November 2, 2009
Stitchpunk heroes in a steampunk world. That’s 9, one of the best films of 2009.
In a post-apocalyptic future machines have wiped out humanity. A handful of fabricated creatures, known only by the numbers stitched onto them, are in hiding, fearful of the ravaging mechanoids. But when #9 (Elijah Wood) comes to life, his sense of wonder and will-to-live make him a natural rebel.
Failing to save the aged #2 (Martin Landau) from a ferocious machine, #9 disregards advice and sets out on a rescue mission. But #9 soon realizes that actions have consequences. Only with the help of feral she-warrior #7 (Jennifer Connelly) can #9 have any hope of saving his friends from a terrifying fate.
9 is a stunning film. High on action, it’s a terrific achievement. Philosophical and pugnacious, it’s both scarier and more thoughtful than the usual kid-flick. An action film from the get-go, it’s almost manga-esque in its vision and imagination. And its deft weaving of heady themes is something not often dealt with in western animation: why are we here? do we have souls? is death the end?
Produced by off-kilter filmmakers Tim Burton and Timur Bekmambetov (Wanted, Nightwatch, Daywatch), it’s directed by their protégé Shane Acker from his student-days short film. Back then, his hessian-suited heroes were quirkily called Stitchpunk – and his post-apocalyptic, Euro-looking world similarly monikered Steampunk.
Sure the scenario sounds like The Terminator meets The Matrix Trilogy – but 9 has a vibe and a vision all its own. The heroes may look like wide-eyed sock-puppets, but stick with it. Their hand-stitched nature, set amid gorgeously rendered CGI, is precisely the point. Sent into the world scarce half made up, these characters are like the Tin Man and the Scarecrow from Oz – searching for a purpose.
And it’s probably no coincidence that #7 is reminiscent of Hayao Miyazaki’s she-wolf heroine Princess Mononoke. Like Miyazaki, Acker sees the potential of animation to tell vivid, visual stories with powerful themes. Honing his animation on Peter Jackson’s Return of the King movie, Acker shares his mentors’ visceral imaginations and 9 has some cracking set pieces.
A nerve-shredding adventure which both kids and adults can enjoy, 9 is gritty. But it’s a film with real humanity. Unafraid to tackle issues of death and good-intentions-gone-wrong, it’s an unusually potent concoction.
Chases and scrapes aplenty, then, and some inspired visuals. And while the ending lacks wallop, and some may think it less radical than what’s gone before, at least it makes you think. 9 out of 10. Go see.
In a post-apocalyptic future machines have wiped out humanity. A handful of fabricated creatures, known only by the numbers stitched onto them, are in hiding, fearful of the ravaging mechanoids. But when #9 (Elijah Wood) comes to life, his sense of wonder and will-to-live make him a natural rebel.
Failing to save the aged #2 (Martin Landau) from a ferocious machine, #9 disregards advice and sets out on a rescue mission. But #9 soon realizes that actions have consequences. Only with the help of feral she-warrior #7 (Jennifer Connelly) can #9 have any hope of saving his friends from a terrifying fate.
9 is a stunning film. High on action, it’s a terrific achievement. Philosophical and pugnacious, it’s both scarier and more thoughtful than the usual kid-flick. An action film from the get-go, it’s almost manga-esque in its vision and imagination. And its deft weaving of heady themes is something not often dealt with in western animation: why are we here? do we have souls? is death the end?
Produced by off-kilter filmmakers Tim Burton and Timur Bekmambetov (Wanted, Nightwatch, Daywatch), it’s directed by their protégé Shane Acker from his student-days short film. Back then, his hessian-suited heroes were quirkily called Stitchpunk – and his post-apocalyptic, Euro-looking world similarly monikered Steampunk.
Sure the scenario sounds like The Terminator meets The Matrix Trilogy – but 9 has a vibe and a vision all its own. The heroes may look like wide-eyed sock-puppets, but stick with it. Their hand-stitched nature, set amid gorgeously rendered CGI, is precisely the point. Sent into the world scarce half made up, these characters are like the Tin Man and the Scarecrow from Oz – searching for a purpose.
And it’s probably no coincidence that #7 is reminiscent of Hayao Miyazaki’s she-wolf heroine Princess Mononoke. Like Miyazaki, Acker sees the potential of animation to tell vivid, visual stories with powerful themes. Honing his animation on Peter Jackson’s Return of the King movie, Acker shares his mentors’ visceral imaginations and 9 has some cracking set pieces.
A nerve-shredding adventure which both kids and adults can enjoy, 9 is gritty. But it’s a film with real humanity. Unafraid to tackle issues of death and good-intentions-gone-wrong, it’s an unusually potent concoction.
Chases and scrapes aplenty, then, and some inspired visuals. And while the ending lacks wallop, and some may think it less radical than what’s gone before, at least it makes you think. 9 out of 10. Go see.