‘Lilo & Stitch’: Another sufferer of the Bisturí Disney with flesh and bone beings | Culture | EUROtoday

The first thought earlier than the premiere of the brand new actual -acting model of yet one more of Disney’s animated movies is that the very debatable business operation by the Almight Lilo & Stitch, 2002 manufacturing directed by Chris Sanders and Dean Deblois. In the final 10 years, 17 titles have handed from drawing to the flesh and bone of its protagonists, with largely discreet or immediately deplorable ends in the inventive.

However, earlier than approaching the premiere of this new Lilo y Stitch, Directed by Dean Fleischer-Camp, it may additionally occur that our head is flooded with a second thought: if with movies as formidable as Snow White and the Seven Dwarfs, Pinocchio, Dumbo, the Lady and the Vagabundo o The Little Mermaid All of them within the tail van of the remakes Subsequent in reside motion, it appeared unlikely to method the artwork of the originals, in a piece as widespread of their drawing as Lilo & Stitch, – though not in his sympathy, his comedian and his design of characters, actually nice, “there was a golden opportunity to compensate for so much artistic failure (not economic, let’s admit it too).

Unfortunately, illusion lasts less than a quarter of an hour. What takes time to pass the history of the long prologue in space, with aliens created with solvent computer images (CGI), to a Hawaiian atmosphere of conventional family film, portrayed with a horrible photograph crammed with light and a vulgar staging full of television medium planes without expressiveness.

The original 2002 production came at a time of creative undercut for Disney in the animated field. Since 1995, Pixar had advanced it on the left with new aesthetic, ethical and entertainment concepts. And the seniors of gold of the mother of the drawings, which had begun with The Little Mermaid, had broken after Hercules, In 1997. In fact, to Lilo & Stitch They had preceded it as forgettable titles as The emperor and his follies and Atlantis: the lost empire. Compared to Disney’s masterpieces, Lilo & Stitch It seemed indoced in the formal design of human characters, their colors were not colorful, the animation did not shine and the work with the funds in the composition of the plane was poor.

But that Hawaiian girl in the middle of the existential children’s crisis and her horrendous dog adopted, which was actually a genetic experiment fleeing an extraterrestrial planet, were funny and sharp. And Sanders and Deblois, directors and scriptwriters, filled their story with precious vital and musical details (the hilarious appearances of Elvis Presley’s songs; here, completely wasted), with an older sister on the edge of psychological and social despair because social services threatened to give the little one to a foster family, because they were both orphaned.

In the renewed Lilo y Stitch, instead, The Marcian secondary ones, who offer physical comic, become human for a script trick, but their interpreters, Zach Galifianakis and Billy Magnussen, lose all grace. And only the sequences of slapstick Around the Stitch monstr, which can remind the anarchic earthquake of the fabulous Gremlins, although always in interior scenes. On the exterior almost everything is calamitoso, crowned by an end as blandengue as endless, worthy of an open Sunday desktop.