John Chard
⭐ 9/10 April 13, 2020
You are who you choose to be.
It's the 1950s and young Hogarth Hughes happens upon a visitor from space ..... in the form of a giant iron man.
Delightful animation adaptation of Ted Hughes' much beloved 1968 novel "The Iron Man". Set during the period of time when Cold War and sci-fi paranoia was prevalent, The Iron Giant embraces these themes and stokes them with lessons of friendship, hatred, death and pertinent reminders of pacifism. Dir… read the rest.
You are who you choose to be.
It's the 1950s and young Hogarth Hughes happens upon a visitor from space ..... in the form of a giant iron man.
Delightful animation adaptation of Ted Hughes' much beloved 1968 novel "The Iron Man". Set during the period of time when Cold War and sci-fi paranoia was prevalent, The Iron Giant embraces these themes and stokes them with lessons of friendship, hatred, death and pertinent reminders of pacifism. Directed by Brad Bird and scripted by Tim McCanilies and Andy Brent Forrester, The Iron Giant is one of those rare animation animals that delights the kids as much as it does the watching adults. Though the actual giant himself, with all his dazzling weaponry, is the star attraction on show, it's the iron colossus' inner conflict that gives the film its heart. Aided by his friend, young Hogarth, good old iron decides he doesn't want to be a big weapon, but the authorities, as is nearly always the way, just can't let it be. The unflinching attitude that ran through many of the 50s sci-fi schlockers was one of being "because we don't understand it, lets destroy it" is something that Ted Hughes and the film makers here capture perfectly. Sophisticated and intelligent in its approach and delivery, this is definitely one of the better animated film's from the modern age. 9/10
Voice work comes from Jennifer Anniston, Harry Connick Jr, Vin Diesel, James Gammon, Christopher McDonald, M. Emmet Walsh and Eli Marienthal.
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CinemaSerf
⭐ 7/10 July 2, 2024
When a ship is caught up in a storm, it's captain finds the most unlikely of saviours - but nobody back in the town of "Rockwell" believes him! Hardly surprising as he claimed to have been rescued by an hundred foot robot with bright yellow eyes. "Hogarth" is an enthusiastic young lad who wants to keep a pet. His mother ("Annie") is having nothing to do with this, especially after one of his candidates manages to just about wreck the diner where … read the rest.
When a ship is caught up in a storm, it's captain finds the most unlikely of saviours - but nobody back in the town of "Rockwell" believes him! Hardly surprising as he claimed to have been rescued by an hundred foot robot with bright yellow eyes. "Hogarth" is an enthusiastic young lad who wants to keep a pet. His mother ("Annie") is having nothing to do with this, especially after one of his candidates manages to just about wreck the diner where she works and turn scrap man "Dean" into "Deana" in the process. Dejected at home alone, he hears some strange noises and armed with his pop gun and a torch, sets off into the forest to find the source. When he discovers that the fisherman's tale wasn't so long after all, the pair begin to bond and the story takes on a familiar look. It does have shades of "The Day The Earth Stood Still" as it shows clearly the typical reaction to something strange, new and big - the government and the army are soon in hot pursuit with little intent on diplomacy but with plenty of tanks, missiles and ultimately the "bomb" - just as destructive to them as to the "monster". It's really the characterisations that help this stand out. The style of animation is simple yet potent, the creature positively emanates a degree of decency and charisma and the relationship with the young boy that manifests itself to us is one that amiably resonates whether that be with a real friend, an imaginary one - or one from outer space who doesn't much like guns and has an almost infantile approach to life. Proof that when you have a solid story and tell it well, the gadgets, gismos (and there are a few, here) and visual effects don't matter so much as the soul of the thing.
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