Linkshoch Wonderful Movie

Grimerlana Plenty to Like, Plenty to Dislike

Marketic It's no definitive masterpiece but it's damn close.

Kayden This is a dark and sometimes deeply uncomfortable drama

elicopperman Over the span of 30 years, Who Framed Roger Rabbit has been lauded for its technical innovations, admirable tongue-in-cheek tribute to cartoons from the Golden Age of American Animation and classic film noir, and just being a fantastic film in every regard. What was originally a book by the name of Who Censored Roger Rabbit went through roughly seven years of development before finally reaching the big screen in the summer of 1988. Since then, the movie would become arguably one of the most influential films of all time, and would also help launch the animation renaissance of the 1990s next to The Little Mermaid and Ren & Stimpy. As for me, considering that this is my all time favorite movie, you can bet I have much to say about it.Set in Hollywood around 1947, where cartoon characters exist in the real world, cartoon star Roger Rabbit is accused of murdering owner of Toontown, Marvin Acme. This was the result of alcoholic private eye Eddie Valiant getting hired by cartoon producer R.K. Maroon to investigate adultery involving Roger's wife Jessica and Acme. Now Roger tries to get Eddie to clear his name from the villainous Judge Doom who vows to destroy him and all other toons. While that plot does sound wacky in concept, it nonetheless adds in to the film's tone, as the whole film is a passionate love letter to the style and humor of cartoons from the 1940s. The very first scene is a Roger Rabbit/Baby Herman cartoon entitled Somethin's Cookin', which is a rapidly paced homage to the zany cartoons of Tex Avery and Hanna-Barbera. Of course the other pairing of toons themselves are memorably hilarious, especially that famous Daffy Duck and Donald Duck piano duel, but the film always keeps on its toes to make sure the main story doesn't get out of focus.In terms of the film noir aspect, the general story is executed as one big crime case that has much more hidden underneath it as Eddie unravels more clues. Admittedly, the plot can be a little complicated to follow at times, mainly due to the immense amount of details once everything is revealed, although it does make much more sense upon repeat viewings. Nonetheless, the buildup further creates the necessary suspense and thrills to figure out who exactly is behind the cartoon murder case. It's with all of these elements that help recreate the original book's mystery angle while condensing it a bit to play around with the cartoony antics and fast paced comedy. It's debatable whether or not the filmmakers studied any particular film noir classics, but the film's point of view as a thriller is so well put together that it's hard to believe that wasn't the case.As for the characters, Eddie Valiant may start off grouchy, but it's through his backstory that explains his inner struggles with toons, and Bob Hoskins portrays his down-to-earth persona up to the point where one could also relate to something they love ruining their life. Charles Fleischer pulls off Roger's voice, and while some could find it annoying, he manages to carry Roger's emotions in context to the human actors astonishingly while making him delightfully amusing. Jessica Rabbit could pretty much be called the spiritual successor to Tex Avery's Red Hot Riding Hood, mainly from her bombshell design and scarlet attire, but she's also a very devoted wife to Roger, showing how sometimes a human and a rabbit being married ain't so bad after all. Lastly, Judge Doom may seem like a subdued psychopath at first, but his plan to wipe out all toons is so diabolical that his reveal sums up his whole character. While there are other fun characters like the weasels, Dolores, Benny the cab and Baby Herman, they're not quite as developed as the rest, but they do their jobs well as supporting characters. What's interesting to mention is a subtle social commentary on how the toons are depicted. Similar to the book, the toons are depicted as minorities, since real people don't really interact much with them outside of working in Hollywood, unlike that of Eddie and friends or Judge Doom and his weasels. Not to mention, the scene where Roger tells Eddie how laughter can be a very powerful thing while standing on a soap box is rather symbolic of African Americans standing up for their own rights. In fact, ToonTown is essentially a ghetto since only toons live there far off from the people of the real world. Hell, Roger stated in the film, "there's no justice for toons anymore," as if that statement was similar to how little justice there were for people of different races back then. It's when Judge Doom reveals his plans to turn ToonTown into a freeway where viewers may see the lovable toons in a completely different light. While these metaphors are more subtly played out, this really makes that legendary happy ending with all our favorite animated characters celebrating Marvin Acme's will surfacing their free rights a blessing in a way.I think Richard Williams was the perfect choice to direct the film's animation, as he and his crew managed to set up distinct rules in combining the toons with the real world. For example, when Roger crashes through R. K. Maroon's office, the hole he leaves behind looks just like him, and one scene shows Roger spitting out realistic water, not water drawn on paper. This is not only thanks to the highly talented animators, but also ILM who helped create a wonderful method of compositing the traditional animated characters into the same environments as the live actors without using advanced computers. The processes ranged from prop manipulation, to superimposing the frames on photostatic blowups, to multiple matte layers, and especially constant camera motion, showing just how painstaking the process must have been for the crew. In addition, Williams designed Roger based on features of characters born out of Warner Bros, MGM, and Disney. Considering how hard it is to make real people interacting with characters of another realm look convincing, the techniques worked so well that one could imagine the film's world being real.Of all the films that have combined live-action and animation, as well as being tributes to classic cartoons and crime thrillers, there may never be one that will even come close to topping this one. Who Framed Roger Rabbit still stands the test of time for its fantastic technical achievements, intriguing story with some hidden albeit smart depth and satire, lovable characters and charming imagination. At this point, there's no reason not to see this film again, as anybody who loves cartoons, film noir, or even highly creative movies in general will get a kick out of this now as much as the audiences of back then. And now, to end this off, time to quote the movie itself: "Things are never black as they are painted, time for you and joy to get acquainted. So make life worthwhile; come on and smile, darn ya, smile."

