'KUBO AND THE TWO STRINGS' REVIEW
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We finally have the first genuine animated masterpiece of năm nhâm thìn — our four-star review of the stop-motion fantasy "Kubo and the Two Strings."Laika Studios/Focus Features“If you must blink,” a voice says over the soundtrack, “do it now.” Consider this sound advice for anyone who’s just entered the stop-motion world of this late-summer fantasy: Close your eyes for a nanosecond, và you might miss the sort of visually mind-blowing shot or part of a sweeping, how-the-hell-did-they-do-that phối piece that causes Pavlovian salivating. Take, for example, the opening sequence that occurs right after that line, in which a woman in a boat is buffeted by angry, violent waves. What appears lớn be a giant tsunami starts to lớn rise in front of her, blocking out a bright, full moon. Suddenly, she lifts her hand và strums down, fast, on a banjo-like shamisen. The power nguồn chord parts the sea lượt thích Moses. Once she’s washed up on the beach, a one-eyed baby appears out of a knapsack. Less than five minutes have passed. You have not caught your breath yet.
That baby will grow up to lớn be Kubo (voiced by Art Parkinson, a.k.a. Game of Thrones‘ Rickon Stark), a sliver of a kid who now uses that string instrument to spin tales of origami-puppet fights for spare change. His mother drifts in và out of lucidity; his father, a legendary samurai, apparently perished trying khổng lồ unsuccessfully save the boy’s missing orb. But some strange rumblings on the horizon, as well as that mysterious black fog that’s enveloped the local village, suggests something wicked this way comes. Soon, Kubo funds himself on a quest lớn find his dad’s “unbreakable” sword, magic armor and helmet before his witchy aunts deliver the goods lớn the evil Moon King. Accompanying him on his trek are a snow monkey doll (Charlize Theron) that’s come to lớn life and a giant, dim-witted warrior beetle (Matthew McConaughey). & then things get really weird.
Folks familiar with the Oregon-based studio Laika — the people responsible for the Freudian waking nightmare Coraline (2009) and the tender I-see-dead-people parable ParaNorman (2011) — know that the company has more or less phối the standard for modern stop-motion animation. But with Kubo and the Two Strings, Laika doesn’t so much surpass its own previously phối bar so much as demolish it. Watching Kubo turn flat pieces of paper into tiny warriors or an undulating origami swarm of birds, or an underwater swimmer surrounded by floating eyeballs, or a climactic stand-off between our anh hùng and a giant, serpent-like spirit, you forget you’re essentially watching things being painstakingly, microscopically manipulated. And then you remember that this is indeed the sản phẩm of artists working with small figures on a grand scale, and you find yourself staring at the onscreen sound & fury in awe. The work here is fluid và near-flawless — which is as an apt description for the entire film as any.
