ZooScope

Tag: Feature Length

  • The Secret of NIMH. Dir. Don Bluth. MGM/UA Entertainment Company. 1982.

    “We can no longer live as rats. We know too much.” The Secret of NIMH is remembered by many as a dark, creepy, and disturbing film, with retrospectives published in recent years referring to it as leaving basically every kid who sees it with a lingering dread. Don Bluth’s directorial debut after leaving the Walt…

  • Okja. Dir. Bong Joon-ho. Netflix. 2017.

    Okja[1] is a South-Korean/American film about a girl called Mija and her best friend, a ‘super pig’ called Okja. When Okja gets taken by the company who made her, the Mirando corporation, Mija leaves her idyllic mountain-top home and goes on a dark adventure, determined to find Okja and bring her back home. At the…

  • Pet Sematary. Dir. Mary Lambert. Paramount Pictures. 1989.

    Mary Lambert’s 1989 adaptation of Stephen King’s Pet Sematary is a horror film that supplants the blood-thirsty killer with a household pet – one which becomes increasingly unfamiliar as the film progresses. Aided by a combination of practical and special effects, the Creeds’ ghostly cat Church transitions into an object of the uncanny, and thus…

  • Sorry to Bother You. Dir. Boots Riley. Annapurna Pictures. 2018.

    Boots Riley’s debut feature has been praised for its portrayal of the callous nature of capitalism in modern America. The overarching message throughout is that the efficiency of the labourer is paramount to economic success and is valued more than human life, with this ideology being brought to life with the Equisapians, a half-human/half-horse hybrid,…

  • A Dog’s Purpose. Dir. Lasse Hallström. Universal Pictures. 2017.

    Lasse Hallström’s film A Dog’s Purpose presents the relationship between a dog and its first owner, Ethan Montgomery (Dennis Quaid as Ethan’s adult version). The intriguing question “what is the real purpose of a dog” becomes for Bailey (Josh Gad) the triggering of a number of adventures which results in the last sequence where the…

  • Jungle Book. Dir. Wolfgang Reitherman. Walt Disney. 1967.

    The notorious Kaa was manipulated in the Jungle Book[1] (1967) to serve the role of an antagonist, an inversion on his portrayal from Kipling’s original books[2] (1894). Kaa is presented as the enchanting reptile that adheres to the stereotypes of an Indian Rock Python.Reitherman harnesses the trance-like song “Trust in Me”[3] to ironically expose his deceitful nature and…

  • Ernest and Celestine. Dir. Benjamin Renner. StudioCanal. 2012.

    The animated film Ernest and Celestine[1] (2012) uses animals to offer a socio-political examination of French society. A predator-prey construct is conveyed through the division of social classes in the species contrast between a mouse- Celestine, and a bear- Ernest. By depicting stereotypes of animality and inverting the norms to show an unorthodox friendship, Renner exposes human class limitations.…

  • The Shining. Dir. Stanley Kubrick. Warner Brothers. 1980.

    A notoriously disturbing moment in The Shining (1980) is the ‘bear costume’ scene, which poses questions why Kubrick specifically chose this animal and its symbolic purpose in this bizarre shot. The cheap appearance, thus inauthenticity of the costume, intentionally reminds viewers of the human inside the outfit, removing its animality in favour of humanity and…

  • Howl’s Moving Castle. Dir. Hayao Miyazaki. Studio Ghibli. 2004.

    There is a surprising lack of non-human animal representation in Studio Ghibli’s 2004 film Howl’s Moving Castle, despite an overarching theme which frequently pits an idyllic pastoral version of Japan against a threateningly industrial one. The major depiction of human-animal relations is that of secondary protagonist Howl as he gradually transforms into a bird-like creature…

  • The Favourite. Dir. Yorgos Lanthimos. Fox Searchlight Pictures. 2019

    Yorgos Lanthimos’ The Favourite explores the life of Queen Anne and the competition between her servants Abigail and Sarah to become her ‘favourite’. The film uses comedy to provide an alternative depiction of the often idealised royal courts, creating an image of debauchery and cruelty instead. Whilst the film focuses on the relationship between these…