Movie Review: 9

9 is a small film, about burlap puppet creatures struggling to survive against the machines that caused mankind’s apocalypse. I say it is a small film because the puppets are little and because the movie itself is very brief (88 minutes). Despite its brevity, however, the movie shows some good thematic depth and some visually amazing sequences. While not for children, 9 shows genuine creativity is still possible within the dystopian genre.

The titular character awakens in a strange workshop, not knowing who he is or why he is there. He soon finds the other ‘numbers’ — as well as the death machines that continue to walk the earth — but along with 9, the audience is not given easy answers as to the meaning of his existence or why the world is in the shape it is. Instead, the film takes us from one rich, vast landscape to the next, from a burnt-out citadel to a collapsing cathedral. The ‘stitchpunk’ creations, sewn of computer-generated thread, lend a sense of simplicity and reality to the world. An intensely atmospheric film, director Shane Acker seems content at times to let the backdrop of his alterna-20th century totalitarian Europe speak for itself. The result is a film that looks amazing, stylistically a cousin to, say, Tim Burton or to CORALINE, and always provides much to drink in on a visual level, even if the storylines don’t quite measure up.

Voice acting, supplied here by Elijah Wood, Jennifer Connolly and Martin Landau (among other celebrities) is perfectly suitable. The characters don’t seem flat or transparent, despite largely filling stereotypical roles. For example, the leader (No. 1), may seem one-dimensionally despotic and cowardly, and yet there are glimpses of humanity and loss within in that persona. Even the insane, unstoppable killing machine is ultimately given a fascinating backstory and a sense of emotional complexity. So, this is not Apocalyptic Shrek.

Nevertheless, 9 is a somewhat predictable film despite its originality and visual power. One need not ask whether these soft, small creatures will somehow vanquish the unstoppable machine. Even in the midst of some truly frightening scenes blending technology and sorcery – yes, the machine can steal souls – there’s never a notion of real suspense or question as to a happier ending. Compare this to, say, the Dark Crystal, which was equally moody and yet managed to be far more harrowing and mysterious. Still, 9 is a solid effort that rewards with some indelible images of loss, destruction, and ultimately hope — even if it is not as wondrous as WALL-E or as curious and entertaining as CORALINE.