Not many children’s movies would feature someone voicing the fear that the title characters would “kidnap me and slurp up my intestines like noodles,” but then again, “The Boxtrolls” is not like most other kid flicks.
Based on Alan Snow’s illustrated novel “Here Be Monsters!,” and from the folks who brought us the dark visions of “Coraline” and “ParaNorman,” “The Boxtrolls” is the most original film for young’uns to come out this year.
According to town father Lord Portley-Rind (voice of Jared Harris) of the Victorian-age town of Cheesebridge, the Boxtrolls are evil beasts that steal children, eat their faces and live underground among mountains of bones and rivers of blood. They’re so hideous there are even popular songs written about their dastardly deeds. To rid the community of these vile creatures Rind brings in a social-climbing exterminator named Archibald Snatcher (Ben Kingsley), who guarantees the complete annihilation of the trolls in return for a coveted White Hat and a place at the town’s exclusive cheese table.
The Boxtrolls, of course, aren’t evil. They are good-natured, green-skinned trolls who use cardboard boxes as camouflage, speak gibberish and get into mischief, like smelly Minions. Sure, they eat live bugs and live underground in a Rube Goldberg-esque steampunk world of machines made from parts salvaged from the garbage but they also love music and have raised a human child, Eggs (Isaac Hempstead Wright), as one of their own. If the Boxtrolls are to survive, Eggs will have to go head-to-head with Snatcher and his henchmen Mr. Pickles (Richard Ayoade), Mr. Trout (Nick Frost) and Mr. Gristle (Tracy Morgan).
Combining the atmosphere of Hammer horror films with slapstick humour, a deranged story, a “be who you are” message and morbidly marvelous attention to every stop-motion detail, “The Boxtrolls” is a trick and a treat.
Unabashedly weird and wonderful, the movie may be too scary for the little ones, but any child who has spent time with the “Goosebumps” series or “Lemony Snicket’s A Series of Unfortunate Events” shouldn’t be kept up at night by either the story or the visuals.
Instead they’ll likely be drawn in by the beautiful set decoration, the ingenious character design—the baddies all have the worst teeth since Austin Powers—and fun voice work. As the lactose intolerant Snatcher Kingsley has the most fun. It’s a flamboyant performance, inventive and eccentric, that will entertain kids and their parents.
“The Boxtrolls” is Pixar on drugs, a wild ride that isn’t afraid to mix a scare or two in with the kid stuff.
In olden days fairy tales were not meant for children. Until The Brothers Grimm came along, and despite their ominous sounding name, cleaned up folkloric tales like Snow White and Sleeping Beauty by removing all the sex and most of the violence, fairy tales were best told after the kids went to bed. So it is with Coraline, a new animated movie based on the Hugo Award-winning book by Neil Gaiman. On the surface it looks like a kid’s movie with stop motion animation and a young central character, but make no mistake this is a PG13 movie filled with creepy images that could send the little ones straight from the theater to the psychiatrist’s couch.
Coraline’s (the voice of Dakota Fanning) journey into a strange and scary new world begins when her parents (Teri Hatcher and John Hodgman) rent an apartment in a peculiar house called The Pink Palace. Upstairs in the attic is circus performer Mr. Bobinski (Ian McShane) and his troupe of musical mice. Downstairs are a pair of retired actresses, Miss Forcible (Jennifer Saunders) and Miss Spink (Dawn French), who share their apartment ith a menagerie of Scottie dogs, some alive, some stuffed. Despite the colorful neighbors Coraline is bored. Her parents neglect her and the only other kid in the neighborhood is the weeby Wybie Lovat. Things get more interesting when she discovers a mysterious door hat leads to a mirror reality, an eccentric Alice Through the Looking Glass world, where er parents pay attention to her and life is interesting. It isn’t until things take a dark turn hat Coraline realizes she may never escape the eerie Other World and return home to her eal parents.
