Jeremy Renner moves from failed app to failed kid’s movie in this half-hearted CG kid’s flick.
As Fantastic Fest opens, we talk to Johannes Nyholm, the director of the darkly imaginative Koko-Di Koko-Da, about grief, trauma, and the bizarre.
Raphael Bob-Waksberg and Kate Purdy poignantly swim through the recesses of time, animation and the mind in an ingenious new series.
It may be prefaced by a brilliant, heartfelt short, but Sony Pictures Animation’s latest, like its adaptation, is a huge waste of time.
Netflix brings back the classic Nick cartoon twenty years later for a one-off special filled with heart and surprisingly complicated musings on the passage of time.
Zhou Shengwei turns shoes into symbols for the systemic oppression of women in capitalist systems in this dizzying, expressionistic experiment.
Keiichi Hara’s candy-colored fairy tale is certainly a feast for the eyes, even if its story is skin deep.
Never has something looked so photorealistic and felt so fake.
Dennis Do’s lushly animated recounting of the Khmer Rouge takeover of Cambodia is striking but lacks much-needed specificity.
The second season of Netflix’s kawaii-metal workplace anime elevates its adorable gimmick with a newfound maturity.
(Every month, we at The Spool select a Filmmaker of the Month, honoring the life and works of […]
Howl’s Moving Castle, Hayao Miyazaki’s sprawling, mythic steampunk fantasy from 2004, is one of the master’s more underrated features.
One of Hayao Miyazaki’s lighter, sentimental films is a celebration of ordinary life & parental love as seen through the eyes of a child.
One of Miyazaki’s most enduring classics, Princess Mononoke addresses the concepts of violence and hatred in a way young viewers can understand.
Porco Rosso is yet another swashbuckling adventure in the grand tradition of Hayao Miyazaki, a high-flying caper about a flying pig who’s also a sea pirate.
While it doesn’t have the reputation of Miyazaki’s later works, Studio Ghibli’s sophomore film serves as a lovely steampunk primer to the man’s filmography.
Winnie Cheung’s award-winning short is filled with trippy imagery, but might be too frenetic for its own good.
While the macabre stop-motion animation of this animated anthology is sweet, its approach to colonialism leaves a bitter taste in the mouth.