English animator Robert Morgan has deservedly accrued a shelf of awards over the past quarter-century or so for shorts like “The Cat With Hands,” “The Separation” and ickily awesome “Bobby Yeah.” Their macabre, surreal nightmares are at once threatening and oddly winsome, with a sinister aesthetic equally redolent of the Brothers Quay, early David Lynch and the painter Francis Bacon — all of whom count among the director’s admitted influences.
He’s been in no hurry to adopt a longer format, and his first feature underlines the wisdom of that reluctance. Not unprecedented among his work in its mix of animated and live-action elements, “Stopmotion” demonstrates the difficulty in stretching such a singular, fantastical sensibility to suit a full-length project’s storytelling requirements.
This “Repulsion”-like tale of a fragile young woman’s descent into madness, starring “The Nightingale’s” Aisling Franciosi, arrests attention with its vivid, escalating eruptions of grotesque imagination.
He’s been in no hurry to adopt a longer format, and his first feature underlines the wisdom of that reluctance. Not unprecedented among his work in its mix of animated and live-action elements, “Stopmotion” demonstrates the difficulty in stretching such a singular, fantastical sensibility to suit a full-length project’s storytelling requirements.
This “Repulsion”-like tale of a fragile young woman’s descent into madness, starring “The Nightingale’s” Aisling Franciosi, arrests attention with its vivid, escalating eruptions of grotesque imagination.
- 2/22/2024
- by Dennis Harvey
- Variety Film + TV
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