The film truly seems to believe that sex isn’t a positive experience that people are meant to share - it’s something that you stand on a cartoon dog’s shoulders to watch other people do through the window while you jerk off. I think it goes off the rails in part because there’s some seriously repressed puritanism lurking beneath the surface. For all the talk of sex, “Cool World” is profoundly - almost disgustingly - unsexy. Watching it fail to live up to that promise is utterly fascinating. It’s easy to imagine a “Fritz the Cat”-loving cinephile being elated by the news that Ralph Bakshi was going to apply his brand of animated sleaze to a live-action canvas after the success of “Who Framed Roger Rabbit?” And the idea of an adult-oriented riff on Zemeckis’ formula doesn’t sound theoretically terrible either. To me, this movie embodies the “halfway decent idea executed unimaginably poorly” subgenre that I love so dearly. Really makes you wonder how many other tragedies in this film could have been prevented by a competent city government. It appears that Brad Pitt has a taxpayer-funded job as… The Anti-Fucking Police? His only responsibility for the past 47 years has been preventing Noids from having sex with Toons, despite the fact that up until very recently he was the only Noid? In a world that’s literally riddled with trash fires and rabid dogs and peeping toms, I think it’s an inexcusable mistake to have him devote his entire law enforcement career to policing his own celibacy. I do, however, have some concerns about the legal system and allocation of police resources in Cool World. Not sure if this is a testament to the film or an indictment of my personal character, but I enjoyed every second of it. I could tell that the skeleton of a conventional Hollywood movie was lurking somewhere underneath “Cool World,” but all I could see was the blubbery mass of what can only be described as animated chlamydia that was draped over it. This was the first time I’ve ever walked away from a film with the unshakeable feeling that I caught an STD from watching it. We’ll go in afterwards and add the three sickly women giving handjobs to spherical purple demons while dodging urine streams from anthropomorphic sewer rats.” -Ralph Bakshi every day on set, I imagine. “Alright, Brad, all you have to do is stand there and hold your arm at a 120 degree angle as if there’s a watermelon floating next to your ear that you’re trying to squeeze with your elbow. AF The Aftermath: Yep, Brad Pitt Fucked That Cartoon in “Cool World” He quickly learns that in Cool World, humans or “Noids” ( gag) are prohibited from fornicating with the cartoon beings known as Doodles - or something bad that never really gets explained might happen. Enter Holli, who really wants to fuck a human dude because that just might make her human? Maybe? Enter Gabriel Byrne, looking horny and confused as ever, as Jack Deebs: the tortured comic book artist who created the in-universe “Cool World,” and might just give Holli what she wants. “Poltergeist” co-writers Michael Grais and Mark Victor ultimately get the writing credit on an icky, misguided story you can safely pick for parts but exemplifies the sometimes mesmerizing lows that can come from artistic disasters.įresh off his breakout in “Thelma & Louise,” Brad Pitt stars as a World War II veteran and victim of a hit-and-run inexplicably sucked into an animated world. His last film in the end, Bakshi’s inverted, perverted take on Toontown went through countless rewrites and far too tumultuous of a production process to produce anything cohesive. A 75-foot billboard cutout of “Cool World” breakout star Holli Would - a gogo dancing villainess, voiced by a bimbo-fied Kim Basinger - heralded Bakshi’s return, and was erected above the “H” in the Hollywood sign that summer in Los Angeles. So, naturally, for its slimy, ill-advised knockoff, Paramount risked no original IP and left its talented director to languish in an inky puddle of studio interference and missed opportunities.īakshi, a visionary animator and director, was best known then for the masterful “American Pop” (1981), and the stunning hand-drawn “Lord of the Rings” (1978). Plus, it introduced bonafide sex symbol Jessica Rabbit to the drooling masses via a sincere story with some real technical chops. The cartoon crossover event allowed Looney Toons’ Bugs and Daffy to miraculously share a screen with Disney’s Mickey and Donald to uproarious success. Working with the biggest budget of that decade, “Roger Rabbit” - starring Bob Hoskins opposite a fast-talking animated bunny, voiced by Charles Fleischer - won three Oscars and pulled the highest box office of its year. ‘Joy Ride’ Director Adele Lim Claps Back at Criticism Her Wild Comedy ‘Objectifies Men, Targets White People’
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