Although it tells a mildly fantastical tale of ghosts and a magical mansion, When Marnie Was There is best at capturing authentic childhood experience. Even the sound is right. Maybe it stands out because we’re watching an animated movie, but the ambient noise is uncannily good. When the heroine arrives at her new home for the summer, every creaky floorboard and tinkling wind-chime gives a feeling of “Yes, that’s exactly how that sounds.” Those things are felt more keenly when experienced in a new place, which is the situation for Anna. She’s been sent to the seaside by her frustrated adoptive mother, who suspects a change of scenery would benefit the shy girl. Anna stays with a kindly older couple, but her imagination is captured by the moody house across a tidal flat, where ethereal blonde Marnie offers friendship. (SIFF will screen both the original Japanese-language version, with subtitles, and the dubbed version, with Hailee Steinfeld as Anna and Kieran Shipka as Marnie.)
It didn’t cop the Oscar on Sunday, but the good news is a few hundred million people have now heard of Song of the Sea. The Best Animated Feature category often includes a title or two that—while utterly obscure by Disney or DreamWorks standards—are at least as impressive in the realm of cartoon art. This year Disney’s lukewarmly received Big Hero 6 was a bit of a surprise winner, its triumph perhaps the result of votes being siphoned off by two tiny but acclaimed competitors, Tale of the Princess Kayuga and this one.
Song of the Sea comes from an Irish company, Cartoon Saloon, whose previous feature The Secret of Kells (2009) also snagged an Oscar nomination.
Two freshly-anointed Oscar winners arrive on home video this week: Whiplash, which won awards for Supporting Actor J.K. Simmons and for editing, and sound mixing, and Big Hero 6, this year’s Best Animated Feature, debut on Blu-ray, DVD, and VOD.
In Whiplash (Sony, Blu-ray, DVD, Digital HD, VOD), music competition is a bloodsport and J.K. Simmons’ instructor is as feared as he is respected. His Fletcher is the drill sergeant of Full Metal Jacket in a simple black t-shirt and slacks and head shaved to a hard sheen and his boot camp is the school’s competition stage band: the best of the best. He bullies his students into total obedience and fear and they are desperate to win his approval while he browbeats, humiliates, and even physically assaults them, none more so than the intense and driven Buddy Rich disciple Andrew (Miles Teller).
Teller is as fearless as Simmons, giving us an obsessive who is intense, driven, and at times insufferably arrogant and self-absorbed. He’s not very likable, at least not when he puts his drumming ahead of everything else, but he is compelling, taking the sports ethos of pushing past the pain to reach perfection. He literally bleeds for his art. Fletcher demands more through his hyena smile. He may actually believe that such tactics make better musicians (that which doesn’t kill only makes you a stronger player?) but he clearly enjoys the mind-games and emotional warfare. Simmons gives him life by playing it with cagey calculation, as if the very act of teaching is a competitive event.
The first minutes of Rocks in My Pockets unfold in standard-issue animation of the European variety: cutesy (yet grown-up) drawings, whimsically surreal images, black-comic storytelling. Before long, though, the movie begins traveling in ever-darker spirals, as director-animator Signe Baumane spins a personal tale of family disturbance and depression. The Latvian-born filmmaker reaches back to the story of her grandmother to discover why the women in her family seem inexorably drawn to suicide. (The title refers to family lore about grandma being discovered standing in a river, trying to drown herself—but lacking the weight of rocks that might help her sink to the bottom.)
The Wind Rises (Disney, Blu-ray, VOD) – Hayao Miyazaki is a national treasure in Japan, the director of beloved animated features and a filmmaker dedicated to preserving the art of hand-drawn animation. The Wind Rises, which was released in 2013 and earned an Oscar nomination as Best Animated Feature, was a passion project for the director and a fitting swan song. The grand old man of Japanese animation has retired and this film, not a fantasy or mythical adventure but a delicate biographical drama about an idealistic engineer devoted to making “beautiful airplanes” for a country he knows will use them as instruments of war, is his final feature. Jiro comes of age in 1920s Japan and through him we experience the 1923 earthquake, the great Tokyo fire, and the crippling depression, as well as the growing militarism that takes hold of the country and the culture; at one point, the pacifist Jiro comes close to becoming a victim of Japan’s version of the communist witch-hunt.
The film was both celebrated and criticized in Japan, where some accused the film of whitewashing the militarism that sent the country into occupying Manchuria and then into World War II. Perhaps they felt that Miyazaki wasn’t more strident in his condemnation of that culture but he does surely confront and criticize it, albeit with a tone of regret and resignation. Jiro, who works in the aviation division of Mitsubishi, is an artist who dreams of flight (his eyesight prevents him from becoming a pilot) and channels his love into creating the next generation of airplanes, but is trapped in a military culture that demands he design a fighter plane. Somehow he never loses his idealism and his humanism.
One of the impressive things about The Boxtrolls is how quickly it establishes just what exactly boxtrolls are. It’s complicated: Boxtrolls are odd gnomelike creatures that live beneath the streets of Cheesebridge, living off the town’s rubbish and clothing themselves in discarded boxes.
Cheesebridge is a vertiginous 19th-century hamlet, apparently in England. This is key, because the film’s cheeky humor and dark satire is in a British vein that stretches from Monty Python to Wallace & Gromit.
