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Laika Studio: Film Ranking

We love to discuss animation on this site and I thought it’d be a great idea to delve into one of the most exciting American animation studios and it isn’t Disney. This is all about Laika Film Studio, owned by Nike co-founder Phil Knight. Initially known as Will Vinton Studios before being renamed as Laika in 2005, the studio carried out contract work before diving into exciting features starting with Coraline in 2009. Followed by four more films, Laika has garnered an Oscar nomination for Best Animation Feature for each of its films without a win.

Laika has time and time again grown to become a serious contender in the critical and commercial eye. Using beautiful stopmotion animation with flawless designs and techniques. Their use of textures are particularly brilliant and this can even be seen in their early contract work such as Tim Burton’s Corpse Bride and has only grown over the years. Their films are hugely topical with a particular penchant for exploring identity across a spectrum of races and cultures. Laika’s fearlessness has earned its place among the big animation studios and it’ll be great to see what else they have up their sleeves but for now, this post is all about the five features they have released and includes a ranking which won’t be easy. All five films are of such high quality so I’m doing giving myself an easy task at all.

Here are my reviews for the features from Laika:

Coraline (2009)

Laika’s debut comes in the form of fan-favourite, Coraline. Following the titular character, a young girl who has moved home with her parents to a new mansion that has been split up into apartments. Coraline finds an alternative universe known as The Other World where everyone exists with button eyes but appear to be nicer with the house looking brighter than reality. Coraline enjoys spending time with her Other Parents but the facade quickly fades away as all is not as it seems. She has to figure out how to stop her Other Mother from sewing buttons over her eyes and joining them in the Other World which is revealed to be a dark and miserable place. Directed and written by Henry Selick and based on a book by Neil Gaiman, Coraline brought Laika to the spotlight with its unique stopmotion designs and dazzling story-telling. A wonderfully dark film that has appealed to all ages and accumulated a huge fan base, Coraline is a spectacular achievement and a great start for Laika’s legacy.

ParaNorman (2012)

The follow-up feature released by Laika was the supernatural comedy-horror, ParaNorman. Following Norman Babcock, a young boy who appears normal but has a gift of seeing dead people. This has given Norman a reputation for his weirdness in his town but with the help of his best friend, Neil, he is able to get by. There is a threat from witches who were hunted down centuries before and it’s up to Norman and his gift to save everyone. ParaNorman is an exciting and fresh film, blurring the line between children and adult films. Enjoyable for ages, it isn’t afraid to push taboo subjects and includes the first openly guy character in an animation. It may only be one line and not seem like much, but it had such a huge affect on how filmmakers can approach these topics for children. It was even the first PG rated film to be nominated for the GLAAD Best Film award which is a brilliant step forward and has helped to inspire more discussion in mainstream animation films.

The Boxtrolls (2014)

The third film by Laika comes in the form of The Boxtrolls, a film that follows Eggs, a young boy who is raised by the titular Boxtrolls, creatures who collect and hoard rubbish. It is up to Eggs to save the Boxtrolls when they are threatened by an exterminator. It’s critically known as Laika’s weakest work to date but this is by no means suggesting that it is a terrible film. When faced with films of such high calibre, there will always be a film that falls a little bit short with critics. I am inclined to agree as The Boxtrolls doesn’t have the right balance between silliness and sincerity, often favouring the former which makes for some absurd and overly childish watching. The villains are the best part of the film with Ben Kingsley voice performance as the ridiculous Snatcher an absolute delight but sadly, his character arc doesn’t seem to pay off. The Boxtrolls is a film filled to the brim with creativity and visually it’s great but the script is not as consistent and controlled as it could have been which lets it down slightly.

