Soundtrack problems aside, the main character is an enjoyable one, and I liked how the film pitted him against the American cavalry, nicely personified in a colonel voiced by James Cromwell. I just expected him to punctuate every passage about running free through the wild with “… and it cuts like a knife!” Could’ve been worse. His sound, while OK for one or two songs, is inappropriate for this movie’s entire soundtrack. The same can be said for some rather kitschy songs by Bryan Adams, who has provided material that could be best described as “throwaway.” They are lyrically banal, with Adams role-playing as a mustang, a transition that his pop star persona doesn’t pull off. Damon’s droning narration doesn’t do major damage to the film, but it doesn’t do much to enhance it. Yes, it tells us the aspects of the story that can’t be expressed with a horse sound, but the story isn’t so complex that we need help understanding it. The portions of the film where the horses communicate without human language are often so effective that I wonder if the Damon narration is even necessary. The title character, a stallion of unbreakable spirit, has “thoughts” voiced by a bland Matt Damon, but we never see Damon’s vocals coming from the horse’s mouth. They communicate through facial expressions, whinnies, snorts and neighs, and the effect is entertaining and adorable. Unlike your usual Disney fare, Dreamworks has opted to not have the animals in their feature talk like humans. The movie chronicles the Old West as seen through the eyes of a horse. Ultimately, it’s a sweet story told in a unique, surprisingly inventive way. The kernel usually starts emotional and even angry before the narrative cleans up and moves across the spectrum into polite society where eventually even galleries and collectors become enthusiastic.A combo of traditional animation and computer wizardry, Spirit: Stallion of the Cimarron is a beautiful looking movie that suffers a bit due to some lousy Bryan Adams songs. We have tried to extend the impact of cultural protest to emphasise those artists and designers who go beyond mere representation and dare to discuss real solutions.Īnd even if the medium of protest expands in the age of social media, it should be recognized that rough skills as well as cheap accessible materials have always been at the core of protest art – posters then, memes now, photography then, NFTs now. In the new issue of DAMNº – The Art of Protest – we side with those creatives whose work bites deep, with those who use their craft to protest, and specifically with those who reach out to the public directly as collaborators in that fight against iniquity. Dubbed the “first TikTok war” the current battle raging in Ukraine against Vladimir Putin’s reckless imperialism is taking advantage of user outrage.Īs British art critic John Bergen so poignantly said, “Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.” And that’s just what we all want – TikTokers, magazine subscribers, TV addicts, artists, designers, and architects alike.
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