As if we needed any reassurance, WOLFWALKERS further solidifies Cartoon Saloon's stake as one of the most exciting animation studios in the world. It's a bright and bold adventure, and very likely the studio's most experimental film yet, at least in terms of its visual aesthetic. Instead of THE BREADWINNER's sharp, clean lines, WOLF's characters are composed like loose bristly sketches which - combined with the film's smudgy watercolor backgrounds - creates not only a flowing expressionism that reminded me…
Easy to see why Spielberg was interested in the story way back in 2007. It's the kind of project that's tailor-made for him, and very reminiscent of what he went on to do with LINCOLN, BRIDGE OF SPIES, and THE POST. As it is now, it's perfectly fine - definitely a step-up from MOLLY'S GAME - pretty didactic and grandstanding but not as saccharine as it could've been (minus that final scene though). Kinda wish it was as radical and…
Wildly ambitious and admirable, but ultimately frustrating and exhausting. This is very much the director of THE DARK KNIGHT and INTERSTELLAR doing his own version of PRIMER. Take that however you'd like.
Like INCEPTION, it's a film of mechanics and logistics, and like MEMENTO, there's a vague structural resemblance to an ouroboros, but it lacks the energy and mystery of either of them -- especially the way that INCEPTION piecemeals out the various machinations of dreamsharing without losing the forward…
Easily my favorite of Tarantino's since INGLOURIOUS BASTERDS. One of the friends I saw it with made the comment that it was (with the obvious exception of the last twenty minutes) surprisingly light and pleasant, and I completely agree -- in a strange way, it's perhaps his softest film, and a complete joy at that. It's terrifically funny, playful, and energetic - loved every second of it.
Shoutout to the Angelika in Dallas for projecting this on 35mm. Looked gorgeous (plus, no horrible twenty-minute roll of trailers)