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    Movie Review

    Early Man comes up short of its goal as an animated film for the ages

    Alex Bentley
    Feb 16, 2018 | 3:50 pm
    Early Man comes up short of its goal as an animated film for the ages
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    As a British animation company, Aardman Animations naturally makes films that skew toward the mindset and aesthetics of that side of the pond. Some are subtle, some are more overt, but the ones that have been more successful have attempted to make the experience universal.

     

    You would think that their latest offering, Early Man, wouldn't be that provincial, as it promised to tell a story about how people of the Stone Age ran into trouble when the Bronze Age started. Director Nick Park and his team could have mined the anachronistic clash for all sorts of funny moments and interactions, with perhaps a few nods toward more modern jokes.

     

    Instead, the film is almost entirely about … football (aka soccer). There are plenty of gags about issues that early man might face (giant carnivorous ducks, anyone?). However, the bulk of the narrative involves Dug (Eddie Redmayne) attempting to whip his ragtag group of Stone Age people into proper football shape to take on the highly skilled Bronze Age team put together by Lord Nooth (Tom Hiddleston).

     

    It's clear in the way the film focuses on certain aspects of the game — prima donna players, erudite announcers, etc. — that it is aiming at a very specific, European audience. Soccer may be the most popular sport on the planet, but only certain people will be able to relate to the finer points of the movie.

     

    Unfortunately, this single-mindedness has a dulling effect on Aardman's normally reliable general humor. It's still possible to enjoy the dimwitted characters with their signature gap-toothed overbites, and the non-sequiturs that randomly pop up are a delight. But since they're in service of a plot that's less interesting than usual, it takes away from the overall product.

     

    The level of skill it takes to make Aardman's stop-motion animated films remains highly impressive, but the story of Early Man will likely prevent that artistry from reaching as broad an audience as possible.

    Lord Nooth (Tom Hiddleston) in Early Man.

    Lord Nooth (Tom Hiddleston) in Early Man
      
    Photo courtesy of Aardman Animations
    Lord Nooth (Tom Hiddleston) in Early Man.
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    Film Fest News

    Top picks of the 2025 Asian Film Festival of Dallas coming in July

    Teresa Gubbins
    Jul 3, 2025 | 11:27 am
    Baby Assassins: Nice Days
    AFFD
    Asian Film Festival's Baby Assassins: Nice Days

    The annual Asian Film Festival of Dallas — a nonprofit dedicated to celebrating Asian and Asian-American filmmakers — returns in 2025 with more than two dozen films including action movies, comedies, thrillers, and short films.

    The four-day festival will take place July 24-27 at the Angelika Film Center Dallas, 5321 E. Mockingbird Ln. #230, and will include award-winning films, premieres, and red carpet action.

    Highlights include:

    • Opening Night July 24: Shinji Araki's Japanese thriller Penalty Loop
    • Centerpiece July 25: Johnny Ma’s comedy-drama The Mother and the Bear (Johnny Ma will also be in-person at AFFD to participate in the post-screening Q&A.)
    • Women's Showcase July 26
    • Closing Night July 27: Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days

    AFFD will also host a special Saturday Women’s Showcase spotlighting female filmmakers from across Asia—South Korea, India, Singapore, and Vietnam—as well as the U.S.

    "For the festival as whole, while fans can still count on the high-energy action films we’re known for, a deeper theme emerged as I programmed the lineup — the power of connection," says Programming Director Paul Theiss in a release. "This year’s festival explores the deep human need to reach out, be seen, and never go it alone. And what better place to celebrate that spirit of connection than at a film festival, which brings us together through the shared experience of storytelling.”

    Women's Showcase
    Highlights include:

    • Mye Hoang's 25 Cats From Qatar. Film about an American flight attendant and cat cafe owner who reacts to a homeless cat crisis in Qatar by coming up with a plan to fly 25 cats to Milwaukee, with her cat cafe providing the way for people to adopt them.
    • Dương Diệu Linh’s Don’t Cry, Butterfly. Focuses on a wedding venue staffer who learns of her husband’s affair while watching live TV. Instead of confronting him, she uses a voodoo spell to reclaim his love.
    • Nelicia Low’s Pierce. Thriller follows the push and pull between a young fencer and his estranged older brother, recently released from juvenile prison after serving time for killing an opponent during a fencing match.

    All three filmmakers will be in Dallas to participate in Q&As following their screenings.

    Sunday will feature films with attending filmmakers leading up to the Closing Night screening of Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days, including:

    • Jeff Mann’s Paper Marriage finds comedy and drama in the story of a Chinese immigrant facing deportation, who pays an unemployed and directionless man to marry her.
    • Lee Jong-min and Yeum Moon-kyoung’s South Korean comedy The Last Woman on Earth looks at a female screenwriter who finds tension with her fellow film students due to her script’s anger toward men.

    Also noted for its singular party presentations, this year the Asian Film Festival of Dallas will complement the screenings and filmmaker appearances at AFFD with Opening Night, Centerpiece, and Closing Night parties at the Angelika Film Center with Asian cuisine and crafted drinks by George Kaiho, featuring Suntory Japanese Whisky, as well as themed presentations, filmmaker meet-and-greets, and photo opportunities for film fans who have come out to enjoy the great AFFD programming during those evenings.

    To purchase badges, tickets, and find a full list of all the films, go to asianfilmdallas.com.

    Over the last 20+ years, the festival has provided opportunities for more than 400 Asian and Asian-American filmmakers to share their vision, often providing the only venue for their films to be shown in Dallas. The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats.

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