Who Framed Roger Rabbit (1988)
Directed by Robert Zemeckis
Toon star Roger is worried that his wife Jessica is playing pattycake with someone else, so the studio hires detective Eddie Valiant to snoop on her. But the stakes are quickly raised when Marvin Acme is found dead and Roger is the prime suspect.
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What critics compared Who Framed Roger Rabbit to
A heartwarming and comedically satisfying blending of animated sensibilities in the vein of Who Framed Roger Rabbit…
This is akin to how 1988’s “Who Framed Roger Rabbit” (which also blended animation and live action) was told as a 1950s detective story…
Similar to how the audience fully buys into Bob Hoskin’s friendship with a long eared bunny in Roger Rabbit, Will Forte brings so much humour and heart to the role of Avery that the viewer cannot help but be moved by the lawyer’s bond with Coyote.
Who Framed Roger Rabbit, still the finest example of this type of film, is an undisputed classic.
Reminiscent of “Who Framed Roger Rabbit”, it allows the cartoons to feel perfectly at home in the real-world setting.
It mixes the cartoon and “real world” elements brilliantly; rarely since Who Framed Roger Rabbit (1988) have they been integrated so seamlessly.
The Disney tribute to arcade gaming is delightfully off the rails, offering a grown-up-friendly tone and merging of visual styles that are reminiscent of the studio's 1988 animated homage to film noir, "Who Framed Roger Rabbit."
Various events and significant moments throughout the film are noticeably reminiscent of movies from The Iron Giant to Shrek to Who Framed Roger Rabbit .
The genre, which has produced such classics as 1988’s Who Framed Roger Rabbit and 2009’s Avatar , reaches its lowest point in quite some time with Hop , however, as director Tim Hill has crafted a dull and aggressively mediocre comedy that seems to have been designed to appeal solely to small children.
As a combination of animation and live action, it can’t help but recall Who Framed Roger Rabbit, but where Roger managed to be almost enjoyably irritating, Brand’s EB is something you’d unrepentantly fling into the fast lane of the M6.
Robert Zemeckis’ comedy Who Framed Roger Rabbit (1988) and the more recent Mickey Mouse short “Get a Horse” (2013) draw a huge amount of entertainment out of the concept.
The pinnacle is Lux himself, whether he’s Roger Rabbit’ing around or becoming a grotesque 3D nightmare complete with “edgy” shading.
Who's the most fearsome cartoon villain?
Judge Doom, Who Framed Roger Rabbit…
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Disney has been down this road before with “Who Framed Roger Rabbit,” although this time, there’s not a single human character to be found, while the adult-skewing jokes (mostly references to other movies) aren’t nearly so inappropriate for kids.
Not content to simply establish a staggeringly creative, lushly animated universe, the film also reveals itself to be a compelling, unexpectedly intense detective noir much more akin to Who Framed Roger Rabbit than Frozen – albeit with plenty of side-splitting sequences (it’s a shame that the sloths at the DMV bit was spoiled ahead of time by trailers, but the version up on screen is somehow even more howlingly funny) and blink-and-you’ll-miss-it sight gags (the transportation system of choice is Zuber, according to one billboard).
It’s a lot like another Disney project, Who Framed Roger Rabbit, in that way, though Zootopia offers enough inventive merit and different thematic material of its own to avoid coming across like a case of repeating old tricks.
Slowly, "Zootopia" slides into a neo-noiry mystery, something out of Toon Town from "Who Framed Roger Rabbit" with a genetic science-fiction component that would be ridiculous in any movie not featuring talking animals.
The problems are innumerable but among the largest: The script is awful, vacillating between cliche and pure nonsense; Hardy’s unhinged performance desperately needed to be reined in and was not; the Venom character is a cartoonish, computer-generated pile of slop, making the scenes where it interacts with humans look like “Who Framed Roger Rabbit” (not in a good way); at one point Michelle Williams turns up as a symbiote with big, gooey alien breasts.
What he’s doing in Venom is a bit like what Bob Hoskins did in Who Framed Roger Rabbit , as a real person playing opposite scene-stealing cartoon characters.
Toontown functions, more or less, as Chinatown does in Roman Polanski's film of the same name: private detective Eddie Valiant (Bob Hoskins) avoids it like the plague.
I'm not the first to point out that writers Jeffrey Price & Peter S. Seaman reworked the novel into, for all intents and purposes, a gloss of Chinatown : it starts with a private investigator taking a sleazy adultery case that proves to be a set-up; that same PI has a history with a particular Los Angeles neighborhood that he's forced to re-visit in the course of this investigation * ; he becomes embroiled with the woman at the center of his earlier investigation; and the whole thing unfolds against a true story of shady dealings in developing the infrastructure of southern California.
This story, with its "Chinatown" sense of pervasive corruption, plays better than some of the real mysteries I've seen (although it bogs down a little at the end, when the villain, played by Christopher Lloyd, spends a ittle too much time unveiling his dastardly scheme).
The rest of the films continues that balancing act, moving along at the breakneck pace of all early Zemeckis films: Eddie and Roger take a talking cartoon cab on a real-world car chase; Eddie makes his way through the surreal landscape of Toontown; the detective story works in some real Los Angeles history as well as notes of Chinatown; a climactic fight bends reality, pitting real actors and cartoons against each other with weapons from both sides of the divide.
From a technical standpoint, Sonic The Hedgehog 2 is fairly impressive in its merging of live-action and animation, a reminder of the technological advancements since the days of Who Framed Roger Rabbit .
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Why are they so popular?" and proceeded to answer those questions with a story built on thoughtful symbolism, crammed with eye-popping imagery, and populated (a la Who Framed Roger Rabbit ) with familiar characters.
Talking about plot specifics, including a third act twist that takes things into decidedly more meta-textual territory (further advancing the movie's "Who Framed Roger Rabbit"-ness), would be to spoil the exploratory fun of watching "The Lego Movie," a movie that takes some very strange zigs and zags throughout its brisk 100-minute running time.
Yeah, it's fun and an impressive feat of corporate synergy to watch the intermingling of characters from different franchises (in this respect, The Lego Movie is Who Framed Roger Rabbit for a new era); Lord and Miller deftly lampoon the brooding essence of Batman and skewer the unfashionableness of Green Lantern, who to Lego Superman's chagrin won't leave him alone.
Though it never quite reaches the lunatic levels of Who Framed Roger Rabbit , it has that film's same hellzapoppin' zeal, that willingness to go anywhere for a joke and that absolute insistence that it must never, ever slow down.
"Who Framed Roger Rabbit" meets "Hoosiers"!
The idea behind Space Jam is simple: to resuscitate the Looney Tunes characters in a big way—and on the back of Robert Zemeckis' 1988 hit live-action-animation hybrid Who Framed Roger Rabbit—by pairing the likes of Bugs Bunny and Daffy Duck with Michael Jordan.
The co-stars do interact, but not to the extent that the live actors and toons mixed it up the vastly superior "Who Framed Roger Rabbit."
That said, Space Jam still is a technical marvel -- the best blend of reality and paint since Who Framed Roger Rabbit.
But "Space Jam," produced by Ivan ("Ghostbusters") Reitman and directed by Joe Pytka, doesn�t have the unforgettable pizazz of "Who Framed Roger Rabbit," which used human-toon interaction to more imaginative advantage.