invisibleunicornninja Sights and Sounds - This movie has some pretty good cinematography. Even better and more impressive however, are the effects. The cartoon characters are almost perfectly incorporated into the real sets in a ways that are actually a lot more impressive than what more recent films have attempted with modern technology. The voice acting and overall sound design are also pretty good. Characters - Though there are a few minor inconsistencies with characters, they're pretty entertaining and interesting for the most part. The acting is pretty good as well. Everyone clearly had great direction here.Plot - Though there are some dumb moments, this movie is overall very clever and entertaining. Rating - I'm not entirely sure why this movie was trying to go for a PG rating. There are lots of dark and sexual themes in this movie that could've been better explored with a higher rating. I guess its because this movie features child-friendly characters like Bugs Bunny.

Foreverisacastironmess I love this movie so very much, I think it's a sublimely-crafted one-of-a-kind amazing experience of a film to watch on various levels, and I don't believe that there's ever been another one that combined the use of animation and live action that has even come close to the kind of pure magic that was achieved so perfectly with this wondrous little picture back in '88. With every scene you can feel the downright astronomical effort that must have been put into every moment of the movie to make you fall in love with the fantastical world that it presents. They really pulled out all the stops to make you believe that cartoon characters were walking and talking with real world regular people, and nothing is lazy whatsoever about the production of the animation and live-action combinations, they gave the animated characters animated shadows, they had the physical environment reacting to the frequently calamitous movements of the toons as well as the actors reacting to them, such as when Jessica pinches R.K. Maroon's cheeks, and the ultimate hybridisation of the physical and animation stuff is the rather terrifying toon form of Judge Doom! I find it such a joyous marvel to sit through and it was always a big favourite of mine and I love it just as much now as when I was a kid, it gives me a warm feeling just to think of some of the scenes, like the entire sequence at the Pink and Paint Club, and the sweet Betty Boop cameo that saw the voice actress resuming her iconic voice role after fifty years and the way that she seems to be the only toon at that point in the story that Eddie Valiant has nostalgic admiration for. I'm always blown away by the whole opening sequence where Eddie walks down the 40s street to that terrific classy music score while the toons chaotically go about their business everywhere and the film in general seems to come with a sense of nostalgia that's built into its very fabric and atmosphere. I mean you'd have to be totally heartless for there not to be some little thing that you love or appeals to your inner child about it, because if the rich tone, fantastic visuals and great sight gags don't grab you, the characters will! The sadly late but forever great Bob Hoskins was solid in his role and was really the grounding force of the movie as his good old-fashioned down on his luck hard-boiled detective completely contrasts with and reacts to all the weird and wacky characters around him, and undergoes a real arc as he delves deeper into what's going on and uncovers the dark secret that threatens all of the toons and regains his humour, pride, and respect for them along the way. He and Roger made a great unlikely team, and as hyper and loud as he is, Charles Fleischer delivered a voice performance as Roger that was very lovable and