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in the back of your mind you remember the posters depicting some round hawaiian girl and a rather ugly creature and you try and hope that maybe it won't be as crappy as you know it could be. please, please. not the lion king. not even going to link to that!
the lights dim, the trailers end, and while you're munching away on popcorn, the first gun shot is fired. that's right. gun shot. except that it's a sci-fi, souped up ray gun that shoots some sort of explosive goo that destroys everything it touches. um, are we in the right theater? welcome to the world of stitch.
as you can tell, i found this film to be one of the best disney animated adventures ever. from the cell animation (last of its kind) to the dark, foreboding elements, it managed to carve out a unique spot in the animated field. action packed, yet sweet, cruelly manipulative, yet strangely deep. it may not be as trendy as the powerpuff girls movie, or as poorly sketched as spirit, stallion of the cinammon buns or something like that, but l&s combines a powerful story with the sort of humor that has broad demographic appeal.
the setup is simple, and yet devastating. stitch, a six legged alien created to wreak havoc and destruction (he's completely fabricated - a genetic frankenstein designed to be evil) escapes his galactic captors and crashes on earth. hawaii, to be precise. there he encounters the seriously dysfunctional family of lilo and her older sister. will stitch turn out to be good? will lilo and fellow humans figure out he's an alien? will the interstellar bounty hunters capture stitch in time without alerting the humans?
it sounds a little basic and disney, but the touches are anything but. from stitch's creation evoking the recent cloning debates to lilo's sister coming dangerously close to abusing lilo, this film walks the tightrope between funny and dangerous. you could almost call it subversive, but that is what makes the touching parts so effective. it would be like watching some hyperviolent japanese anime (as a detached twenty something, of course!) and then seeing the characters actually deal with the pain of losing a family member. not effective in anime land, but here, amongst the lush watercolors of tropical bliss, the destruction cuts pretty close.
that's why lilo and stitch works so well, because we want stitch to be good. he's the ultimate bad-ass, a six-legged freak who's practically indestructable, and yet when he starts singing elvis, you can't help but be won completely. join the revolution. free stitch!
high praise? surprisingly not - for to tell the truth is not to compliment a piece at all. let's stick with the truth for a minute. big name actors (hanks, newman, tucci, and [ugh] leigh in a blessedly short role) plus big budget equals what exactly? a summer movie with lots of explosions? um, no. how about an oscar-worthy film with pretentious silences, lots of talk, and human emotions times four? not really.
enough parrying. the thrust of this film is that it combines a great artist's eye with a great writer's wit. there is simply nothing about the film that is delivered in less than a superb way. so here's the breakdown.
tom hanks is a bad guy who wants to protect his family. so far life has been pretty good, with a wife and two kids - he just kills a few people for his adopted father paul newman and keeps the crime quiet in gangster controlled 1931. problem? his older son witnesses a murder, invokes the wrath of newman's sadistic son, and so pop and son must hit the road in order to stay alive. oh yeah, and they need to beat up some bad guys along the way.
sounds simple? i guess the premise is kinda clean at first. but since the whole thing is adapted from a comic book, you know there are going to be some twists and turns. there is a ton that's unexpected, but all pleasantly so. best of all is the cinematography. most gangster movies feature hushed talk contrasted with the ratta-tat-tat of a tommy gun, but 'perdition' takes it to a new level. it's like comparing 'lawrence of arabia' with 'road to morocco'...there's really no comparison at all. mendes makes chicago and the plains of the midwest seem like faraway lands, plopped down in the middle of america.
in the end 'perdition' is not so much a morality tale as a beautiful story about the sheer majesty of gray. hanks is not a good guy who does bad things (as so many reviewers seem to accuse him) but rather a complex character that does not progress so much as retreat into a more cynical shell, while at the same time discovering the joys of family that he apparently never appreciated. that is why this movie is the best flick i've seen in the past three years - it combines a love for adventure with a moral ambiguity that is compelling, while it delivers this knockout blow with a stylistic beauty that makes you love the cinema and everything it represents. go grab some popcorn, an ice cold coke, and see 'road to perdition'...

