Cloudy with a Chance of Meatballs is based on an apparently well-loved (but also seemingly not that widely known) 1978 children’s book. It tells the fantastical tale of a young, reckless inventor, Flint Lockwood (Bill Hader), who’s crowning achievement turns out to be a machine that can transform water into food. Previously a recipient of social derision and mockery, Flint’s latest invention takes the town by storm (quite literally) and gradually leads him down the familiar filmic path of success vs. sanity, selfishness vs. selflessness. But while the themes are familiar, the execution is not; Sony Pictures Animation and Columbia have joined forces to craft a joyfully imaginative, family friendly romp that is surely guaranteed to put a smile on even the most hardened critics’ faces.
CGI film output generally varies in quality but one studio, Pixar, has remained the most dominant and consistent force for many years. The emergence of this charming little treat of a film will hopefully push the two studios onto even greater things. The cast list is not as star studded as many voice-over fests, but the cast here are all on great form, lending humour and likeability to a diverse cast of characters. Bruce Campbell cameos as the mayor of Flint’s little town and Mr. T puts in a hilarious shift as a supercharged police officer.
Food for Thought
The film picks up pace through a swift but nicely paced first act until Flint’s machine begins to cause food to literally fall from the sky like rain (hence the unwieldy title). Even in these opening exchanges, in which characters are introduced rapidly, the writers still left room for some heart-warming moments. It is a credit to the script that despite the film’s near relentless pace, they manage to rein in the characters when it matters most, even if only briefly. These characters are animated in an over-the-top style and are universally well-designed, with adorable big-eyed faces or (in the case of Steve the monkey) delightfully cute physical ticks. In fact, the whole film is a visual treat, the story allowing the animator’s wild panache more and more free reign, to the point where the film transforms into a whirling, hallucinatory smorgasbord or imaginative excess.
The film delights in showing off the eccentricities of the story, painting gloriously colourful skylines and giant houses of (satisfyingly bouncy) jelly right, left and centre. There were plenty of children in the viewing I saw, and they demonstrated their appreciation of the film’s imaginative vision by sending audible coos of excitement echoing around the theatre, including one particular moment about half way through, when a girl in the row behind said “Wow, ice cream” in an enchanted voice.
As if the roiling visuals weren’t enough, the film is frequently very funny. The script is adept at slapstick and physical gags, but there are some delightfully stupid character ticks embedded in the characters, such as Flint’s habit of commentating out loud on the actions he’s performing (“Charging! Painting!”) and his pet monkey’s obsession with moustache’s. The film is loaded with quick, snappy jokes and even some cinematic references that will please all age groups. It’s far too fast and colourful for children to get bored, and too determined to win over the adults that you can help but be sucked in.
Reviewing!
The film’s overly familiar characterisation and themes are perhaps it’s only real weaknesses, but that isn’t to say they are weak elements in and of themselves; indeed, Flint’s relationship with his estranged father is rather touching, and Anna Faris’ love interest is sweet and likeable. The final act is also perhaps a little cluttered, but overall these are tiny complaints and it would be unfair to bog the film down in pedantry. Simply put, this is a film that throws everything at the screen in an effort to entertain, and it does so admirably.
