#will becher

"Shaun, o carneiro: O filme - A fazenda contra-ataca" (A Shaun the Sheep Movie: Farmageddon) - netflix.

Filme que concorre como melhor animação. A ovelha Shaun apareceu primeiro em uma animação da dupla "Wallace e Gromit". Depois virou desenho com algumas temporadas. Vi apenas o original, nunca assisti o desenho serial. Gosto do estilo e dos personagens desse universo "Gromit" que a produtora Aardman e seu cabeça, Nick Park, inventou. Especialmente as figuras do interior britânico. A semana foi ruim e precisava de algo leve.

A Shaun the Sheep Movie: Farmageddon    [trailer]

When an alien with amazing powers crash-lands near Mossy Bottom Farm, Shaun the Sheep goes on a mission to shepherd the intergalactic visitor home before a sinister organization can capture her.

Fun for the whole family. And as a bonus for adults, plenty of amusing references to sci-fi classics. Starting with the HG Wheels repair shop right at the beginning.

What bugs me a little is the use of disrupting pop songs during many "action scenes". I would prefer a traditional score.

(Will Becher & Richard Phelan, 2019)

It is relatively safe to say that 30 years on from Creature Comforts, the good folk at Aardman Animations remain as safe a bet as any studio out there at repeatedly turning out work of note. In this, their follow up to their 2015 Shaun the Sheep movie, they once again prove the old adage true, that the way to judge a movie is less to do with what it is about, and more with how it is about it.

Farmageddon, like its predecessor, is built upon the universal language of cinema, the visual, in its entire hour and a half run time the human characters speak in gibberish, and everything the movie wants to communicate (bar a few instances where headlines written in English are lent upon) is accomplished via action.

It's proof absolute of the power of pure cinema, keeping the essential spirit of the silents alive and in spite of all its low key, folksy, chuckle inducing British charms proving as universal a movie on account of the way it is told as anything you're likely to see this year.

Narratively, in truth, it probably runs a little bit longer than it needs to, dragging out some of its set pieces longer than is essential, perhaps to pander to the younger viewer, a shorter version of this film not padded out for feature length might have been a basically perfect musing on exploitation. As it is the film probably falls short of that loftiest of ideals, but is so good at its peaks, filled out from beginning to end with a succession of tiniest details that make ever clearer just how much attention, care and love has gone into the crafting of this movie beyond the lavish work of attention it already proves to be on account of the way it is made.