Kubo and the Two Strings (2016)

Kubo and the Two Strings shows just how big Laika can go. Using the same budget as its predecessors, Kubo and the Two Strings follows the titular character on his quest across lands and sea to defeat his aunts and grandfather who are after his one eye after taking the other when he was an infant. Set in Japan and inspired by origami in its animation style as well as the magic Kubo has, the film is beautifully textured and atmospheric. It also features a brilliant cast led by Art Parkinson as Kubo with supporting turns from Charlie Thereon, Matthew McConaughey and Rooney Mara. There is a real rawness to Kubo and the Two Strings that feels unseen and new in that it has such a mature outlook for a children’s film but is engaging and exciting at the same time. The music scored by Dario Marianelli is astonishingly beautiful taking inspiration from traditional Japanese music with heavy use of the shamisen. Deservedly winning the BAFTA for Best Animated Feature in what was a fantastic win, it sadly lost the Oscar which I think it should have won. However, the BAFTA shows that there is a place for Laika and they will get that deserved Oscar.

Missing Link (2019)

The latest Laika feature to be released is the road film, Missing Link. Following Sasquatch, Mr Susan Link, who is accompanied by English explorer, Sir Lionel Frost, to travel to the Himalayas to be reunited with his Yeti relatives. Sadly, Missing Link was a huge box office bomb despite its universal acclaim and award nominations including a win for the Golden Globe for Best Animated Feature. What makes it even worse is how amazing Missing Link is. Equipped with a massive $102 million, Laika were able to go bigger and better with this film and brought a star-studded cast led by Hugh Jackman, Zoe Saldana and Zach Galifianakis. The results are exquisite with the studio taking advantage of the film’s global journey by creating a brilliant scope of flawless sets. The animation department did a stellar job with this, particularly the Washington woodlands were Susan comes from and the Yeti’s home in Shangri-la which are spectacular and jaw-dropping to look at. Hopefully in time, there will be more love for this film because it is such a light-hearted and beautiful feature that is enjoyable for all ages. A really wonderful addition to the Laika filmography.

With all the reviews said and done, I can’t recommend enough that if you haven’t seen these films then you do so immediately and if you have then watch them again because they are phenomenal and beautiful. Laika has proven that there is a place for stopmotion animation in the modern age with each film looking so distinctly unique from the other. Laika’s refusal to adhere to a formulaic method of filmmaking has made it one of the most exciting animation houses in the world and the critical acclaim it receives only adds to the encouragement and push for even more progressive films. I am so excited to see what the future holds for this studio and hope that they recover from the commercial loss of Missing Link because it is a necessary animation house and one that refuses to conform, inviting its audience to think about what they’re watching.

Without further ado, here is my Laika Studio ranking:

1) Kubo and the Two Strings (2016)

2) Paranorman (2012)

3) Coraline (2009)

4) Missing Link (2019)

5) The Boxtrolls (2014)

So that’s all the reviews and ranking done and dusted. Not easy as I predicted but it’s always great to appreciate the quality of animation, particularly from a studio where the process takes even longer than usual computer or handdrawn animated films.

What do you think of my ranking? Which Laika film is your favourite? Let me know in the comments below!

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The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments

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Top 5 Jim Carrey Performances

Jim Carrey is an actor who time and time again demonstrates the range that he has, despite his solidified reputation as a brilliant comedian. He has been playing leading roles since his meteoric rise to fame in the 90s that have become classics such as Ace Ventura and The Mask. There is a reason why he was Hollywood’s highest paid actor at one point, he has such charisma that his films are incredibly fun to watch. It is unbelievable to think that he has never been nominated for an Academy Award despite winning two Golden Globes and showing that he is capable of pulling off performances that are memorable and impactful.

Carrey was one of my favourite actors growing up. I loved watching his films thanks to his larger than life characters and his hilarious physical comedy, particularly his dramatic expressions. What has been wonderful about Carrey’s career is seeing him evolve and taking part in a variety of differing roles from his mid-90s expressive comedy to his more serious roles in the late 90s and early 2000s. Like marmite, people tend to either love or hate Carrey’s work and I am definitely in the former.

