Last yearm when 2015 finally came around, everyone was laughing about the comparisons between reality and the predicted version from Back to the Future Part 2. It reminded many of us, despite how quickly we think we’re progressing, change doesn’t happen all at once. Even if new ideas and technological innovations come alongm that doesn’t mean we’ll all abandon the old. When the boom of MP3 and digital music came aroundm some christened it a death sentence for vinyl yet even nowm it still has many hearts and in the right hands can still compete with anything digital. The same can be said for animation techniques. While the CG animation has done wonders for movies, two decades on from Toy Story, traditional animation techniques still produce some spectacular works of film. Being a Brit that grew up with the likes Wallace & Gromitm I’ve always had a soft spot for a well made clay animation; its real life model photography can seem like it’s straddling the barrier reality and fantasy in a fashion that often appeals to me. The latest claymation offering the studio Laika (Coraline, ParaNorman, Boxtrolls) is not goodm it is neigh on spectacularm and I’ll be dammed if isn’t this year’s finest animated feature across any format. Dory may have smashed the box office but Kubo will win your heart and soul.
Kubo (Art “Rikkon” Parkinson) is on a quest to find a magical set of armour that will protect him from his evil grandfather, The Moon King (Ralph “Voldermort” Fiennes). He’ll have help from a forgetful samurai Beetle (Matthew McConaughey) and his wooden money charm brought to life (Charlize Theron).
I really can’t think of a film that pulled me into its immersion so quickly. From the mere opening momentsm the imagination and vibrancy of the visuals combined with perfectly accompanying scoring makes the onscreen wonder all encompassing. The level of detail is at times staggering as every sheet of drifting paper seems to have its own characteristics. There points throughout the filmm when effect eases but it never fades as bucket after bucket of creativity is thrown into your face from Kubo’s paper & origami based magic to the elaborate foes the trio face on their quest (his Aunts being a real highlight). This translates into a lot of excellent action and adventure material with plenty of variety in the locations toom which keeps things flowing nicely. This is especially true over the action and fight sequences which actually make you forget that it’s claymation with its rapid and acrobatic sword fights. It’s as if the film debuting director Travis Knight (Laika’s Lead Animator and as of 2015 their CEO) has set out to prove just how limitless this supposedly outdated animation technique can be. To its credit, there’s no over-explanation or extensive map-pointing as to where their journey will take the trio. Of course, this is an obligatory McGuffin based item-hunting quest but no locations are revealed until reached, which keeps us more in line with the character’s perspective. It doesn’t dwell longer than required in victory either. Once one leg of the journey is complete, we cut immediately to the next chapter yet it doesn’t feel jerky or piecemeal.
Looks alone are not enough to make a good animation but thankfully, Kubo has so much heart beating under its chest you’d swear it was a Time Lord. Firstly, it’s not afraid to embrace tragedy. While having some form of lost or deceased family is almost an entry level qualification for an animated lead these days, Kubo puts a refreshing new spin on this through its first act via his relationship with his mother. We see her in a state resembling Alzheimer's or some form of dementia, switching between catatonic and lucid periods while having major memory lapses. Seeing Kubo dealing with this (such as hand feeding her) yet still being outwardly positive makes him incredibly endearing as a character and protagonist. As the story progresses, it’s not afraid to take a down turn or give key characters a less happy ending which is always welcome. Charlize Theron’s Monkey character also provides some good emotional content as a devoted protector switching between blunt seriousness and open vulnerability over her fears.
There’s no shortage of humour either. Most of it comes from Marc Haimes and Chris Butler’s script that continually surprises you by being cleverer than you expected. There’s a good mixture of goofy and stupidity based laughs from Beetle’s memory absent and idle minded samurai while Monkey dishes the wit in distain for her 6-legged comrade. Yet it’s not all dialogue based. There are frequent physical comedy laughs which will translate well for all audience ages.
For pure outright wonder and enjoyment, there hasn’t been any film this year that can rival Kubo’s spellbinding delights. If you’re looking for a film to get lost in, this is the perfect choice. It’s largely family friendly but I’d hold off on showing to your very young kids because darker scenes may distress them, but more importantly, key emotional content will go straight over their heads. 3D-viewing is recommended where possible as is cinema attendance because this really is a film that has to be experienced on the big screen. Two strings, one outstanding film.
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