Goblins are disconcerting, even if their worst offense (in this case) is stealing food. For an 11-year-old girl named Momo, they are more annoying than terrifying, just another tiresome aspect of moving to the countryside with her mother. Not only is Momo expected to meet new friends and make nice with her grandparents, she’s also trying to get over the death of her father. He left behind a sheet of paper that’s addressed “Dear Momo” but is otherwise heartbreakingly blank. Goblins? Let ’em do their worst.
Hiroyuki Okiura’s gently fantastical animation approach proves apt for this familiar little story.
The first How to Train Your Dragon movie was a neat surprise, a funny and spirited fantasy with a crazy setting. It also made a bundle in 2010 — so it’s time for a sequel. Say this for How to Train Your Dragon 2: It’s not as good as the first one, but they certainly didn’t just mimic the original movie. We take off in a whole different direction here.
For one thing, the characters have actually aged. The adolescent heroes from the first film are now 20 years old, and facing different sorts of challenges. Our main character is still Hiccup (voiced by Jay Baruchel), the nerdy son of a great Viking leader (Gerard Butler). Hiccup discovered how to live in peace with dragons, and now he and his dragon pal are busy exploring the uncharted northern lands of this primitive era.
Sorcerer (Warner, Blu-ray, DVD) – William Friedkin spent years trying to untangle the rights to his 1977 film, an expensive dream project that he made after hitting it big with The French Connection and The Exorcist, and after suing to force the studios to clear up the legal morass he supervised a restoration, mastered from a 4K scan of the original 35mm negative, that screened at the Venice Film Festival in 2013 and played around the country before making its Blu-ray debut in April.
It’s a remake of Henri George-Clouzot’s survival thriller The Wages of Fear, about four men hiding out in a grimy South American village who agree to drive two trucks with unstable dynamite in the back over 200 miles through the jungle, and apart from a lengthy prologue that introduces the men and the crimes that sent them into hiding, it’s a faithful remake with a very different feeling. Friedkin gives the jungle a primal quality, an aliveness that makes their journey feel like a trip through an alien world waiting to swallow them up, and makes the trucks themselves characters in the film (the title Sorcerer is actually the name of one of the old trucks, which are practically reconstructed by the drivers for the trip). In contrast, the men are oddly without dimension apart from Roy Scheider’s New Jersey mobster Jackie Scanlon, who takes the name Juan Dominguez in his underworld witness protection plan. A gangland wheelman in his former life, he’s the driving force (so to speak) in grinding through the challenges of the overgrown road: a fallen monster of a tree, a rotting suspension bridge, cliff roads almost washed away by monsoon rains, and a terrorist band hiding in the jungle. The score by German electronic outfit Tangerine Dream—their first soundtrack for an American film—helps set the otherworldly tone. Their music is actually used sparingly through the film but their slow but insistent rhythm and electronic tones (unique at the time and still quite effective) is the film’s defining sound.
Though Friedkin hinted that the release would feature new commentary and other supplements via his Facebook page back in 2013, there disc features no supplements beyond a letter from Friedkin and the 40-page booklet in the Blu-ray Book package, featuring photos, art and an excerpt from Friedkin’s autobiography. The disc looks and sounds superb (the greens of the jungle look unnaturally overbright though it gives the ordeal a hallucinatory quality) but beware that Warner botched the DVD, producing it from an unrestored master, and Friedkin himself has warned buyers to wait until Warner comes out with a remastered DVD on June 10.
Trouble Every Day (KimStim / Oscilloscope, DVD), Claire Denis’ wigged-out 2001 take on the vampire film, makes it stateside disc debut more than a decade after its theatrical debut. It’s about time. While it had its boosters, the film was lambasted on its original release (look at Rotten Tomatoes and you’ll see the majority of its positive reviews from the 2013 revival) for its utterly insane portrait of a madwoman (Béatrice Dalle, but of course) who is locked in a basement because of her propensity to devour her lovers. And I mean literally devour them.
It’s a cannibal film, but in the Cronenberg sense—horror as biology and disease and psychological transformation—with Denis’s weird mix of too much intimacy and observational distance. The tangle of sex and death is obvious but no less visceral: Dahl giggles and coos and barks in pleasure as moves from caresses and kissing to eating her lover come dinner. She’s never sadistic; it’s more like playing with her food. Vincent Gallo, Tricia Vassey and Alex Descas co-star. The disc features an audio introduction by director of photography Agnès Godard and a booklet with an essay by Melissa Anderson.
Beloved animator Hayao Miyazaki has announced this as his final feature, which means The Wind Rises ought to be arriving on a parade float of acclaim, buoyed by pastel clouds and pulled by a collection of amazing imaginary creatures. And yes, the movie’s snagged an Oscar nomination for Best Animated Feature (Miyazaki won for 2001’s Spirited Away) and good reviews. But the valedictory lap has been slowed a bit by puzzled rumblings about the film’s subject, which—while loose enough to allow for fantastical sequences—is rooted in historical reality. On the one hand, a biographical study of engineer and airplane designer Jiro Horikoshi sounds like a great match for Miyazaki’s wistful style: It allows for beautiful flying sequences and perhaps some self-portraiture in its study of a detail-minded dreamer who assembles his creations from a combination of math-based design and pure imagination.
The problem? Horikoshi’s masterpiece was the Zero, Japan’s lethally efficient World War II fighter plane.