Here are my top 5 Jim Carrey performances in chronological order:

Ace Ventura: When Nature Calls (1995)

One of those rare instances where I enjoy the sequel much more than the original, Carrey reprises his role as the titular pet detective which sees Ventura recruited for a mission to retrieve a rare white bat that belongs to the native Wachati tribe. The film is an explosion of signature Carrey jokes and the film is my personal highlight of the mid-90s period where Carrey was all the rage. His unpredictability still remains the main point of attention for audiences as we watch him knock out a man and wear him on his shoulders to make a point on the fur trade as well as numerous musical moments including a hilarious rendition of “Chitty Chitty Bang Bang”. My personal highlight, however, is the seen in which he encounters the bats for the first time bringing us great lines such as “take that, you winged spawn of Satan” and “die, devil bird”. His filmography at thie point in his career wasn’t for everyone as it is so over the top but personally, I love it and it’s interesting watching this film back and watching it from an animal rights point of view.

The Truman Show (1998)

The film that showed an entirely different side to Carrey’s range, The Truman Show sees Carrey play Truman, a man who believes he is living a regular suburban life when in fact it is a reality show filled with actors that is broadcast to the world. Truman begins to suspect that something isn’t quite right and tries to escape the edge of his town where he hasn’t been before. It’s a poignant film about identity and finding that sense of belonging. Truman’s life has always unknowingly been synonomous with a global audience who share his journey. Truman has always been controlled by the show’s creator, Christoph (Ed Harris) who acts like the puppet master. He adds in drama and conflict if Truman’s life is going swimmingly. Carrey’s performance is a true tour de force thanks to his naive and subtle approach to the role. He is able to detract from the typecast view that he has created in his filmography thus far. It is because of his ability to switch between ranges so well that won him a Golden Globe for his troubles.

Man on the Moon (1999)

Following on from his critical and commercial success as Truman in The Truman Show, Carrey knocks it out of the park again in this biopic that seems him play Andy Kaufman, a man who redefined comedy in the 1970s. This film sees Carrey join forces with the brillint director Milos Forman and gives him the chance to show that The Truman Show performance wasn’t a stroke of luck. His portrayal of Kaufman is fantastic as we follow his rise in comedy and his stints on Saturday Night Live as well as the TV show Taxi which he starred in. The film overall isn’t the best but usually biopics allow for the actor portraying the subject to really standout as Carrey does here. He is the major draw and highlight but this isn’t a bad thing because he has such command on the role. Also hearing how he stayed in character offset shows his commitment and dedication to getting his performance right shows that he does take his roles seriously. His impersonation strikes the right tone, it is never over the top in classic Jim Carrey style and eventually the audience forgets that we are watching an actor rather than Kaufman himself.

Eternal Sunshine of the Spotless Mind (2004)

My favourite Jim Carrey performance comes in the form of this career-defining film following Joel (Carrey), a man unhappy with his life who finds out that his ex-girlfriend Clementine (Kate Winslet) has had her memory wiped off him by the mysterious Lacuna Incorporated and shows him undergoing the same treatment to get rid of his memories of Clementine. Charlie Kaufman’s script is fantastic and won him a well-deserved Oscar that has redefined original screenplay writing in the 21st century. The concept is so bizarre and yet the humour is subdued within a darker context making way for the film to focus on the drama within Joel and Clementine’s relationship. Carrey’s performance should have garnered him an Academy Award nomination but sadly it wasn’t to be. His portrayal of Joel is tinged with sadness throughout. The idea of not being with Clementine initially to the realisation that he will lose all memories of her while he is being forced to relive the memories during his procedure. It’s a heartbreaking film about the breakdown of a relationship and is made real by the strength of Carrey and WInslet’s performance.

Lemony Snicket’s A Series of Unfortunate Events (2004)

2004 was a resounding success for Carrey who made an unforgettable appearance in this popular adaptation of the best-selling series of the same name. Playing the villainous Count Olaf, Carrey channels his signature overtly expressive humour as his figuratively and literally towers over the three bauldelaire orphans who are subject to his care after the tragic death of their parents. The film is littered with stars including Joan Cusack, Timothy Spall and Meryl Streep but it is Carrey who shines the most. His performance was exactly how I envisioned Count Olaf would be when reading the books. The film overall strikes a completely different tone but Carrey’s performance is overly dramatic, unapologetically obnoxious and loud but most importantly, he has charisma which is crucial for the role. The film does have its flaws but Carrey’s performance is definitely not one. He is clearly having fun being in such a menacing role and it makes the film enjoyable to watch.

