Review: 9

9

OPENING: 09/09/2009

STUDIO: Focus Features

ACCOMPLICES:
Trailer, Official Site

SOUNDTRACK:

The Charge
1 to protect us. 2 to inspire us. 3 to define us. 4 to teach us. 5 to guide us. 6 to lead us. 7 to defend us. 8 to guard us. 9 to save us.

Opening Statement
I have not seen Shane Acker’s acclaimed short film 9, which apparently wowed quite a lot of folks with its inventive vision of a post-apocalyptic world. However, when I saw the theatrical trailer for Acker’s feature-length adaptation, I was certainly intrigued. The animation appeared to be genuinely original and innovative, and I looked forward to exploring more of that world. While the visuals in the 78-minute version of 9 are indeed quite impressive, it’s disappointing to discover there isn’t much substance beneath the style.

Facts of the Case
The film opens on our protagonist, a small, mechanical, human-like stitch work figure (voiced by Elijah Wood, The Lord of the Rings) with the number 9 painted on his back. From this point on, we’ll just refer to him as "Number 9." Number 9 has just woken up and doesn’t quite seem to know who he is or what his purpose is. He wanders outside and sees a barren wasteland. It would appear that all of humanity has been wiped out. Number 9 soon discovers Number 2 (Martin Landau, Ed Wood), another stitch work figure who greets Number 9 with warmth and kindness. Unfortunately, Number 2 is quickly snatched up by a horrible mechanical beast and taken away.

Number 9 is understandably distraught, but soon encounters others much like himself who have set up a little colony of sorts. It’s led by Number 1 (Christopher Plummer, Inside Man), a stern leader who insists the best plan is to wait and hide until the mechanical beast stops functioning. Number 9 is appalled by such cowardly thinking, and attempts to convince the others in the colony that they should stage a rescue. Even if he can convince the others to battle the beast and whatever other terrors await in this post-apocalyptic world, do the little figures stand a chance against such overwhelming odds?

The Evidence
It is perhaps a tribute to Shane Acker’s artistic vision that he was able to get this film greenlit with such a flimsy plot. It is a maddeningly repetitive series of contrivances which allow three things to happen over and over again. First, a character is captured. Second, the remaining characters argue about whether or not to rescue the captured character. Third, at least some of the remaining characters do indeed decide to engage in a rescue attempt, setting up the next big battle scene. This formula is repeated from start to finish, with the beasts getting more intimidating each time, until we reach the inevitable battle to end all battles and a surprisingly hokey pseudo-spiritual conclusion.

To get all these situations up and running, the characters are required to be disappointingly stupid. It’s clear these little stitch work figures are capable of great intelligence, as demonstrated by some of their innovative ideas and thoughtful conversations. Number 9 generally seems to be the brightest, but does the single most foolish thing in the entire film (you’ll know what I mean when you see it). After a while, it’s hard to feel terribly sorry for the characters, considering they have brought many of these miseries upon themselves.

Still, the film is not an agonizing watch, simply because Acker and his animation team do such a fine job of keeping us fascinated with their design work. Number 9 and his brethren are such nuanced creations, each seeming to be the product of much thought and loving craftsmanship. Number 6 (Crispin Glover, Beowulf) is a peculiar eccentric with a tendency to draw the same key image over and over. Number 5 (John C. Reilly, Boogie Nights) is a one-eyed simpleton who seems to be the gentlest of the group. Number 7 (Jennifer Connelly, A Beautiful Mind) is a sleek-looking action hero whose facial expressions suggest she is living in her own personal Bond film. Number 1 somehow oozes arrogant menace even when he isn’t speaking, and his right-hand man Number 8 (Fred Tatasciore, Wolverine and the X-Men) seems to have twice as much bulk and half as many brains as anyone else. There is a level of expressiveness in these characters which has rarely been matched in animation, and that is an achievement worth noting.

Unfortunately, the monstrous robots aren’t nearly as compelling. These red-eyed drones feel like a mash-up of similarly intimidating creatures from Terminator: Salvation, Star Wars, and Battlestar Galactica, with a generous dose of steampunk thrown in for good measure. They exhibit no personality or elegance during their attacks, they’re merely anonymous if elaborate creations who seem to attack without any pre-set strategy or game plan. The action scene animation is perfectly fluid and engaging, but becomes tiresome. I wanted to know more about why someone decided to invent these machines and the stitch work people in the first place, the decisions made that led humanity to its destruction, and almost anything other than what we’re actually given. There were dozens of questions running through my mind, and the film only bothered to answer the ones I had no real interest in.

Closing Statement
Though 9 is a very disappointing film, I still believe Shane Acker is someone to keep an eye on. For instance, consider the career of Tim Burton (who serves as a producer of this film). It was clear from the very beginning that Burton had a distinct visual style and an original voice, but it took some time before he was able to fuse that style with equally impressive storytelling. Perhaps, as time passes, Acker’s filmmaking will evolve in a similar manner. In the meantime, 9 is only worth a look for animation aficionados who want to examine the technical achievements of the film. Those seeking an enjoyable sci-fi adventure will be sorely disappointed.

The Verdict
5/10

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