Life as we know it has ceased to exist. At least not in the new film “9.” What remains of humanity, besides the heaps of metal and scrap mementos from the abandoned past, is not truly human. All that has survived in this post-apocalyptic world is a group of ragdoll-like beings, also described as “stitchpunk” characters. The term “stitchpunk” is the latest addition to a genre of terms with the “-punk” suffix, including “cyberpunk” and “steampunk.”
The film’s main stitchpunk is 9 (voiced by Elijah Wood), who awakes alone in a ruined world. Hope arrives when a stitchpunk named 2 comes to save 9, but that hope is short lived. A mechanical monster ambushes them and kidnaps 9’s would-be savior. But 9 soon discovers other stitchpunks and rises to lead his new comrades into the unknown to rescue 2 and unearth the mystery of their purpose.
“9” comes to life with beautiful animation, set in a ravaged, post-apocalyptic and fearsome universe that hints at remnants of Earth. This is no surprise, coming from Tim Burton, one of the film’s four co-producers. The stylistic lean of “9” — in terms of story and show — demonstrates the macabre wit present in many of Burton’s films.
“9” is just as mischievous as it is frightening, not only for its jump-in-your-seat scares, but the visceral and meticulous design of the characters and the environment. The sound design is equal to the visuals, helping to flesh out the atmosphere, both for the story told and for the fearful plausibility of it.
Still, “9” is enjoyable despite the humbling overtone. It is entertaining and engaging.
The story is enriched by the sensory details threaded throughout. The stop-motion effect of the animated scenes helps create a special sense of care.
Perhaps the most winning of many fine details are the goggle-like lenses the stitchpunks have for eyes, which mechanically adjust like a camera aperture. Like the pupils of human eyes, the stitchpunks’ lenses open and close as they move in and out of various degrees of light.
But as masterful as the detailed stitching of “9” is, it does appear patchy in some areas.
Acker originally created “9” as an 11-minute student project back in 2005, and the gaps between the short and the feature-length film are notable. The characters seem somewhat homogenized, but they lack something undefinable, which is more apparent than in his original short. This could be attributed to the addition of celebrity voice-overs — the original had no dialogue — or the overwrought disposable nature of characters. Even the machine-beasts have less personality than Acker’s original idea.
The Cat Beast, in particular, appears more methodical and sinister with a hair-trigger temperament, which replaces the catlike patience to stalk his prey as in the short.
The pace of the film is frantic, even without comparing it to the more meditative short version. It likewise ends abruptly, making the plot appear to be no more than a quick succession of boss battles with a hasty explanation at the end.
Overall, though, “9” is worthy of attention, if only for its daring storytelling. In an age where animated films come a dime a dozen, “9” brings something unique to the table, in aesthetics and story line.
Despite the holes in need of repair, the visual delights in “9” outweigh the shortcomings. “9” hit theaters on Sept. 9. Check out the original short here. 9 By Shane Acker
