Judging from both the pre-release marketing materials and industry narratives that have surrounded both Mission: Impossible – Dead Reckoning Part One (Christopher McQuarrie, 2023) and Oppenheimer (Christopher Nolan, 2023), one would be forgiven for thinking that Hollywood still retains something of an aversion to digital VFX.
Read MoreTrue to the promise of its title, Spider-Man: Across the Spider-Verse (Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, 2023) is an exhilarating and emotional journey that continues to blaze the narrative and visual trail started by its predecessor. Made by Sony Pictures Animation in association with Marvel, the film does not open with the previous film’s Spider-Man, Miles Morales (Shameik Moore) as one might expect. Instead, it shifts the focus to Gwen Stacy (Hailee Steinfeld), also known as Spider-Woman, as she finds herself embroiled in the multiversal machinations of the taciturn, pragmatic Spider-Man 2099, Miguel O’Hara (Oscar Isaac), and his spider society.
Read MoreMission: Impossible II (John Woo, 2000) - the second feature in the evergreen Hollywood blockbuster franchise - is a film fascinated by the creative possibilities of Tom Cruise’s face. The film’s extended opening sequence (comprising ostensibly of two action set-pieces, see left) is structured from the start by the drama and jeopardy engendered by the star’s recognisable physiognomy.
Read MoreMy name is Michael Tanzillo, and I’ve worked for years in the animation industry at top studios like Blue Sky Studios, and on computer-animated feature films such as Ice Age (Chris Wedge, 2002), Rio (Carlos Saldanha, 2011), and Ferdinand (Carlos Saldanha, 2017).
Read MorePixar’s much-delayed computer-animated fantasy film, Soul (Pete Docter, 2020), was originally scheduled for theatrical release in the U.S. on June 19, 2020, yet was finally released on the Disney+ platform almost a year ago in December 2020. The story follows the life of a middle school music teacher named Joe Gardner (Jamie Foxx) who falls down a manhole on the streets of New York City into another world, a world in which his soul is separated from his body.
Read MorePixar’s Loop (Erica Milsom, 2020) is an animated short film from Pixar Animation Studios, and part of the “SparkShorts” program that was designed to discover new storytellers and artists by producing short films on a smaller time frame and budget, giving directors freedom to explore new stories, techniques and workflows.
Read MoreFeaturing Pixar’s first LGBTQ+ lead, Out (Steven Clay Hunter, 2020) is a delightful, whimsical tale of love and queer identity. The short plays out as a comical exploration of the challenges faced by Greg, its lead character, when he finds himself about to be prematurely outed to his parents. Premiering on Disney+ in 2020, Out provides a rare instance of LGBTQ+ representation in the world of Disney (by way of Pixar).
Read MoreIf the narrative of Soul sounds complex, that’s because it is. In a similar vein to Pixar’s Inside Out (Pete Docter, 2015), which explores the abstract concepts of emotions (and, specifically, emotional development) through animation, Soul explores existentialism and the many manifestations of what having a soul can really mean, as well as how these connect to the idea of our lives having a specific “purpose” that we were born to fulfil.
Read MoreWhat does animation when utilised in cinema have to do with the Anthropocene? This term emerged in the scientific community at the turn of the millennium as a way of categorically establishing the impact of humans (or Anthropos) on Earth by naming the current geological era after them. I seek here in this blog post to think about the relationship between special effects and a geological era characterised by human activity on Earth – global warming, the sixth mass extinction, mass migration.
Read MoreLife is Strange 2 (2018-) is a deeply emotive episodic videogame that revolves around a teenager and his young brother who are thrown into a series of adventures steeped with numerous struggles rooted in modern social and cultural realism. Towards the beginning of the game, the boy’s father dies at the hands of a police officer (who also is killed), and the siblings must go on the run out of fear they may be wrongly accused, arrested and separated.
Read MoreUnless you enjoy paying to watch one very long and annoying advert for a toyline you no longer play with, I suspect Playmobil: The Movie (Lino DiSalvo, 2019) isn’t for you. Based on an original story by Lino DiSalvo, Playmobil: The Movie (Fig. 1) tells the story of Marla (Anya Taylor-Joy) and Charlie Brenner (Gabriel Bateman), two siblings who are sucked into a Playmobil world filled with tacky plastic adventures and totally unmemorable side characters.
Read MoreReleased in 2018, Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey & Rodney Rothman, 2018) explored the visual storytelling possibilities of animation. A computer-animated superhero feature film that retells the story of Miles Morales, a boy bitten by a radio-active spider giving him similar powers to those of Spider-Man, Spider-Man: Into the Spider-Verse bucks many of the traditional techniques of animation, and the production team used novel techniques to depict motion, depth of field, and emotion. Particularly notable is the combination of comic book elements within an animated feature. How do these novel techniques, alongside the combination of comic book mythology and animated storytelling, impact viewers’ comprehension of and experience of the story?
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