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Movie Review

Beautiful animation can't hide poor storytelling in Missing Link

Alex Bentley
Apr 11, 2019 | 1:35 pm
Beautiful animation can't hide poor storytelling in Missing Link
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In this era of movie franchises and pop culture adaptations in which we now reside, getting an animated movie that’s not based on some kind of existing property is a rarity. Laika Entertainment, the group behind Kubo and the Two Strings and Coraline, has been churning out films like that for over a decade using their patented stop motion/CGI hybrid method.

Their latest, Missing Link, looks as fantastic as ever, but may have needed some help in the story department. It centers on explorer Sir Lionel Frost (Hugh Jackman), who’s searched the world for elusive so-called mythical creatures in order to be accepted into an elite club. In a final attempt, he stakes his reputation on his claim that he can find the elusive sasquatch/Bigfoot, thought to be hiding in the Pacific Northwest in the United States.

Bigfoot (Zach Galifianakis) turns out to be much different than Frost had anticipated, as he can talk and write, and wanted nothing more than to be found by Frost. Dubbed Mr. Link by Frost, the two set out on an adventure to find Link’s long-lost cousins, the Yetis, in the Himalayas. The elite club’s leader, Lord Piggot-Dunceb (Stephen Fry), sends a bounty hunter, Stenk (Timothy Olyphant), to try to impede their progress at every turn.

As Laika now has six feature films under their belt, the animation is as impeccable as you’d hope. Nothing is designed to be hyper-realistic, but the detail the filmmakers, led by writer/director Chris Butler, put into every aspect of the film is staggering. There are the expected things like Link’s unique fur or the various humans, but other elements that would seem difficult to accomplish complete the immersive experience.

It’s great that the film is as pretty as it is as Butler never seems to find his footing with the story. The potential for fun is there, but the film never truly delivers, settling for jokes that are either too dry or too broad. The adventure the core group, which includes Zoe Saldana’s Adeline for no reason other than to have a female presence, goes on should convey a sense of wonder, but that too falls flat.

The idea of casting big name actors in voice roles persists in this film, although it remains unclear what their presence does for anybody in the audience. While each does a fine job in their respective roles, it’s doubtful that the film would do any better or worse if it were non-star voice actors speaking instead of Jackman, Galifianakis, or Saldana.

Missing Link is beautiful to look at, something for which Laika should be rightfully proud. It’s just a shame that the story attached to it doesn’t live up that standard.

Link (Zach Galifianakis) in Missing Link.

Link (Zach Galifianakis) in Missing Link
Photo courtesy of Laika Studios / Annapurna Pictures
Link (Zach Galifianakis) in Missing Link.
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Movie Review

Korean monster movie Hope delivers thrills despite its lengthy runtime

Alex Bentley
Sep 9, 2026 | 12:30 pm
Hwang Jung-Min and Hoyeon in Hope
Photo courtesy of Neon
Hwang Jung-Min and Hoyeon in Hope.

Monster movies can take on all sorts of different flavors, from all-out mayhem to quieter ones where the monster can sometimes be the protagonist. The new South Korean film Hope splits the difference to a degree, delivering action-packed sequences while also attempting to understand the non-humans in a way.

The story starts in medias res, with an unseen creature having already done great damage to a huge bull and laying waste to much of a small Korean town. The local sheriff, Beom Seok (Hwang Jung-Min), tries to take control of the situation in the town, while a group of hunters led by Sung Ki (Zo In-Sung) travel into the nearby woods to see what they can find there.

Thus starts a nearly nonstop, 160-minute epic of each side trying (and mostly failing) to defend themselves against gigantic creatures who seem hellbent on destroying everything in their path. It’s not until 40 minutes into the film that the audience is shown one of the monsters in detail, and the less said the better about what it actually looks like, as the mystery behind it keeps the intrigue going.

That initial section of the film is the best, as Beom Seok — eventually joined by deputy Sung Ae (Hoyeon) — goes on a frantic hunt around the town, always just far enough behind the monster to keep from seeing it. The utter destruction he witnesses and his interactions with various locals are intense and oddly funny, with the hectic conversations he has laced with fear and incredulity over how different people choose to act.

Writer-director Na Hong-jin bounces back and forth between the people in the town and the group in the forest, doing his best to maintain the momentum of the first section. This approach works for a while as each group makes their own discoveries about the creatures and has run-ins with them that more often than not are ill-fated. Using a mixture of relatively good CGI, great production design, and an abundance of gore, the filmmaker shows he knows how to make an effective blockbuster-style film.

The trouble is, he doesn’t know when to stop. Somewhere around the two-hour mark of the movie, the story starts to become repetitive and Hong-jin introduces elements that don’t mesh well with what has come before. For some reason, he decides that some of the creatures should speak, a move that is baffling on several fronts. The biggest one is that they are voiced by English-speaking actors like Michael Fassbender, Alicia Vikander, and Taylor Russell, but each speaks a non-human language, rendering their performances moot.

Jung-min puts in a fantastic lead performance, one that requires him to vacillate between abject terror and in-control leadership. In-Sung is almost as good, although his character requires him to play one note over and over again. Hoyeon, who some may recognize from Squid Game, delivers an extra shot of energy when she enters the film, something she keeps going despite her character being forced to say some bad lines.

If Hong-jin had kept the focus Hope a little tighter, the sci-fi thriller might have ended up toward the top of this year’s films. But by choosing to extend the story into territories that don’t add much to the plot or make much sense, the filmmaker puts a damper on what was a fun and brutal monster movie.

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Hope is now playing in theaters.

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