In most Oscar categories, it’s clear what “best” means. Not so the annual animated feature race, in which the ballot presents perhaps the greatest range of any category every year — certainly, in terms of budget, subject matter, artistic style and formal innovation. Where else can you see a pair of superhero movies competing against an ultra-personal Japanese anime and stop-motion Wes Anderson movie, to use 2018 as an example?
Consider this year’s crop: Among the 26 films that qualified, you’ll find everything from a splashy studio hit (“Sing 2”) to a cult-interest Sundance indie (Dash Shaw’s hand-drawn “Cryptozoo”), from a Sony-animated pop-culture phenom (“The Mitchells vs. the Machines”) to a highly targeted, “Heavy Metal”-esque midnight movie (“The Spine of Night”).
Many of the more eccentric submissions will be eliminated in the next phase — including perhaps anime entry “The Laws of the Universe: The Age of Elohim,...
Consider this year’s crop: Among the 26 films that qualified, you’ll find everything from a splashy studio hit (“Sing 2”) to a cult-interest Sundance indie (Dash Shaw’s hand-drawn “Cryptozoo”), from a Sony-animated pop-culture phenom (“The Mitchells vs. the Machines”) to a highly targeted, “Heavy Metal”-esque midnight movie (“The Spine of Night”).
Many of the more eccentric submissions will be eliminated in the next phase — including perhaps anime entry “The Laws of the Universe: The Age of Elohim,...
- 1/11/2022
- by Peter Debruge
- Variety Film + TV
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