Los Boxtrolls

We took our 3 year old son to this film, and was not expecting much entertainment for us adults. However, both my wife and I really enjoyed it and my son has been walking around in a bottomless box with holes cut in it,(for his head and arms),for two days.

It has a lot of charm and a slight edge of darkness. I am surprised that it has received such poor reviews from the critics. I have noticed they tend to rate realistic, depressing films; whereas we like happy escapist fun and this film delivers that.

We are from the UK and the voices are perhaps better known here, which may have contributed, a little, to our perception of this film's charm.

This mix of stop-motion and CGI brings a fun, charming tale that appeals to all ages.

Set in the town of Cheesebridge (it's motto - a gouda place to live), the 'minion'-like creatures called boxtrolls have for years terrorised the habitants and are hunted by childcatcher-esque exterminator 'Archibald Snatcher', voiced by Sir Ben Kingsley, who has been promised a place in the town council if he's destroys every last one. The story is enjoyable, heartwarming and is really brought alive by the stop motion animation and topped by a plethora of famous British voices.

The themes are a little darker than explored in a lot of younger-aimed films, and there is a sense of adventure and danger that you don't see in the majority of animations. But this doesn't mean that it isn't entertaining. Those who are fond of the Despicable Me's minions, will love the Boxtrolls' actions and personalities, resulting in many lighthearted moments too.

For those that have seen creator Laika's other works - Coraline and Paranorman - you will enjoy this very much. They don't have as much of a fan base as the biggest stop motion Aardman - the visionaries behind Wallace & Gromit, but their quirkier, darker animations can appeal to a larger range of audiences. Here, with their third film, they have made really enjoyable film, entertaining from beginning to end. Be sure to stay at the end for a little credit sting showing how it was made.

The "animation" genre now has a common trait: it is known for broader gags, bullet speed pacing, and eye candy visuals, but out of many animation studios out there, Laika Entertainment could be the only one that stays loyal to their own direction. Aside of the stop- motion animation and love to the horror movie camp, their storytelling and themes are equally unconventional, though charmingly daring at best. The Boxtrolls is no different from their last two movies, except this one might be gentler, but the strangeness is still there intact. And by those merit, the experience becomes special.

It might get immediately be assumed that the film has the same moral of 2012's ParaNorman. It does have that feeling: strange people being treated as outcasts by everybody and describes their fear to them out of caricatures. But the film tends to explore more messages beneath besides of that, if you can get behind with the whole rescue plan stuff, you may also get to notice that it's really about separating people's common views and expectations from the reality; like the Boxtrolls they're against with aren't actually bad creatures, or some fathers turn out to be not as supportive as they're supposed to be, or even the difference between being good and bad. The sentiment may sound a little familiar, but the delivery here is often steady and bitter to acknowledge its sincerity, and it indeed makes it remarkable.

As for the animation, there's no hiding for the love of the horror movie aesthetics. The world already looks magnificently whimsical as the filmmakers transcend their stop-motion animating abilities by making grander and crazier set pieces and physical comedy, but when it comes to featuring its creature and character designs, the camp just brings lots of it to life, some parent might find it a little creepy for smaller children, but if they don't even bother then there is no denying how beautiful they're designed anyway. In another angle, it offers a larger extent of warmth compared to many family movies today. The nearly wordless montage of the Boxtroll Fish raising young Eggs is one of the sweetest things you would see in recent memory, while the sadder montage at the middle act could surprisingly be affecting. These storytellers just know how to drive emotions. Among the voice actors, Ben Kingsley predictably becomes the best. He brings the main pizazz as both the villain and his hilarious drag disguise. Isaac Hempstead Wright and Elle Fanning are great as well, giving their characters the personalities they need. There are more big names (mentioning the favorites like Simon Pegg and Richard Ayoade) that bring the extra fun of the film.

The Boxtrolls is probably going to be the least attraction for the animation genre this year, mostly because it's nearly apart from the comfort zone of today's entertainment. If you don't care about trends, then this movie is a treat, and as usual from its studio, the overall film is dark, campy, but visually stunning and eventually endearing. They still haven't changed and I hope it always stays that way, especially the monster movie tribute and strong heart and perspective towards things. The Boxtrolls proves that these types of animated films shouldn't be antique yet, there is a huge value to its quality and moviegoers should once again encounter it.

A good metaphor for the movie itself: if you can stomach it, it's a real delicacy, with plenty of interesting themes. The steam-punk early-modern Dutch city inhabited by well-meaning but persecuted trolls was a disquieting environment with multiple filthy (physically and morally) areas that Laika's unique animation explored in various engaging and surprising ways.

