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Directed by American animator PES (Adam Pesapane to his ma), "Fresh Guacamole" is notable as the shortest film ever to be nominated for an Oscar, at only one minute and 45 seconds. A stop-motion walk-through of how to make the titular avocado-based dish, using household objects, it's funny and inventive, but suffers a bit if you've seen PES's predecessor "Dirty Spaghetti," which does the same thing, but first and better. There's a lot of damn fine craft at work here, but it feels much too slight to be a potential winner this year. [C]
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Winning the Best Student Film award at the Annies this year, "Head Over Heels" is very much the underdog here. It's not made by established studios or their employees, but by American animator Timothy Reckart, who produced the effort at the National Film And Television School in London. Made on a dime in traditional stop-motion style, it follows a middle aged couple who have grown distant enough that they now live on different planes of gravity, he on the floor, her on the ceiling, in a floating house. It's a touching and intimate little film, with some top-flight production design, even if it's a bit on-the-nose, and rough around the edges (and, it should be said, somewhat reminiscent of "Up"). Will Academy members respond to a film from such a total newcomer? Our gut says that in a tough year, this would struggle to hit first place, but it's one to keep an eye on. [B-]
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Fox failed to get an Animated Feature nomination in 2008 for "The Simpsons Movie," but Springfield's finest finally got some recognition this year with this film, the first ever Simpsons theatrical short, which played initially before "Ice Age: Continental Drift" (and got a recent re-release in front of "Life Of Pi"). Directed by series veteran (and "Monsters Inc" co-director) David Silverman, the wordless short is probably the best thing to involve Simpsons characters in years. But even then, despite the higher-profile, it's unlikely to really figure. It's actually using many of the same techniques as "Paperman," but it's unlikely to get similar credit, and ultimately will probably feel too slight and corporate. We don't envision many Academy members going for this over the Disney film. [B-]
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The Walt Disney Animation Studios short is the one you've likely seen if you've seen any. It played before "Wreck-It Ralph" in theaters, and racked up a few hundred thousand hits on YouTube when Disney placed it online. Directed by John Kahrs, the incredibly sweet tale of a couple's missed connection, before they're brought together by paper airplanes, is genuinely progressive, formally speaking, cunningly blending Pixar's CGI animation with a 2D look that's reminiscent of classic Disney, and it's this that may give it a leg-up over the competition. Traditionally, winners in the category have been smaller, more independent productions, but with the rules changing this year, opening up voting to all Academy members, the Disney name, and the overall quality of the short look likely to pay off for them. Plus, it won the 2013 Animated Short award at the Annies, who are traditionally reluctant to vote for Disney fare. [A]
3 Comments
Norm Schrager | February 18, 2013 6:34 PM
I agree, Oliver, the voters will go for Paperman, in a year that seems dominated by the easy, unchallenging Oscar vote. I can watch Fresh Guacamole over and over but Adam and Dog really is the overall finest entry. Some pretty talented animators in on that one. If you care to check it out, I reviewed the animated entries before their theatrical run a couple weeks ago: http://meetinthelobby.com/film-review-2013-oscar-nominated-short-films-animated.html
goldfarb | February 18, 2013 4:57 PM
Pixar had nothing to do with Paperman
brandon w | February 18, 2013 3:20 PM
This is the first time I've taken the time to watch the nominated shorts, so I'm not sure if my expectations were unjust, but sitting through the live action category was a truly enervating experience. The only films I sort-of-kind-of tolerated were Death of a Shadow and Asad. The former was notable primarily for its resemblance to other directors like those mentioned above and Guillermo del Toro. The latter got a lift from its comic ending. If it was pat, then that's precisely what it needed to be: consider the difference from the labored conclusions to Henry, with that prosaic quote, or the poverty infomercial appeal of the lead character's look into the camera in Buzkashi Boys. Don't even ask me about the revolting dance sequence in Curfew! The animated selections were so much more enjoyable. Perhaps animation is better suited to the shorter format.