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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) and Connie (Isabella Rossellini) in Marcel the Shell with Shoes On.

Marcel (Jenny Slate) and Connie (Isabella Rossellini) in Marcel the Shell with Shoes On
Photo courtesy of A24
Marcel (Jenny Slate) and Connie (Isabella Rossellini) in Marcel the Shell with Shoes On.
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Movie Review

Avatar: Fire and Ash returns to Pandora with big action and bold visuals

Alex Bentley
Dec 18, 2025 | 5:00 pm
Oona Chaplin in Avatar: Fire and Ash
Photo courtesy of 20th Century Studios
Oona Chaplin in Avatar: Fire and Ash.

For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

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Avatar: Fire and Ash opens in theaters on December 19.

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