As a longtime fan of stop-motion animation and Wallace & Gromit, I must say that “Vengeance Most Fowl” has been a delightful addition to their canon. Having grown up with these characters since their debut in 1989, it’s as if no time has passed at all – a clear advantage of animation indeed!
In “Vengeance Most Fowl,” a rogue from Wallace and Gromit’s earlier life reappears, stirring up new chaos for the quirky British inventor and his often overlooked dog. The clever title of this sequel suggests that the villain is none other than Feathers McGraw, a diamond thief known for disguises, last spotted in the 1993 Academy Award-winning short “The Wrong Trousers.” He uses one of Wallace’s inventions to break out of the zoo in the duo’s second film within two decades.
In “Wallace and Gromit,” their peaceful existence seems rather mundane – as if they’ve spent the past 16 years (since “A Matter of Loaf and Death”) in a quiet rhythm of cheese and toast, living it up at home on 62 West Wallaby St. A bit of excitement could spice things up for them, and even though it appears that director Nick Park and co-director Merlin Crossingham are pushing the boundaries to reach the 79-minute mark, it’s wonderful to see these characters, along with their penguin adversary, back on the big screen. Many will catch it this Christmas on BBC or stream it early next year on Netflix.
In terms of sequels, one distinct benefit of animation is that it can pause time between releases, enabling studios like Aardman to resume the story exactly where we last saw these characters, unless the plot necessitates their growth, as seen in movies like “Toy Story” and “Inside Out.” This advancement in technology makes everyone’s job a bit smoother, but unlike human actors who age, there’s no concern about the stars aging, as has been the case with characters like Indiana Jones and Axel Foley in more recent sequels. Luckily, Park maintains the low-tech, handmade charm of his characters, using a touch of CGI but primarily sticking to the same charmingly awkward aesthetic for comedic timing.
In “The Wrong Trousers,” much like an elderly married couple, Wallace (voiced by Ben Whitehead) and Gromit (still silent) exhibit a dynamic that was heartwarmingly depicted. This dynamic, between the eccentric bachelor and his unassuming pet, was beautifully encapsulated in this short film. Interestingly, Gromit’s silence allows Wallace to be oblivious to his companion’s well-being. The arrival of Feathers, a new lodger, however, tested their bond, with Gromit being sidelined as he plotted his grand scheme, effectively relegating him to the doghouse. Later installments have continued this theme, often introducing potential romantic interests that cause tension.
In every instance, the lesson remains consistent: Wallace underestimates how much he depends on Gromit. Despite his constant inventing, tools designed to simplify his life wouldn’t be very helpful if not for Gromit perfectly timing when to pull the levers. This also applies to Norbot, a voice-controlled, AI garden gnome that Wallace introduces to aid Gromit in the garden. As soon as it was unboxed, the device dramatically changed the landscape and practically severed Gromit’s paws.
In the world of Aardman, the charming Nifty Odd-Jobbing Robot, played by Reece Shearsmith, adds an adorable touch with his “hedge-cutting” skills. Although other gnome-like characters have popped up before as lawn decorations in “A Close Shave” and “The Curse of the Were-Rabbit”, Norbot stands out for his significant role. With his rosy cheeks and maniacally cheerful expression, Norbot instantly irks Gromit. It’s understandable that Gromit would be wary, as it becomes evident that this new invention exceeds Wallace’s understanding, and could potentially be manipulated by a certain escaped convict, who still covets the blue diamond.
Anyone well-versed in “The Wrong Trousers” knows that Feathers is one of the funniest villains in animated history, largely due to the minimalistic design of his penguin figure. Essentially, he appeared as a sleek black-and-white bowling pin with beady eyes and flippers, and by placing a red rubber glove on his head, he could convincingly pose as a chicken. Despite his absurd appearance, Feathers proved to be an effective adversary, as his gaze exuded a palpable sense of danger (enhanced by the fitting music cues in the background).
Park’s unique style often leans towards classic film genres, with a quirky slant reminiscent of Ealing Studios’ humor. Initially, Feathers portrayed a Hitchcock-like antagonist in the past, but now he embodies a cunning mastermind akin to Hannibal Lecter, still terrifying within his confines. Even simple actions like shaving with a popsicle stick or petting a baby seal appear sinisterly comical. Regrettably, we don’t get to see much of Feathers at the start. Instead, the narrative concentrates on Norbot, who is reprogrammed by the malevolent penguin from his cell.
As a movie enthusiast, it’s quite fascinating to observe the timing – Aardman unveiling an AI character in the same year DreamWorks presents “The Wild Robot,” a production that could benefit from its heartfelt narrative depth. In the storyline, Norbot, under Feathers’ guidance, creates an army of gnome replicas. While this doesn’t jeopardize the bond between Wallace and Gromit per se, it challenges another aspect of Wallace’s life that I cherish – his inventive spirit. This is a unique conflict indeed, as inspector Mackintosh (Peter Kay, back from “Were-Rabbit)”) and newcomer Mukherjee (Lauren Patel) seize all of Wallace’s equipment.
In contrast to recent Aardman productions like “Vengeance Most Fowl,” the film appears more focused and compact, which is actually beneficial – a lesson taken from “Were-Rabbit” where the storyline became overly complex as the cast expanded. The movie is filled with nods to past escapades, such as Gromit’s signature red motorbike and an end sequence reminiscent of “Mission: Impossible,” escalating from a toy train in Wallace’s home to the real thing. These references bring about laughter, yet for some viewers who have been eagerly anticipating a reunion, the humor may seem somewhat lightweight. Maybe this feeling is due to unrealistic expectations, but as the great poet Emily Dickinson once said, “Hope is the thing with feathers.
The movie titled ‘Wallace & Gromit: Vengeance Most Fowl’ will debut in selected American theaters on December 18. After that, it will be available to stream on Netflix starting January 3, 2005. Meanwhile, BBC is planning a release in the U.K. around Christmas time.
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2024-10-28 02:47