There are so many performances that could have been included in this list such as How the Grinch Stole Christmas (2000) and Bruce Almighty (2003) but I think that the films I have listed above really demonstrate Carrey at his best. Although he hasn’t done many major roles in recent years, i hope he does make a comeback because it’ll be interesting to see what kinds of roles he would take on.

Do you agree with the films I have picked? Which Jim Carrey performance and/or film is your favourite? Let me know in the comments below!

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The Irishman (2019)

A hot contender for the upcoming awards season, Martin Scorsese’s latest brings together a classic Scorsese film that boasts an epic cast, epic direction and an epic time length of 209 minutes. Despite its long running length, this is a film that demands attention throughout due to its numerous plots and characters that cross and interweave revealing layers of motivations and development. What has made this film so compelling for both audiences and critics alike is how quintessentially Scorsese it is, bringing in old and new faces while still bringing something new to the gangster genre. The film stars Robert De Niro as Frank, a delivery driver turned hitman working for local mobster Russell Bufalino (Joe Pesci) before ascending the ranks and working for bigtime union owner, Jimmy Hoffa (Al Pacino). The film also features supporting turns from Ray Romano, Anna Paquin and Stephen Graham, Scorsese goes back to what he does best, exploring the Italian mob underworld with splatters of blood (the alternative title for the film is I Heard you Paint Houses) and excessive language. Scorsese’s popularity has never really diminished but it feels as though The Irishman has resonated with its audience with its brilliant use of nostalgia, mixed with the future in the choice of producing it for streaming titan, Netflix.

Scorsese’s direction is as distinctive as ever. The films flows like the Bible epics he is inspired by and allows the masks of the characters to slip slowly as unexpected alliances are formed and relationships are broken. The Irishman may be a lower age rating in the UK than many other Scorsese offerings but don’t let that fool you into thinking it is anything less. The violence is brutal and there is blood by the bucketload. The key to this film is that The Irishman doesn’t need it and Scorsese knows this. Using present day Frank to reflect on the past gives the film its nostalgia as the audience is looking back at the days of Scorsese’s classic gangster films such as Goodfellas (1990) when they see actors like Pesci and Pacino tapping into what they do so well.

The big guess is predicting who will win the Best Supporting Actor Oscar between Pesci and Pacino. Time will tell whether voters will go for Pacino’s extroverted big time player or Pesci’s subtle plotting locally respected mobster. Either is a deserved winner but if I would have to choose between them, I would probably say Pesci as pulling off such a great performance after a long absence from acting shows his natural talent. Equally, another very real possibility is that voters are split between the two and the award actually goes to Brad Pitt for his impeccable performance in Once Upon a Time in Hollywood. All three are deserving in their own way and I think the Golden Globe will start the trend on which one starts to receive this award at the subsequent shows.

The technical aspects of this film also slot nicely into the Scorsese catalogue with quick-fire editing and a wide scope of locations. Even when the characters are on different sides of the country, it still feels as though the conflicting sides are in neighbouring rooms. One particular scene that I thought was brilliantly shot is when Frank murders a rival in a restaurant. We see him continuously move from the front of the joint to the back, firing his shots before facing his rival on the street at the back and shooting him before escaping in a getaway car.

The Irishman has proved to be Scorsese’s most accomplished film in modern times. Drawing on his strengths and knowing how to push them is expected from someone as experienced. Sure, there could have been more use of female characters as Anna Paquin is sorely underused in this film but this is a story about the 1970s male-dominated Italian American underworld. Contextually, it does make sense and who knows, maybe Martin will make a film in the future with strong female characters and try something new. In the meantime, this is a film that indulges its nostalgia whilst acknowledging its maturity. With this and Noah Baumbach’s Marriage Story being released on Netflix, it seems that streaming services are the future of film and that this isn’t necessarily a bad thing.

What did you think of The Irishman? Let me know in the comments below!