Stopmotion

There's nothing "bad" about Stopmotion and I enjoy Aisling Francoisi as a genre actress but there's nothing very interesting or new here. Beyond the cool imagery (which certainly borrows from Dead Ringers and Videodrome) there are 100 other movies with an identical plot and progression and ultimately Stopmotion is just kind-of ends up being a boring and joyless trip down that familiar path.

You could just watch the director's other work to appreciate the macabre art style instead of watching this and probably end up being more satisfied with the viewing experience. I didn't dislike Stopmotion, but it's pretty forgettable.

Lately I've heard about this movie multiple times and I was pretty excited to see the result. The premise seemed interesting and I heard that the effects are good, which both turned out to be true. You have a unique premise for the movie that makes it stand out from all the other horror movies that are dumped out nowadays. The effects and especially the gore were also pretty great and had a gritty feeling to it which complemented the movie.

However I feel like this could have been so much more and I was a little let down after I finished watching. The movie has pacing issues and it tries to be way too artsy and pretentious instead of just focusing on its strengths. It's a decent flick but I was hoping for something special and great. [5,7/10]

The film has that aura of uneasiness from the beginning. The stop-motion sequences are incredible. The puppets are disturbing, and that's an achievement in its own right. Everything is there save the writing, since it suffers from unambitious character development. Besides a strained relationship with her mother, there are only glimpses of who the protagonist is. This results in a main character not so interesting when she's not working and doing stop motion. The scenes where she's partying, dining with her boyfriend, etc. Are ultimately boring and add nothing of importance to the story. This is a tragedy considering the time spent in those scenes could've been used to explore ideas that were, sadly, barely examined but memorable.

The concept is interesting, the performances are good, the craft is great, and the gore is effective, but it ultimately fails due to its bad foundation.

Despite having its ups and downs, this film can captivate, in its weakest points I could say that its climax is very short and since the plot is so slow, little by little it is difficult not to imagine what is going to happen, they put a lot of effort in the visuals and left the script aside, since it is a horror story related to the artist and for those who really enjoy stop motion, and its well-crafted sounds. I would say that it is not a movie that you will love, but if it is something that will keep you watching, and that is a lot.

I would recommend watching it the day you want to see something different and if you are a casual viewer like me, and you like a little bit of everything, you should give yourself the opportunity with this movie.

Greetings again from the darkness. The art of stop-motion consists of bringing hunks of clay to life and telling an interesting story. It's excruciatingly slow work requiring meticulous attention to detail. The first feature length film from animator-turned-writer/director Robert Morgan is co-written with Robin King, and pays homage to this distinct art form. Of course, since it's a horror film, it also makes good use of the adage ... an artist being consumed by their art.

Aisling Franciosa (so memorable in THE NIGHTINGALE, 2018) stars as Ella Blake, who is assisting her mother (Stella Gonet), a renowned stop-motion artist, with her "last film". Arthritis has seized mom's hands and so she barks orders at her daughter in frustration of her own limitations. Once out from under her mother's controlling ways, Ella finds her own space in an old apartment, where she begins to pursue her own vision. Soon she's visited by an odd and inquisitive little girl (Caolinn Springall), presumably from the neighborhood. The girl labels Ella's work "boring" and proceeds to tell her own story about Ashman, who haunts a girl in the forest over three nights. Ella is captivated, and we quickly recognize she is in the midst of a slow descent into madness ... unaware of who this little girl actually is.

Director Morgan first introduces us to Ella over the opening credits. The flashing lights in a nightclub play visual tricks, and Ella alternates between good and evil looks (think of the two-face syndrome in "Seinfeld"). This is an early clue about the film's path. Morgan also provides contrast between the stark working conditions of the studio (whether it's mom's basement or Ella's apartment) and the more lively and colorful clubs and parties where she hangs out with her boyfriend (Tom York). Adding to the film's visual treats are some unusual camera angles courtesy of cinematographer Leo Hinstin.

The final act features some extreme gore, so be prepared. It's rare for a film to feature raw meat, a dead fox, maggots, and mutilation, but few films have successfully blended the use of stop-action animation with live-action drama. Aisling Franciosa has the instincts to convincingly portray a troubled artist when the wires are crossed between reality and creativity. Getting creeped out is all part of the show.

Opens in theaters on February 23, 2024.