My 6-year-old son Sebastian loved it, mostly, I think, because it was disgusting and had plenty of gross jokes and scenes (like the naked trolls who take city hall at the end), but he also got a little tired of it, declaring : "I thought it's never going to end."

Sienna's Rating: 7 Stars Sebastian's Rating: 10 Stars!

Paul's Rating: 7 Stars.

If you haven't yet seen 'Coraline' or 'ParaNorman', it may take you a while to get used to the world of 'The Boxtrolls'. The third feature from Oregon-based studio Laika Animation, it is told using the same stop-motion technique (with some CG and hand-drawn work) as their earlier films, but the similarity doesn't quite stop there. Yes, once again, the animators have eschewed the cuteness of Disney or Dreamworks for something much darker than your normal kiddie fare at the Cineplex, and therein, we would argue, is the reason why it proves so uniquely charming.

Adapted from British children's author Alan Snow's fantasy adventure 'Here Be Monsters!', it retains the Steampunk setting of the novel but takes quite a few creative liberties. Instead of an over- industrialised Ratbridge, the city in question is Cheesebridge, so termed because the dairy product is what separates the rich in "White Hats" from the poor in red ones. What unites the humans across their class distinctions is the subterranean Boxtrolls, little blue- skinned fluorescent-eyed creatures who emerge from the sewers at night to swipe anything and everything they can get their hands on.

So named on account of the cupboard boxes they wear their bodies, the Boxtrolls are feared by the humans as much they fear the humans. The fear of the former is stoked by none other than Archibald Snatcher (voiced by Ben Kingsley), a truly detestable rascal who is responsible for spreading nasty rumours about the Boxtrolls in order to justify his eradication for a coveted place with the "White Hats" and a seat with them at the cheese tasting table. As you can probably guess, their leader is no saint either, but rather a self- absorbed aristocrat by the name of Lord Portley-Rind who cares more about his Gouda and Brie than the welfare of his citizenry.

It's a lot of setup, but co-directors Anthony Stacchi and Graham Annable deftly lay out the intricacies of their make-believe world while setting the narrative in motion. For reasons only revealed in a crucial flashback sequence later, a boy is taken as a toddler under the care of the Boxtrolls and is named Eggs after the carton he wears over himself. While on the prowl one night, Eggs runs into Lord Portley's precocious daughter Winnifred (Elle Fanning) who is shocked that a human would be associating himself with the dreaded Boxtrolls; but before she can make his acquaintance, Eggs is forced to flee from Archibald and his henchmen.

As such stories go, Eggs sets off on a quest with Winnifred in tow to convince the humans that the Boxtrolls aren't sinister beings who kidnap children. To top it off, Archibald turns out to have a nefarious scheme after all, building a contraption to assert his authority over Lord Portley and demanding that he be given the latter's white hat. But parents need not worry - writers Irena Brignull and Adam Pava don't deny the kids of a happy ending, though not before subjecting them to some grotesque images that may just make them swear off cheese for some time.

Consider this as fair warning - visually, this isn't cast in the same mould as the usual CG animation, and one might even go as far as to say that 'The Boxtrolls' operates in a realm of ugliness. But once you look past the cruder-than-usual designs, you're likely to find the cardboard-wearing critters surprisingly endearing by their guile and naivety. We urge you too to pay attention to the dazzling production design that makes up the world of Cheesebridge and the underground lair in which the boxtrolls call home; there is a whole cornucopia of details that will leave you wowed if you pay attention to them.

Still, compared to their earlier features, this latest lacks the heart and poignancy that made its predecessors memorable. Eggs never comes across as someone whose plight we would sympathise with, nor for that matter is Winnifred a likable enough character. The way the boxtrolls communicate in an Ewok-like language is amusing all right, but they are lacking individually in any defining personality. Because we never quite understand the reason why the humans so fear the boxtrolls, their eventual reconciliation doesn't quite resonate as it should.

It isn't that 'The Boxtrolls' is underwhelming though; against a surfeit of clean-cut CG animation, its stop-motion aesthetics make it a refreshing change of look. Rather, because its earlier two adventures were such singular accomplishments, Laika's latest seems more like a walk in the park. Yet its refusal to be boxed in (pun intended) by conventional animation features is still evident in its design as well as its choice of themes, and if there ever were need to prove that it is possible to be both grotesque and charming at the same time, then 'The Boxtrolls' would be it.