Category Archives: Animation

Entertainment vs. Character vs. Story

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One of the things I find interesting is that whenever I read animation books about making films, the authors all like to say the exact same thing:  “The Three most important aspects of any movie is STORY, STORY, STORY.”  What is it about this mode of thinking that have defined the way animated films are made?  What does Story mean exactly?  For one thing, most people will tell you that your story is “about something”, indicating either a theme or a message.  But when I watch an animated film, I don’t find that story is as much the emphasis that ENTERTAINMENT is.

By entertainment, I don’t simply mean the things that make us laugh, but it’s everything that moves us about the story and carries us along.  Is it funny?  Exciting? Dramatic? Engaging?  What’s the hook to get people interested?  That’s entertainment, not necessarily story.  The story tends to imply something about a theme or a message that makes it appear more that the film is trying to say something.  But what we do know about the greatest stories told in film is that they aren’t boiled down to a single message.  There is something powerful going on in movies like Star Wars, The Iron Giant, Finding Nemo, Snow White and The Seven Dwarves, The Wizard of Oz, Ghost, or TV shows like Breaking Bad, Six Feet Under, etc.  Something about these films taps deeper into our psyche, and it’s not simply because they are good stories.  These films are enormously entertaining, and it’s a great story that evolves out of that.  The entertainment is what helps bring out the emotional center of these films.  What is a Bugs Bunny cartoon about?  What’s the meaning of a Wallace and Gromit short?  They just are what they are, yet we connect with them on a much richer, deeper spiritual level, than you would ever get from a film that has a lot of entertaining stuff going on, but then promotes a message “telling” you what the film is about instead of “showing”.

You’ll notice that the idea of slapping a message in animated films is something that actually came later on with the Disney “2nd Golden Age” as part of the formula for animated feature storytelling.  “Be Yourself.” (Aladdin) “Let your children be free to make their own choices” (The Little Mermaid), “Don’t judge a book by it’s cover” (Beauty and the Beast).  They’re all very good messages.  But that doesn’t mean that’s what the film is about.  Compare that now to a movie like “Sleeping Beauty”.  What’s the message of that film?  Or Snow White, Pinocchio, or Lady and The Tramp?  Walt Disney wasn’t as concerned with what his films were about as long as they moved people and were entertaining.  Some of these films are powerful and emotional, which really get us going.  You are entertained when you laugh, when you cry, when you’re shocked, when you’re thrilled.  Entertainment and story working together is what brings these emotions out of you, not simply story by itself that brings out these things.  I’m not suggesting that films like Snow White have no story.  What I’m saying is that for these films, the story comes out of the entertainment.  The story shouldn’t have to be based on a message or a moral.  It should be allowed to be its own thing in the same way it moves its audience.

This is part of the reason why I think Pixar’s latest batch of films have been so problematic.  They’re so focused on “Story”, and the idea that their films have to be about something that it loses the connection that the characters and the entertainment can bring us.  American films are primarily about entertainment.  Story and Character and Entertainment are one in the same thing.  When I was in college, my first film was a cartoon called Bear Food.  It was a silly little concept about a bear trying to get at a bag of food hanging in a tree.  The story wasn’t much deeper than that, and the entertainment was in the bear getting frustrated and losing control when everything he tried to get the food failed.  My second film The Jellyfish Girl was a different matter.  It started out more as an entertainment short, until I got the idea that my main character should die at the end of the short.  It was a much darker ending than what people anticipated.  I was excited that I was starting to come into my own as a storyteller.  But at the same time the short also corrupted me, as my focus tried to shift more into story rather than entertainment.  I kept screaming in my head “My next film has to be about something! It’s supposed to be about something! Whats it about!!”  I lost something when I started fixating too much on the overall story and just trying to let it be what it is.  It wasn’t until recently that I realized that the idea I had about the kid dying at the end of the short…was also about entertainment.  I didn’t think about why the kid needed to die or what my deeper intentions of the story were…I just wanted people to be moved…shocked, and upset.  That’s entertainment.  That was my reason for people watching the short in the first place, to lead up to that moment.  It was fixating on Story that made things so much harder because everyone kept telling me it was the most all important aspect of making a film.  It’s not.

