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    Movie Review

    Cuteness and whimsy carry SNL alum's small Marcel the Shell with Shoes On

    Alex Bentley
    Jul 11, 2022 | 1:27 pm
    Cuteness and whimsy carry SNL alum's small Marcel the Shell with Shoes On
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    For some Saturday Night Live cast members, their time on the show is the highlight of their careers. For others, a long run on SNL pushes them into comedy superstardom. But for a select few like Jenny Slate, who was there for just two seasons, their time on show is a mere footnote, obscured by the success they’ve had once they were allowed to spread their wings elsewhere.

    Slate had not hurt for work since leaving SNL in 2010, scoring a slew of TV parts and starring in the acclaimed 2014 film Obvious Child. She’s also become a go-to voice actor for Disney and others, a career she started in 2010 viral video, Marcel the Shell with Shoes On. She’s now come full circle, as she and co-creator Dean Fleischer-Camp have expanded the short stop-motion videos they did into a full-fledged feature film.

    But even though the screen is bigger, the story remains as small and whimsical as ever. Marcel (Slate) is, as the title would suggest, a one-inch tall, one-eyed shell who wears shoes. He lives in a house with his grandmother, Connie (Isabella Rossellini), one that used to be occupied by a human couple but is now rented out as an Airbnb. The house’s latest tenant is a documentary filmmaker (Fleischer-Camp) who becomes fascinated by Marcel and records him going about his life.

    There’s little more to the plot than that, although the idea that the rest of Marcel’s family was accidentally taken when the former owner moved out comes into play. A search for the family winds up involving a bunch of would-be TikTok influencers and, somehow, 60 Minutes’ Lesley Stahl, but the film rarely steps outside of the house in which it started, keeping their world contained.

    What makes the humor of the film work is that there’s no struggle with trying to figure out how a shell has come alive or anything like that. Marcel merely exists and that’s good enough for Dean and everyone else with whom Marcel comes into contact in the film. And so when Marcel shows Dean the intricacies of his life, from using honey on his feet to climb walls to jury-rigging a mixer to help shake nuts off a nearby tree, we can just enjoy the quirks without thinking about it too hard.

    Of course, Marcel living in a human-sized world makes up a lot of the fun of the film. In addition to the aforementioned hacks Marcel has devised, other adaptations are a delight to witness, like using a bottle cap to drink water or hopping from key to key on a computer keyboard. The miniature nature of Marcel’s world comes close to cuteness overload, but the filmmakers never overplay their hand.

    The film being released by indie studio A24 should give viewers a good indication of the intended audience. While the PG-rated film is certainly family-friendly, it never panders or dumbs down its content. The stop-motion animation is deceptively simple, and stands out because it takes place in a recognizably human setting, making each movement all the more precious.

    Slate’s voice work as Marcel is most of the reason why the character is so lovable. With a sound that makes it seem like she’s holding her breath with every line, she makes Marcel into a completely believable being, stripping away any artifice. Fleischer-Camp is the straight man as the mostly-disembodied voice of the filmmaker, but he plays an important part in giving legitimacy to Marcel, and his earnestness is never in doubt.

    It was easy to be skeptical of how a character that previously existed in short YouTube videos could carry a whole film, but the performance of Slate, the excellent animation, and the uncynical storytelling makes Marcel the Shell with Shoes On the perfect balm in a summer dominated by blockbusters.

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    Marcel the Shell with Shoes On opens in theaters on July 15.

    Marcel (Jenny Slate) in Marcel the Shell with Shoes On.

    Marcel in Marcel the Shell with Shoes On
    Photo courtesy of A24
    Marcel (Jenny Slate) in Marcel the Shell with Shoes On.
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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
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