SYNOPSIS: In “Stitch Head,” a new kid-friendly animated monster movie now playing in theatres, a strange little creature made up of spare parts runs away to join the circus, leaving behind the only family he’s ever known.
“Stitch Head is not a horror film at all, but an adventure comedy that plays with the clichés of the horror genre.” Steve Hudson
CAST: Asa Butterfield, Joel Fry, Tia Bannon, Rob Brydon, Alison Steadman, Fern Brady, Jamali Maddix. Directed by Steve Hudson with Toby Genkel as co-director.
REVIEW: Adapted from the graphic novels by Guy Bass, “Stitch Head’s” story of a patchwork “freak” who discovers his otherness is actually a strength, breathes the same air as other family-friendly gateway horrors like “Para-Norman” and “The Boxtrolls.”
The story begins in the laboratory of Castle Grotteskew, homebase to the maddest of all mad professors (voiced by Rob Brydon). He creates monsters of various shapes and sizes, only to promptly forget about them as he moves on to the next. “To life! Almost to life! Now,” he says, “what’s next—fangs or feathers?”
Keeping order in the castle is Stitch Head (Asa Butterfield), the mad professor’s first creation. He’s a pint-sized caretaker, stitched together from mismatched body parts—think Frankenstein, only cute—who quietly keeps the discarded monsters from upsetting the residents of the village Grubbers Nubbin.
Stitch Head finds his way out of the shadows and into the spotlight when a carnival, run by Fulbert Freakfinder (Joel Fry), comes to the village. Sensing the appeal of young Stitch Head, Freakfinder offers him a job in his travelling circus. “You’re no freak, lad—you’re a star! Fame, fortune, and a spotlight brighter than a bolt of lightning!”
The heart of the spotlight soon cools as Stitch Head comes to fear that his real family, the monsters at the castle, without his guidance, are in danger of being misunderstood by the villagers of Grubbers Nubbin. “We’re not monsters,” he says, “we’re family. Stitched together, not torn apart!”
A mix of humor and heart, “Stitch Head” is a lively Tim Burton-lite movie about undead characters. Packed with imaginative characters, it’s an intermittently entertaining adventure that will appeal to kids, but should keep the whole family interested, even if the pacing is a bit uneven. It winds up pretty much how you imagine it will, so no big points for originality, but it makes up for its lapses with kid-friendly messages about embracing our differences, belonging and the courage to face fears.
Richard Crouse makes a Salty Dog, the perfect cocktail to enjoy while paying tribute to animal actor stars of “Cruella,” the latest Disney live-action reboot. Come have a drink and a think about “Cruella” with us!
“Cruella,” now available in select theatres and on Disney+ with Premier Access, is an origin story that explains the reason why one of Disney’s greatest villains hates Dalmatians.
One eventful day defined Estella’s (Tipper Seifert-Cleveland) life. In less than twenty-four hours, the precious preteen with the distinctive mop of black and white hair, got kicked out of an upscale private school, snuck into a fashion show and thought, “for the first time in my life, I feel like I belong,“ and developed a lifelong hatred of Dalmatians. I won’t say why, but she does have a good reason to harbor animosity toward the spotted dogs. Most tragically, she lost her mother that same day.
Cut loose and alone, she lands in 1964 London. Falling in with petty thieves Jasper (Joel Fry) and Horace (Paul Walter Hauser), Estella (now played by Emma Stone) forms an impromptu family, pulling off scams using disguises designed and made by her own hand.
Still, she’s not satisfied. “I want to be a professional designer,” she says, “not a thief.”
Securing an entry level job at an upscale department store, she gets the attention of The Baroness (Emma Thompson), a cruel, imperious clothing designer who says things like, “Gratitude is for losers.” She is the undisputed matriarch London fashion and will crush anyone who gets in her way.
As Estella rises through the ranks, she becomes aware of a connection between The Baroness and the death of her mother. Until then, she believed she was responsible for her mother’s passing and had gone through the five stages of grief. Denial, anger, bargaining, depression and acceptance. Now she adds a sixth stage, revenge.
“I’m starting to remember that you have an extreme side,” says Estella’s old friend Anita Darling (Kirby Howell-Baptiste).