It’s about the holy trinity working together in order:  Entertainment, Character, and Story.  What is the most entertaining aspect about a character?  What is it about the character that drives the story?  The story tells you inside what its really about (not the message or the moral, but the emotional center of the piece) and that comes back as entertainment.  But that’s not to say that every film is about entertainment.  Sometimes its purely character.  Sometimes it’s purely story or strictly entertainment.  But Story is not king.  In American animated features, it has and always has been about Entertainment first.  What the story is about is not so important as moving an audience.  In most animated features, putting Story first usually amounts to working with a formula.  I notice in Pixar films in particular, there is always a sequence that’s just about gags.  The story is still there, but takes a backseat to a string of gags, whether it’s about Toys or Bugs or Monsters or Fish.  These moments are cute, but they always bugged me a little because it’s like setting aside a little sequence to tell jokes instead of having them interwoven into the entire film.  This was done differently in The Incredibles, where the strings of superhero gags were part of the story, such as the films about the early days of the Supers, or Edna Mode’s “No Capes” speech, offering a string of gags that play a part in the story and aren’t just bundled together by themselves.

I want to mention one of my favorite Chuck Jones shorts, “Feed The Kitty”, an entertainment short that is about something.  If you’ve seen the film, Marc Antony is a bulldog who falls in love with an itty bitty kitten and wants to keep it for himself.  But he’s afraid his mistress (his owner) won’t let him keep it, so the entire short is a series of gags about how the dog is trying to keep the kitten out of trouble and away from his mistress.  There comes a point where Marc Antony thinks the kitten has been grinded in a blender and made into cookies that he thinks the kitten is dead (but we see the kitten was never harmed beforehand).  When Marc Antony discovers the kitten is not actually dead, and here’s the amazing part, he is overwhelmed with joy.  And so is the audience who actually had a little tear in their eyes.  Jones did not expect people to cry in that moment.  It was played for a laugh.  Because of that the short becomes about something…a much deeper connection is formed for these characters in the hearts of the audience (and it’s just a 6 minute short!)

What is the most entertaining aspect of any cartoon?  That’s a question that should be asked, and its what people want most when they see any animated film.  It’s the story that evolves out of that and helps us connect to a deeper place within our audience.

Meeting The Masters, And A Little Background On A Famous Sea Witch

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Today I had the privilege of meeting a couple of master animators.  The first was the great Tony Bancroft, director of Mulan, and supervising animator of Pumbaa, Kronk, among others.  It was a pleasure meeting him, and he has a great book I bought about Directing for Animation.  Tony is currently directing an animated feature with an idea involving Paul McCartney.  It’ll be interesting to see where that goes.  The other was animation master Dale Baer, who has been with Disney since the 1970’s.  One of my favorite Baer characters is Yzma from Emperor’s New Groove.  I tried to see if I could get a drawing of Yzma Kitty from him, but unfortunately he couldn’t remember how to draw her as a cat!  Oh well.  But the Yzma drawing I got was pretty cool.

The biggest pleasure I had though was meeting one of Disney’s great supervising animators, Ruben Aquino.

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Ruben is most well known for supervising the animation of Ursula in The Little Mermaid, and was also responsible for Adult Simba in The Lion King.  It was great to sit down and talk with him about Ursula, who as a child was one of my most feared Disney Villains.  During my talk with him, I said that for myself as a kid, Ursula was probably second to Stromboli in Pinocchio for being the scariest Disney Villain, to which he replied, “Thank you!  That’s quite a compliment for scariest villain!”  During production of The Little Mermaid, Ruben was the third supervising animator asked to tackle the character, which had been in development by two animators, Glen Keane and Rob Minkoff.  One of the inspirations for Ursula was the drag queen Divine, and the animators watched the featured John Waters film for inspiration of the character.  As for making her fat, Jeffrey Katzenberg originally wanted to make her skinny like Joan Collins, but it was the voices of some of the animators and the backing of Howard Ashman that making her fat also made her a bit funnier.  One of the interesting things about the character is that she’s quite inconsistent when it comes to staying on model.  I told Ruben it was one of the things I loved was getting to see which animators worked on Ursula based on the different styles, but Ruben mentioned that the inconsistency was one of the things that bothered him about the character, and his animation was probably the most on model.  But regardless of that he also mentioned it being the most fun character he ever worked on.

Below you can see some of the inconsistencies in the model based on the different animators that worked on her.  Sometimes she’s on model, sometimes her hair or teeth are too big.  Some animators are more broad and over the top, such as Kathy Zelinski, who animated Ursula casting her spells, as well as the great scene where she’s transformed from Vanessa back to herself and crawls towards the camera on the boat deck.  Great creepy stuff.

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Although Ursula was my childhood terror, I couldn’t help but ask for a sketch of her from him, which he obliged in the drawing below.

