such committed libertarians. Yes, they’re bomb-throwers, but their targets are usually the high and mighty, the terminally humorless, and blinkered illogicians. There’s a brief glimmer of satire in Live Freaky! in a 20-second scene where the prosecuting attorney bemoans the degeneracy of Charlie and his crew, and then celebrates all the money he’s going to make off the book he’s writing about the case. But that’s it. Who is the movie really out to take down? Hollywood, maybe, although not any Hollywood that bears relation to life as lived by actual human beings. The rich? They’re not so much worse than the murderous, dumpster-diving poor. No, there’s no real target here, except the audience. Basically, the filmmakers are just hoping someone will take offense. They want the glory of having ruined someone else’s day. Well, mission accomplished.

WHAT THE CRITICS SAY:

“This 2003 [sic] film is a weird concept, done in a weird way and done with a weird sensibility.  Nothing about this feels normal… To quote a great man, ‘This movie sucks!'”– Alec Pridgen, Mondo Bizarro

(This movie was nominated for review by Sam, who called it “Pretty terrible, but incredibly weird!” Suggest a weird movie of your own here.)

Live Freaky Die Freaky

Live Freaky Die Freaky
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It Came from the Reader-Suggested Queue, List Candidates

APOCRYPHA CANDIDATE: MÉCANIX (2003)

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DIRECTED BY: Rémy Mathieu Larochelle

FEATURING: Julianne Côté, Stéphane Bilodeau

PLOT: One of the last surviving humans has discovered the embryo of the universe, and the hideous monsters who now control the world are desperate to keep him from using it to destroy them.

Still from Mecanix (2003)

WHY IT MIGHT JOIN THE APOCRYPHA: The parade of unholy stop-motion concoctions gets our attention. The unflinching vision of a filmmaker in his only significant cinematic credit stokes our curiosity. But it’s those things in service of apocalyptic vibes and a story that is both bleak and somewhat irrelevant that pushes this film strongly towards consideration. It’s a movie beholden to nothing but itself.

COMMENTS: One of my favorite obscure novels is Future Boston, a shared universe by a collective of Beantown science fiction writers who imagined the fate of their city if the first alien contact was made smack dab in the middle of Boston Harbor. One of the significant characters in the book is Bishop 24, a mysteriously formal interplanetary overseer, resembling a gigantic praying mantis, who shepherds humanity into the galactic community. Interaction with the Bishop is described thusly: “The Bishop has a habit of moving in a quick, jerky fashion when his attention is distracted. This is unnerving to some people and has been known to cause epileptic seizures.” To depict the movement and bearing of a creature alien to us, the writer essentially describes classic stop-motion animation.

Rémy M. Larochelle undoubtedly recognizes this alien and uncanny quality. For his sole outing as a feature filmmaker, Larochelle unveils a rogues’ gallery of fascinating and appalling creatures. Shot in a dark sepia tone that makes every scene feel like deleted footage from a snuff film, Mécanix feels like a nightmare that the filmmaker was compelled to get out of his system any way he could, and 16mm stop-motion was the only tool he had at hand. Knowing that, he leans into both the imaginative potential and technical limitations of the technique; Mécanix features a remarkable variety of animated critters, looking variously like equine bipedal skeletons, bubo-ridden Buddhas, tree mermaids, wire-brush birds, and bad-permed llamas. Their appearances are already terrifying, but the hallmarks of their animation—spasmodic jerkiness, absence of motion blur—only heighten their disturbing nature. With flailing cable appendages and misplaced heads, they need only be themselves to be the stuff of bad dreams. Daniel Lagacé’s industrial sound design— an array of distorted clangs, whirrs, and whooshes—helps to give the varmints unnatural life.

Through interviews and key art, you can tease out the hint of a plot involving a lost embryo that, if found, will defeat the alien invaders and restore the promise of life to humanity. The live-action scenes exist primarily in service of this throughline. But the story is largely beside the point, as is demonstrated whenever humans and manipulated maquettes are called upon to share the screen. When they do so, the technique is most often a rudimentary split screen, with the actors standing carefully still while the monsters react dramatically to whatever plot development is presented to them. (It’s a reminiscent of the way Björk dances in front of oversized insects in her “Human Behaviour” video, although of course with none of her screen presence.) But the choice works because the aliens, in one of the few pieces of dialogue, explain the deadly power of emotion, so foreign and deadly to them that even the whiff of a flower could destroy them.

Larochelle knows this is only going to work if things get pretty gross. Early on, we watch a doctor search for the embryo by yanking out the innards of her few remaining fellow humans. Later, a man will invert the procedure by vivisecting an avian creature in an impressively effective piece of puppeteering. (In fairness, he’ll end up doing a little grisly self-surgery as well.) And the monsters often take themselves apart and reassemble for locomotion or conversation. None of this is frightening, exactly, but Mécanix is so viscerally broken and oozy that the effect is more powerful than a jump-scare. It all just feels so unfamiliar and not-at-all right.

Larochelle began working on Mécanix right out of college and spent four years filming and animating the piece. It’s a point in favor of his native Canada that a movie like this can not only be made, but even get funding from the National Film Board of Canada. At a lean 70 minutes, it still feels like it could use a little tightening. There isn’t much in the way of conflict: the aliens demand the embryo, the man steadfastly refuses to give it, and the finish has the whiff of anticlimax. But there’s no denying that Mécanix is a singular effort, one that combines animation technique and icky atmosphere in a form that resembles little before or since. You might say that it’s “unnerving to some people.”

WHAT THE CRITICS SAY:

“Imagine then if someone had rifled through Ray Harryhausen’s bins, scavenging for his discarded works. Those ideas that he deemed too weird to finish. Imagine too that this “someone” then took that weirdness and ran with it, stripping the designs back to their most basic forms, at times down to their wire frame maquettes. Such are the denizens of Larochelle’s world… this little slice of the bizarre is a beast that stands tall and one that more than holds its own…” – Andy Stewart, Nerdly

(This movie was nominated for review by Morgan. Suggest a weird movie of your own here.)     

Mecanix

Mecanix
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