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Coraline 2009

An adventurous girl finds another world that is a strangely idealized version of her frustrating home, but it has sinister secrets...

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Imdb rating: 7.7

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Still one of my favorite movies! I love it.

none of these link dont even work they all go to some snow boarding crap

I think that this movie looks incredibly well made and extremely entertaining. I have no doubt that this will hit big in the box offices and big in everyone's hearts the week it comes out.

Henry Selick has never failed us before. We should have faith in him that Coraline will top everything that he's done in the past.

I fully support this Coraline movie 100% And you can bet that you'll see me first in line at the theaters ready to see this movie, excited and anxious!!
This movie was a truly good movie that I enjoyed. It was the first movie like that For this year so far. This needs to be seen. A truly good movie.
Coraline, nearly 4 years in the making, is a new stop-motion animated feature from first-timer LAIKA and Focus Features, and it debuts in theaters (900 of them in 3D) this Friday, February 6th. The story of a young girl who moves to Ashland, Oregon only to discover that her house is full of magical secrets was adapted from Neil Gaiman's (The Sandman) book of the same name. While the locations have changed (the book was set in the UK), Henry Selick (The Nightmare Before Christmas) went to great lengths to preserve Gaiman's original intent. The results are his efforts are uneven, and unlikely to capture the type of box office rapture that a film like WALL
The movie looks great becuase the art design -
set pieces are being auctioned off on ebay!
here are the item numbers. The total price of the sale goes to charity!!
400028875181
400029122359
400029122359
400029123224
400029124265
400029125417
400029125881
400029127245
400029130826
Ok,

I haven't seen the movie yet, but I am SUPER PISSED
about the misinformation about the supposed CGI in this
film.

I took this quote straight from a website interview
with the director...

"Computers were used, but only to reposition objects or duplicate an effect, like the sculpted flames dancing in a fireplace. "We used computers like crazy, but almost everything started with real stuff," says Selick. Most impressive is the 3-D technology, which captured all the puppets, props and sets with a stereoscopic process that employs two cameras to mimic the optical illusion of depth and dimensionality."

So, to the person who wrote the lead in synopsis,
THERE IS NO CGI ANIMATION IN THIS FILM WHATSOEVER.
It is a painstakingly made stop motion wonder to behold,
as evidenced by the trailer. Even HINTING that ANY CGI
was used in this film completely TRASHES the intent
behind its creation.

Let's be more careful when posting reviews, ok???

As a commercial art form, stop-motion animation has been relegated to the pre-digital past, but don't tell that to Henry Selick (James and the Giant Peach, The Nightmare Before Christmas), the writer/director of Coraline, a stop-motion animated film shot in stereoscopic 3D and based on Neil Gaiman's (Beowulf, Anansi Boys, American Gods, Stardust, Neverwhere, Good Omens, Sandman) Hugo- and Nebula-winning dark fantasy novel. Time, labor, and resource intensive, stop-motion animation requires a unique artistic temperament and extreme dedication by everyone involved, with the end result usually years away. Luckily for us, Coraline has been well worth the wait.

Newly relocated from Michigan to Oregon, Coraline Jones (voiced by Dakota Fanning) and her parents, Mel (Teri Hatcher) and Charlie (John Hodgman), move into the "Pink Palace Apartments," a slightly dilapidated, three-story house outside Ashland. Although they have the first and second floor to themselves, they share the Pink Palace with Mr. Bobinsky (Ian McShane), an attic-dwelling ex-circus acrobat who claims to be training a mouse circus, and Miss Forcible (Jennifer Saunders) and Miss Spink (Dawn French), ex-actresses who live in the basement apartment with their Scottie dogs. Wandering outside the Pink Palace, Coraline encounters a black cat that seems to follow her every move and Wybie Lovat (Robert Baily, Jr.), a hyperactive, hyper-talkative neighbor and the grandson of the woman who owns the Pink Palace.

Exploring the house by herself one rainy day, Coraline eventually discovers a locked door covered by wallpaper in the living room. To her disappointment, the door opens to a brick wall. That night, however, Caroline spots a jumping mouse outside her bedroom door. She follows him downstairs and to the door. This time the door opens into a brightly lit, womb-like tunnel where Coraline's Other Mother and Other Father await her. Coraline's other parents are identical to her "real" parents, with the exception of the black buttons they have for eyes. The Other Mother and Other Father shower Caroline with attention, food, gifts, and even a Wybie analog who can't speak. Ultimately, Coraline's Other Parents ask Coraline to stay with them forever, as long as she's willing to let the Other Parents replace her eyes with black buttons.

Caroline quickly discovers the meaning of the phrase, "Be careful what you wish you," (the tagline for Coraline). Despite the simplicity of the this theme (or maybe because of it), Selick to weave a mesmerizing, disturbing film, equal parts Alice in Wonderland and Grimm fairy tale (by way of Stephen King' It), with the Other Mother representing the maternal instinct taken to suffocating extremes and Caroline the resilient, hyper-resourceful heroine children and their parents will root for. They'll also identify with Caroline's initial discomfort and seeming powerlessness after moving to a new town, the lack of friends her own age (with the exception of Wybie), the desire for fantasy-filled, escapist adventures, and parents that listen and show interest.

Coraline is the first full-length animated film produced by Phil Knight's production company LAIKA, and released through Focus Features. Caroline took several years to produce (the first teaser trailer premiered almost two years ago at the 2007 Comic-Con in San Diego). Caroline is also the first stop-motion animated film to be produced in stereoscopic 3D from the beginning of the project (The Nightmare Before Christmas was converted from 2D to 3D). The 3D in Caroline never feels contrived or forced. Instead of projecting objects at the audience, Selick wisely chose to use the 3D to emphasize a layered environment, which in turn makes for an immersive experience: once you enter Caroline's world, you may never want to come back (except in your nightmares).

Selick excels in the two, distinct worlds he creates for Caroline. Taking a page from Powell/Pressburger's A Matter of Life and Death and Wim Wenders (Wings of Desire), the "real" world lacks color (but it's not "colorless" per se), drained of joy and humor while the Other World is bursting with color, light, Dr. Seuss-like gadgets, death- and gravity-defying performers, a "real" mouse circus, and much more. The garden's flowers are both beautiful and dangerous (a hint of the dangers that will inevitable face Caroline), the Pink Palace, truer to its name in the Other World, has a fresh coat of pink paint and white trim. Everything about the Other World is, at least initially, attractive to Caroline and, by extension, to us as well.
Coraline appears to be an allegory for Gaiman's involvement in Scientology. Good parents, who ignore you are magically transformed into evil parents who interrogate, spy and turn unsuspecting children into brainwashed zombies, stealing their souls and replacing their eyes with buttons. Gaiman's stories are emotionally detached, no one seems to change, no one has any friends, just a lonely person walking through a lonely landscape. Unfortunately, that leaves an empty feeling, like a cake spun from sugar with lots of decoration but little nourishment. At least Henry Selick gives the kid a friend. This film seems to be written by someone whose childhood was stolen, who reverted into fantasy to save his mind from endless auditing and who has a very limited understanding of human emotions, having been drilled in the Scientology tone scale to mimic emotions, where grief and shame are downgraded as unnecessary, when in fact these emotions make us human and give us compassion. Henry Selick's animation is dazzling, but somehow the glaring light of film and the demands of screenplays, where beliefs are translated into action bring out the inherent emptiness of Gaiman's plot. He turns a pretty phrase, but when you boil a story down to what the character believes translated into actions, it appears Gaiman believes in nothing other than survival under difficult odds.