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It was a great pleasure getting to talk with these guys.  Hopefully I’ll have more of these events coming up soon, and if I ever get the opportunity, I’d love to do an interview and sit down with one of these guys and talk about their careers.  That would be fun.

Aladdin (1992) Dir. John Musker and Ron Clements

Aladdin1  One of my all time, joyfully favorite animated films is ALADDIN, brought to us during the high point of the Disney Golden Age.  It’s a toss up for me between BEAUTY AND THE BEAST and ALADDIN as to which is my all time favorite.  I suppose I would consider them equally superior films, but ALADDIN I saw at least 5 times when it was out in the theaters.  One of the great things about this film is that it energized the comedy aspect of what Disney films could be, having been influenced by a lot of Warner Bros style humor.  It also contains one of the great Disney Villains, Jafar, who instantly became a classic when this film first came out.  It’s a good story well told, and thankfully this is one of the few films where they didn’t let Robin Williams write the film with his fast talking dialogue as the Genie.  There are some animated films featuring Williams that let him go a little to far with the improvisation, forgetting about the rest of the story.  It takes about 30 minutes before the Genie is actually introduced into the film, but thankfully the energy of the film is high and it keeps its sense of humor at an equal level to Williams performance.

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I have always admired this film for many reasons.  Its one of the few Disney films that really tries to break out of the tired doldrum Disney humor, which often in the past has been considered cute and charming, but not exactly funny.  ALADDIN as a film is a standout among all those films, as the comedy is full charged and well executed.  It’s got a unique style, and is one of the first films in awhile to break away from the 80’s Disney style and allow other styles to influence it.  In this case, it was Al Hirschfeld’s quality line drawing, full of pleasing round shapes that add to the Arabic style.  In an interesting twist, the villain Jafar is played opposite the rest of the cast, full of sharp angles to make him more threatening.

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Jafar has always been one of my favorite villains, and one of the reasons I like him so much is that, while he’s a dangerous threat, he also has an understated sense of humor.  By the end of the film when he goes power crazy, he hilariously starts going into puns.  “Things are unraveling fast now, boy!” (unravels the magic carpet) “Don’t toy with me!” (turns Abu into a Monkey Toy) “I’m just getting warmed up!” (breathes fire) etc. etc.  It’s great that he can be funny as well as equally threatening.  While he brings a serious tone to the film, he’s never too serious that you can’t relate to him.

But of course, one the greatest animation performances in this film is the Genie, masterfully animated by the great Eric Goldberg.  I was watching a documentary on the film, and one of the funny aspects they brought to the character was that the Genie was made Jewish, and the joyful underlying concept of the film is that it’s actually a buddy comedy between a Jew and an Arab.  Animation has never been more manic than with the character of the genie, whose constant transformations are hit with perfect timing.  I remember the first time I saw animation of the Genie in a trailer for Aladdin.  I knew the film was going to be amazing because I had never seen Disney animation go to the level of energy as they did with the Genie.  He’s a great classic character, and an all time great comic performance, both by Williams and Eric Goldberg’s animation team.

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The other thing I want to mention about this film is the music.  Not just the great songs by Howard Ashman and Tim Rice, but the great score by Alan Menken, which is one of my favorite of the newer Disney films.  It’s funny how the same score is played as a lighter playful theme for Aladdin, as well as being made ominous for the villain, Jafar.  It’s definitely a classic Disney score.

I imagine the film ALADDIN is probably responsible for a lot of the more comedic animated films we have today, although these later films seem to lack something when it comes to storytelling.  ALADDIN in itself is a blessing in disguise when it comes to how joyously fun it is as a film.  This film did a lot for putting pop culture references, but it does so in a way that makes sense, because the Genie can travel through time.  He can do anything.  So a lot of the jokes he makes, Aladdin kind of shrugs off because he doesn’t get it.  but the rest of the film remains true to itself and it’s comedy and shows it can handle its own even without the aid of Robin Williams.

ALADDIN is a remarkable achievement in animation and story.  Up there with THE EMPERORS NEW GROOVE, it is probably one of the most fun out of the Disney line up of films.  It’s a definite classic and truly one of the great animated films of all time.