I’ll say it again, despite Coraline’s storyline about a young girl trying to find her way back to her parents and the animation, (it’s the first stop-motion animated feature to be originally filmed in 3D), this is not a movie for little kids. The New York Times called the novel “one of the most truly frightening books ever written” and while the movie tones down some of the scares for the big screen, it is still a chilling ride.
Visually it’s a cross between Pee Wee’s Playhouse and the gonzo caricatures of Ralph Steadman. Director Henry Selick, the brains behind James and the Giant Peach and The Nightmare Before Christmas, has created two unique worlds: Coraline’s mundane day-to-day world and the heightened existence she has behind the mysterious door. Both are flights of fancy, from a garden that recreates Coraline’s face to the marching mouse band. Rendered with great imagination and beauty by Selick and his team the film is pure cinematic eye candy.
Luckily the story equals the surreal imagery. Coraline’s journey to the dark mirror image of her life is effectively scary not because it offers a thrill a minute but because it plays on primal fears, the dread of being abandoned, the unknown and claustrophobia. These basic feelings form the backbone of the story and the inventive visuals and nice voice work from Dakota Fanning and the supporting cast do the rest.
Coraline is the rare animated film that succeeds both as mainstream entertainment and art
In olden days fairy tales were not meant for children. Until The Brothers Grimm came along, and despite their ominous sounding name, cleaned up folkloric tales like Snow White and Sleeping Beauty by removing all the sex and most of the violence, fairy tales were best told after the kids went to bed. So it is with Coraline, a new animated movie based on the Hugo Award-winning book by Neil Gaiman. On the surface it looks like a kid’s movie with stop motion animation and a young central character, but make no mistake this is a PG13 movie filled with creepy images that could send the little ones straight from the theater to the psychiatrist’s couch.
Coraline’s (the voice of Dakota Fanning) journey into a strange and scary new world begins when her parents (Teri Hatcher and John Hodgman) rent an apartment in a peculiar house called The Pink Palace. Upstairs in the attic is circus performer Mr. Bobinski (Ian McShane) and his troupe of musical mice. Downstairs are a pair of retired actresses, Miss Forcible (Jennifer Saunders) and Miss Spink (Dawn French), who share their apartment ith a menagerie of Scottie dogs, some alive, some stuffed. Despite the colorful neighbors Coraline is bored. Her parents neglect her and the only other kid in the neighborhood is the weeby Wybie Lovat. Things get more interesting when she discovers a mysterious door hat leads to a mirror reality, an eccentric Alice Through the Looking Glass world, where er parents pay attention to her and life is interesting. It isn’t until things take a dark turn hat Coraline realizes she may never escape the eerie Other World and return home to her eal parents.
I’ll say it again, despite Coraline’s storyline about a young girl trying to find her way back to her parents and the animation, (it’s the first stop-motion animated feature to be originally filmed in 3D), this is not a movie for little kids. The New York Times called the novel “one of the most truly frightening books ever written” and while the movie tones down some of the scares for the big screen, it is still a chilling ride.
Visually it’s a cross between Pee Wee’s Playhouse and the gonzo caricatures of Ralph Steadman. Director Henry Selick, the brains behind James and the Giant Peach and The Nightmare Before Christmas, has created two unique worlds: Coraline’s mundane day-to-day world and the heightened existence she has behind the mysterious door. Both are flights of fancy, from a garden that recreates Coraline’s face to the marching mouse band. Rendered with great imagination and beauty by Selick and his team the film is pure cinematic eye candy.
Luckily the story equals the surreal imagery. Coraline’s journey to the dark mirror image of her life is effectively scary not because it offers a thrill a minute but because it plays on primal fears, the dread of being abandoned, the unknown and claustrophobia. These basic feelings form the backbone of the story and the inventive visuals and nice voice work from Dakota Fanning and the supporting cast do the rest.
Coraline is the rare animated film that succeeds both as mainstream entertainment and art.
Not many children’s movies would feature someone voicing the fear that the title characters would “kidnap me and slurp up my intestines like noodles,” but then again, “The Boxtrolls” is not like most other kid flicks.
