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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

    Final Destination: Bloodlines reboots cult favorite horror franchise

    Alex Bentley
    May 15, 2025 | 4:30 pm
    Kaitlyn Santa Juana in Final Destination: Bloodlines
    Photo by Eric Milner
    Kaitlyn Santa Juana in Final Destination: Bloodlines.

    On the surface, the Final Destination films really shouldn’t work. There is no villain other than the concept of death itself, and nearly every death that occurs is foreshadowed so heavily that it removes the normal suspense that comes in horror films. And yet the franchise was successful enough to spawn five films over 11 years in the early 2000s, and now a reboot, Final Destination: Bloodlines.

    A fantastic opening sequence set in the 1960s sets both the tone and the plot of the film, in which Stefani (Kaitlyn Santa Juana) has a recurring nightmare about a disaster that her grandmother, Iris (Gabrielle Rose), helped to avert. A visit to the reclusive Iris convinces Stefani that she and her family should not exist, and that each one of them is destined to meet a grisly end in the near future.

    Met with resistance from her family members, Kaitlyn is unsurprisingly proven right as the film goes along, with different people dying in a variety of bizarre ways. A visit to William Bludworth (the late Tony Todd), a mortician who’s been the one constant in the series, provides a glimmer of hope that they can cheat death. But will they figure it out before it’s too late?

    Directed by Zach Lipovsky and Adam B. Stein, and written by Guy Busick and Lori Evans Taylor, the film does not try to reinvent the wheel for the concept. The entire point is to get as creative as possible with the death scenes, and the filmmakers take that mandate seriously, with each successive death becoming increasingly gruesome. The Rube Goldberg-like manner in which each death occurs makes the scenes come off as entertaining instead of off-putting.

    The idea of Death hunting down an entire family line due to the actions of the family elder is a solid twist on the series’ central premise, and that change keeps the film from feeling repetitive. The story also introduces the possibility that the entire series is connected due to Iris’ actions, with the character possessing a scrapbook that references well-known incidents from previous films, a fun Easter egg for longtime fans.

    The creativity of the kill sequences does not carry over to the overall story, though. Almost every character in the film only exists in order to meet a horrific end, so anything that they have going on outside of being stalked by Death is purely window dressing. Consequently, it’s hard to really care about anybody, even if they are all related to one another.

    Because characters are so easily dispatched in the film, the cast is devoid of well-known actors. This is by far Santa Juana’s biggest role to date, and she does well enough to want to see more of her in the future. Adults like Alex Zahara and Rya Kihlstedt are character actors who bring some history with them, while the younger group is composed of people still trying to make names for themselves.

    Final Destination: Bloodlines is a solid return for the franchise, even if it feels more like a one-off film rather than a justification for more stories in the future. But given how easily the concept can be adapted into new circumstances, don’t be surprised if another movie pops up in a couple of years.

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    Final Destination: Bloodlines opens in theaters on May 16.

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