Hercules (1997) Dir. John Musker and Ron Clements

Herc1 It’s been awhile since I revisited the animated Disney film HERCULES, and apart from a schlocky looking CGI Hydra (hey, it was impressive for its time), the movie actually holds up pretty well.  Although I don’t love the film as much or find it nearly as funny as I used to.  It has a couple of good chuckles, and James Woods’ Hades pretty much steals the show.  It’s not as good a film as, say, Musker and Clements’ ALADDIN, and it tries to recapture much of what made that film so popular, only sans Robin Williams, who improvised most of the dialogue for the Genie.  So, Hercules isn’t one of my favorites.  But it’s got some beautiful design work (which must of been a pain in the ass to animate all those sharp angles), and some great layout and background work, thanks to layout supervisor Rasoul Azadani.  HERCULES is a beautiful looking film, and for the most part the story works.  It’s just there’s something about it that keeps me from going gaga in love with it.

One of my favorite characters in the film is Phil, animated by the great supervising animator, Eric Goldberg and his team.  Goldberg has a terrific knack for comic timing in his animation, which worked so well when he animated the Genie in ALADDIN.  Another one of my favorite animators is Nik Ranieri, who supervised the animation on Hades.  Hades isn’t one of my favorite villains ever, but he’s funny and effectively comical here.  There are plenty of great gags I enjoy having to do with his flaming temper, especially when he gets fumed to the point of sucking up his cigar.  Then of course there’s characters like Megara, but to be honest I find her a bit stale.  I give points for trying in making the heroine a bit of a bad girl, but it’s this problem with a lot of women characters in animation, that once they fall in love, they lose their power and independent spirit by settling down.  Whose to say that things will actually work out between Herc and Meg at the end?  What if Herc runs off like her previous boyfriend did.  It’s just one of those stale Disney romances I’m not crazy about.

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As for Herc himself, as a hero, he’s just okay.  I’m not crazy about him as a character, but one of the things I do like is that they made him not too bright.  The songs are also one of the better aspects of the film, being light, upbeat, and catchy.  The gospel flavor to a greek story is kind of an interesting twist.

I think one of the problems with Disney animation is something that’s gone back to Walt Disney’s days:  It’s just not that funny.  It’s enjoyable and charming at times.  I know I’m mentioning ALADDIN quite a bit here, but it was the one time the studio took a risk and actually implemented some Warner Brothers style humor into their animation, and it worked big time.  That film has a special tone and flavor all on its own, and it’s just great fun to watch, as well as having Jafar, an absolute classic storybook villain.  There’s a lot to that film that HERCULES just doesn’t have going for it.  HERCULES doesn’t really take enough risks with it’s humor, relying more on pop culture humor for many of its gags.  It has its moments for sure, and its heart is in the right place, but the jokes are working mainly on the surface level, it doesn’t take it to a much deeper emotional place.  It’s basically your average light-hearted Disney comedy.  It doesn’t really let itself be much more than that or go all the way.

In the end, HERCULES is one of the better films of the late 90’s Disney films.  It’s not perfect mind you, but considering some of the pop culture references, it actually holds up okay.  And like I said, some of the animation and design of the film is absolutely beautiful to look at, thanks to the work of some terrific artists who worked on the film.  There are just some things about it I wish could have been a little better.

Wasting Away, Banished and Exiled!

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Well, I suppose I’m over my childhood trauma that was Ursula.  As I posted awhile back, she’s the one Disney villain that completely terrified me as a little kid.  Took me awhile to get over that one.  Maybe I’m just weird that way.  Or insane.  Or both.  But anyhow it doesn’t matter.  This is just another bit of a random post.  It’s quiet again this week.  I’m trying to work on a personal project in the midst of another project that’s in the works.  So far this new idea…is just okay.  Gonna take me some time to figure out the story and what it wants to be.  Bah.  I hate not knowing what a story is supposed to be.  But I suppose the search for the story is all part of the fun of it.  I SUPPOSE.  Sheesh.

I’ve been on a Breaking Bad high as of recently.  Last night’s Rian Johnson episode blew my mind at how good it was.  Extraordinary.  Between this and his film Looper which came out last year, this is a director to definitely keep your eye on.  I’ll be watching this guy for sure.  He’s phenomenal.  Last nights episode was absolutely gripping, showing without having to tell.  It’s the subtext and the fact that this show actually makes you think for a moment that really amazes me (although trust me, sometimes I’ve had to go on the internet afterwards to confirm certain aspects.  Hey I can admit it!)  The episodes end made me long to make a film where just everybody dies or is insane.  And make it a cartoon.  Yes, perfect!  Although admittedly there are times I wonder about that.  What’s my obsession with making dark cartoons.  Maybe not always dark, but sometimes complicated scenarios.  I long to create a masterpiece of television like Breaking Bad.  Seriously that show amazes me.  I want to make animation that powerful, even though Breaking Bad is not animation.  Somewhere I ask myself what I’d like to be.  Maybe Pixar’s dark evil twin.  I had some people comparing Jellyfish Girl to a Pixar film, at least until they got to the end.  That was satisfying to hear 😉

