Small dolls put on average performance

Director Shane Acker and producer Tim Burton have put a new spin on the typical post-apocalyptic storyline in their new, PG-13, animated movie “9.” However, the ingenuity behind the creation of the characters does not do much to enhance the enjoyment of watching the film.

When the doll #9, played by Elijah Wood, comes to life, he has no memories, and the desolated, lifeless world he beholds is frightening. Venturing from the room where he wakes up, he discovers others of his own kind, who are hiding from “the beast.” What is this beast exactly? And what does their leader #1 (Christopher Plummer), know about it that he is not sharing with the others?

With the help of actors Wood, Jennifer Connolly, and John C. Reilly, Acker and Burton weave a tale of mystery that leaves the watcher in suspense. However, some parts of this plot remain totally predictable.

For example, stereotypical characters such as #8—played by Fred Tatasciore—the bulky protector, and #7—voiced by Connolly—the leader of deserters of the main group, dot the entire story. #8 is all brawn and no brain, and #7 is resourceful and cunning. Also, #5 (Reilly) easily fulfills the typical role of the cowering cripple with his one eye; and #1 (Plummer) is stern as steel, yet cowardly and old-fashioned. Finally, #9 is the proverbial “new kid on the block” who questions all the rules #1 has followed in order to survive. He is the “breath of fresh air,” so to speak. All these characters are predictable in their actions, characteristics, and mannerisms.

Furthermore, I could even predict with accuracy which characters would die, and in what order they would die, at the hands of “the beast.” Pretty much the only aspect of the movie that was worth sticking around for was the revelation of how the apocalypse actually came to be.

In comparison with other films Burton had a hand in making in the past, “9” did not measure up at all.

For example, “The Nightmare Before Christmas” and “Corpse Bride” used contrasting color schemes to set off the differences between the various environments—Halloween Town and Christmas Town, and the world of the living and the world of the dead—and these distinctions helped make the films more interesting. “9” had none of these characteristics, making the film more boring.

Luckily, composer Danny Elfman’s music helped make up for the difference between “9” and other of Burton’s past work. Elfman orients the music to rise and fall according to the action, creating more suspense and thrill. Whenever the beast gives chase, the music is fast, shrill, and hair-raising. In times of sorrow and remembrance, the music is slow and calming.

This movie will not likely attract many die-hard suspense fans who are looking for thrills and chills. However, “9” would probably be a good pick for teens on a lazy Sunday afternoon if there is nothing else better to do.