While the story in itself isn't groundbreaking by any stretch of the imagination, the spectacle is immense and the number of highly kinetic battle scenes on rag-tag vehicles are savage; definitely unlike anything cinema-going audiences had seen before. ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️
Im Keller sells itself as a documentary, however there’s an element of staging to it that can’t be denied. There aren’t any actors involved. The protagonists aren’t fictional characters; they appear to be appearing as themselves. Or at least, some version of themselves.
⭐️ ⭐️⭐️⭐️⭐️⭐️ ⭐️ ⭐️ ⭐️ Generally speaking, One Hundred and One Dalmatians feels different to most of the older Disney animated Classics. The look is quite stylised and feels like an application of different techniques, ranging from water colour to graphic pens. Production commenced hot on the heels of Sleeping Beauty (1959), a film which also noted for its stylised and angular animation, but which however feels odder and (naturally) more dated than Dalmatians. I believe the recipe worked better in Dalmatians. The animation style more similar to that used in Sylvain Chomet’s The Triplets of Belleville (2003) and The Illusionist (2010), than, say Dumbo (1941) or Lady and the Tramp (1955).
⭐️ ⭐️ ⭐️ ⭐️ ⭐️ I don’t believe CG will ever really be a substitute for practical effects. Even a human-robot fight sequence late in the film conveys none of the menace the first two Schwarzenegger Terminators brought through their real brawn and metal.
Today I reflect on Antichrist (2009) and Lars von Trier's filmic relationships with women.
35c 