I suppose there’s not much more I can talk about.  This is expected to be a quiet week unless I see a movie that blows my mind.  Oh wait!  I did!  BLUE JASMINE!  Go see it.  It’s Woody Allen’s latest, and it’s a real treat.  It’s as funny as it is sad.  Jasmine is such a wonderful, complicated character.  It’s a real genuine, honest depiction of a melt down into complete psychosis.  It’s just really good.  Go see it or watch it when it arrives on DVD.

I’ll see if I can find more to write about this week if I’m not to busy.  Have a good week everybody.

Checking In

BornyesterdayJust wanted to write a post and check in because I haven’t written anything for about a month now.  And it’s not that I don’t have anything to write about, I’ve just been busy with a personal project thats taken up much of my time.  But it’s worth it, and I think it’s going to turn into something really special.

In the meantime, I’ve been going to the movies and watching all sorts of films.  And to tell you the truth…I just haven’t been compelled to write about the movies I’ve seen this summer.  Most of them have been pretty disappointing, and I haven’t found that one film this summer to be extraordinary.  There definitely hasn’t been a LOOPER or a DREDD in the bunch, two late summer flicks that were extraordinary.  My last bastion of hope is with THE WORLDS END, which is due in theaters sometime next week.  I’m hoping Edgar Wright and his crew won’t let me down.  Among the films I’ve seen…there was ELYSIUM, which was blah.  It’s overblown message about class warfare and healthcare really just brings the film down.  I’m all for hard core science fiction, but this movie was just too serious for its own good.  And Jodie Foster…God…this is possibly the worst thing she’s ever done.  So bummed out.

On the classic movie front, I think I may have found a couple of films to go on my all time favorite movie list.  BORN YESTERDAY.  If anything, next to CLUELESS and ROMY AND MICHELLE’S HIGH SCHOOL REUNION, this may be my all time favorite dumb blonde movie.  Judy Holiday is hilarious as “Billie Dawn”, a young woman living with her wealthy and powerful boyfriend Harry Brock (Broderick Crawford) who has congressmen in the palm of his hand.  Then there’s William Holden’s Paul Varrel, a reporter hired by Brock to help make Billie appear smarter to people in public.  However, through the course of her”makeover”, Billie start’s to wisen up to her boyfriend, and she learns that Harry is in fact a corrupt crook.  Crawford is also hilarious and the uncouth Harry, who is loud and brash and completely full of himself.  There’s a great scene as well where Billie and Harry are playing Gin Rummy that seems to pretty much define their relationship.  If anything, the game is one thing that Billie is really good at, as she gets into it with intense focused concentration.

There were a few other classics I really fell in love with, such as WESTWORLD and THE POSEIDON ADVENTURE.  I wrote about both of these films over at This Is Infamous, the new website I’ve been writing for.  I have a couple of new article’s up, one about Brad Bird, and why did he leave the animation industry.  And What Happened To Classic Cartoon Villains? which was another article I had posted.  This is Infamous has been a great experience and an enjoyable site to write for.  I’ve had to spend time trying to come up with more articles and stories.  It’s been good practice for me as a writer, which I hope to carry with me as part of my creative arsenal.  Writing is not easy, and neither is making good storytelling.  But it’s a major part of my learning curve.

I’ve been thinking about how much has changed for me over the last year.  For those who don’t know, I have been a mental health patient.  One of the struggles I’ve had to deal with was being on some heavy medication, which all but took away my creative drawing ability. The one thing I found I had left that I could still do was write.  Even though I didn’t always know what I would write about, I kept doing it anyway as a way for me to push forward.  Things have changed for me now, and I am on a much better medication that gives me freedom to be open and creative.  My attitude about life has been different over the last few years as well, and this run I’ve been through feels like going through the fire.  And I’ve survived.

There’s going to be a lot of things happening with me in the next year or so, and some of it I can’t wait to share with you when the time is right.  Life changes are always interesting and never easy at the same time.  It’s like being reborn, in a sense, and you begin to enter a new field where your destiny awaits you.  What is that destiny?  It’s the new life you manifest for yourself.  The life that begins in the imagination and lives in your dreams.  What you put out the universe will bring back to you.  That really is the interesting part.  And somehow inside, even if were not always not consciously aware of it, we know inside the things we want most.  Sometimes the universe surprises us with an opportunity that leads us to where we really want to be.  It’s our choices in life and our openness to accepting new things that helps us shape and evolve ourselves.  For awhile I felt my life was on the verge of complete disaster.  But that changed over time.  We are at the beginning of a new age, and things are sure to get better, but only to those willing and ready to accept them.