endearing, which I think is because he occasionally reigned in his energy a little and gave the manic clownish rabbit moments that help to make him more well-rounded and relateable. And of course he is enormously backed up by his significant other Jessica Rabbit, who arguably stole the show! What a sassy legend the movie made in her, she's so brazenly sexual and it's so hilariously blatant the the way the buxom babe sensuously sashays around in her scenes! She's the most human-like of all the toons and does feel more like a human than one of them, with the exception of her reaction when she's faced with the dreaded Dip! Kathleen Turner gave her the ideal voice that perfectly captured the traits of a classic sultry femme-fatale... And Christopher Lloyd was just phenomenal as the ice cold and utterly ruthless terror of Toon Town, Judge Doom! He's a villain who by his commanding presence alone brings the fear to a generally happily-toned picture - due in no small part I'm sure to the frightening threat that he poses to the seemingly indestructible toons with his Dip, as clearly demonstrated for the audience in the famously chilling moment where a poor helpless shoe gets it! On subsequent viewings the little signs of his true nature are cool to spot, not just the constantly billowing cloak, but how he always avoids the Dip, how he can smell Roger on the record, how he moves kind of stiffly and has odd skin that's almost rubbery and teeth that are too big and white! I love the mystery of Doom, how could a toon who's purpose is supposed to be to bring joy and laughter yet who disguises himself as a stern humourless man, be so completely evil and twisted that he'd concoct an elaborate scheme to ultimately give him the power to eliminate his own kind? When the truth is finally revealed and the mask comes off(sort of), he's finally free to let loose and really goes creepily crazy with it!! I think what would have made a perfectly great happy ending even better, would have been if they'd have made a kind of callback to the poignant early scene in Eddie's office, by showing new pictures of Eddie and Delores on their planned vacation, joined by Jessica and Roger this time, and maybe some showing that Eddie and Roger had teed up as a new detective duo: Valiant and Rabbit! I think Who Framed Roger Rabbit is a solid gold classic because not only is it a fantasy come to life and a loving homage to the beloved animated characters of yesteryear, but also because it creates such an amazing alternate reality within the world of the movie that feels so rich and alive and fun to watch and that you'd love to be a part of and is so memorable and precious, it's a glorious celebration of childhood joy, animation, ingenuity, and the imagination. X

Mr-Fusion I watched "Who Framed Roger Rabbit" so often growing up, and few movies from that age still maintain this level of (re)watchability. It's so well-worn, yet still entertains on a surprising level.And really, what's not to like about this movie? It's imaginative, colorful and a little bit insane; like stepping into an alternate reality. That mix of a beautifully-realized 1947 Los Angeles and manic toon world is well handled and makes this a great place to spend 100 minutes in. The animation is first-rate; luminous and mingles believably with the human world (and vice versa). It's a technical marvel, but really, the key to all of this actually working is Bob Hoskins. He does the legwork and makes you believe that he's really talking to a toon (and not a placeholder for ink-n-paint to be added later).To this day, this is still one of my favorite movies, and one of the very best I've seen from Disney. The craft that's on display here is highly polished, and treats like this do not come along often.Especially these days.10/10