Determined to ruin The Baroness, break her spirit, her confidence and her business. Estella creates an alter ego, the disruptive Cruella. In a series of staged public stunts Cruella humiliates The Baroness and becomes the darling of the fashion world. “Some call her a designer,” a TV talking head breathlessly reports, “some call her a vandal.”
As the “mad, bad and just a little bit sad” Cruella’s antics escalate, Estella’s personality grows fainter. “I’m not sweet Estella, try as I might. I’m Cruella.”
“Cruella” has lots going for it. Great costume design, a rippin’ soundtrack and arch attitude, but by the time the end credits roll, it is all about the dueling Emmas, Stone and Thompson.
“Wow,” says Cruella. “You really are a psycho. “How nice of you to say,” The Baroness snaps back.
Both hand in flamboyant performances that capture the wickedly humorous tone of the story.
Stone’s performance straddles the line between her two characters as Estella’s attempts to fit into the regular world fade, as bits and pieces of Cruella’s anything goes mentality filter through until she goes full-on baddie. The punk rock-glam inspired clothes help in the transformation, but the heart comes from Stone, who does something difficult, bring a tragic heart to a villain.
As The Baroness, Thompson is the is the Queen of the Side Eye. It’s a wonderfully comedic performance, equal parts disdain, evil and ridiculous, she redefines arrogance. Think “The Devil Wears Prada” with a sharper edge. It’s the kind of work you want to watch at least twice to catch all the small bits of business she weaves into the performance.
Propelled by the performances and a music-heavy soundtrack featuring everything from The Doors and Nina Simone to Iggy & The Stooges (this must be the first Disney film to feature the proto-punk tune “I Wanna Be Your Dog”) and Tina Turner, “Cruella” rocks along at a clip until it loses steam near the end as it prepares itself for the sequel.
Until then, however, “Cruella” is the most audacious of the recent live action reimaginings of a classic Disney character.
“In the Earth,” the latest film from Ben Wheatley, now on VOD, once again returns to the psychological horror that fueled his other movies like “Kill List” and “A Field in England” with a hint of the social commentary of his J. G. Ballard adaptation “High-Rise.” Add to that a dash of folk-horror and you have a truly timely and mind-bending film that is best avoided by the squeamish.
Most people see a walk in the woods as a quiet respite from the world. But when researcher Martin (Joel Fry) and ranger Alma (Ellora Torchia) head out to meet scientist Dr. Olivia Wendle (Hayley Squires) and perform some tests in the forest during a pandemic, they are sent off with some ominous advice. “People get a bit funny in the woods sometimes,” says Martin’s doctor Frank (Mark Monero). “It’s a hostile environment.”
Sure enough, things go wrong early on. They come across eerie, abandoned campsites, equipment breaks down, Martin becomes ill and they are even attacked in their tent on a tense, sleepless night. The next day help comes in the form of Zach (Reece Shearsmith), an eccentric loner who lives deep in the woods. He offers some painful but much-needed help—this is roughly where the squeamish may want to go make a sandwich and read a book—but soon begins acting erratically with a mix of metaphysical ramblings and homicidal tendencies.
By the time they contact Dr. Wendle, it is unclear who they can trust as their journey into the heart of darkness takes on an increasingly mysterious, psychedelic tone.
“In the Earth” is a trippy movie that nonetheless feels earthbound. No matter how weird the going gets, and it does get strange, masks, isolation, HAZMAT-suits and talk of quarantine and being outside for the first time in forever, ground the story in all too familiar terms. The postapocalyptic vibe is all too real, but the Pagan alchemist rituals, evil spirits and a dollop of paranoia provide the journey into the heart of darkness and the absurdist comedy integral to Wheatley’s style.
Some will call “In the Earth” a horror film, but it isn’t really. The repeated home surgery scenes are woozy-making, and the strobe effects are unsettling, but your pulse will never quicken. Then there’s the under developed characters. You may feel sorry for them when weird things happen, but it’s hard to be invested in them.
What that leaves you with is a movie that offers up a handful of ambitious notions about science vs. religion and some extra-ghastly visuals but, at best, it’s about intellectual dread; all ideas and no emotion.
SYNOPSIS: In “Stitch Head,” a new kid-friendly animated monster movie now playing in theatres, a strange little creature made up of spare parts runs away to join the circus, leaving behind the only family he’s ever known.