In a little over a week, I will be attending Cinecon, Hollywood’s largest classic film festival at the Grahman’s Egyptian Theater.  It’s a great event, and I will be seeing some terrific films and writing about them as I did with my article from last year.  I hope you will be able to come, it’s from August 29th to September 2.  There are some great surprises.  I mentioned before that last years biggest surprise was getting to see a lost John Ford film called UPSTREAM, which premiered for the first time in over 80 years at Cinecon.  And it was a fantastic film too.  I highly recommend anyone to come and check it out.

That’s it for now.  I have some downtime in the next few weeks, which will mean more writing for me, so hopefully you will see more of what I have in store for you.  Take care.

Turbo (2013) Dir. David Soren

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As I said with my Croods review, I’ve been more and more impressed with the quality of films coming out of Dreamworks for the last few years.  They’re not all hits, but few of them have been downright terrible.  In my mind, they have been doing far superior work than Pixar, which has been a continuous decline in terms of creating engaging characters and storytelling.  Turbo is a cute, charming story, with some great visuals, and an exciting third act race.  It’s not always as hilarious as it could be, but the characters are enjoyable to watch and overall it’s just a really fun time.

Turbo, from Dreamworks Animation

One of the major aspects of the movie that works is the relationship between the pair of brothers in the film, the snails Theo (Turbo) and Chet, and Hispanic human brothers Tito and Angelo.  One of course is a dreamer while the other is a realist, trying to keep the other grounded in the reality of their situation.  One needs to get over their a snail, not a race car, and the other needs to live with the fact that they sell tacos, not enrolling snails in the Indy 500.  Which dreamer has the craziest dream?  Who knows, but it’s clear that Turbo and Tito are made for each other the moment they meet.  Turbo wants to be fast, despite his snail life, and dreams of racing all the time.  He especially admires his racing idol Guy Gang’e, the world champion racer at the Indy 500.  Turbo winds up getting his wish, when stuck on a car in a street race, he gets sucked into the engine, gets nitroed up in a special fluid, and gains the power of super speed.  In some aspects he gets literally turned into a racing car, with headlights (his eyes), backing lights, a car alarm, and blasting radio.  Gotta love it when someone’s not afraid to take some cartoon license.  Tito’s dream is to enter his new snail pal Turbo into the Indy 500, with the help of raising cash from other businesses in their outdoor mall plaza.

If I had any gripes with the film, it’s just one I have about animated films in general, in that  I sometimes wish these movies could be a lot funnier.  Not in a way that abandons kids with the humor, but I sometimes get the feeling that there could be so much more potential from the comedy, as opposed to characters just verbally cracking jokes.  It’s animation after all, and there should be the potential for far more physical comedy, especially for a movie about a speedy snail.  It’s the things we come to expect from animated films today…more talking and less action, and it’s something I hope to one day see change.

I suppose my only other complaint about the film was the need to make Guy Gang’e into a villain.  I’m not surprised they did this because there really isn’t anyone else playing as a main antagonist, but I think it’s worth pointing out that not all animated films need a villain.  In the race in the third act, Gang’e doesn’t really do anything “bad” to get in Turbo’s way…well, with the exception of trying to stomp on him to keep him from winning at the last minute.  But that’s also out of desperation.  The majority of the obstacles come from the race itself as Turbo has to keep from getting run over among other things.  Even though Gang’e is an antagonist because he’s racing against Turbo, it doesn’t mean he has to be a bad guy.  This is similar to the problem I had with “Rise of the Guardians” where the Boogyman was made evil and shown a lack of compassion for his situation by the heroes at the end of the movie.  I sometimes think it would be better and more constructive to show kids that antagonist characters aren’t inherently evil, but that they are people who are hurt or have problems like anyone else.  Making them one sided villains doesn’t give you anything to identify with, and it’s something most American animated films should change, giving us villains that have other sides to them and may not necessarily be bad.

Turbo is an entertaining ride, with some great enjoyable characters.  The visuals and racing sequences are fantastic and entertaining.  It’s not the greatest movie ever, but it’s a fun enjoyable ride that can be enjoyed by adults and kids of all ages.