I chose this from my Netflix list largely for its relatively short 98 minutes. As for why I had it on my list in the first place, well, for all my appreciation of animation, I'd never seen anything fully rotoscoped before. Director-writer-producer Richard Linklater's big on that, I understand.
Stan narrates in adulthood (Jack Black) about his childhood (Milo Coy), specifically as an 11-year-old in a Houston suburb in 1969. His father (Bill Wise) works for NASA in a dull but pretty important capacity. Perhaps that's part of why NASA reps invite Stan to go to the moon a few days ahead of Apollo 11, because they've accidentally built a capsule too small for most adults. The mission is so secret that they fake photos to convince his big family he's going to a typical camp.
OK, despite the narrator's tone, that's probably not supposed to be a true story. While I'm getting used to modern reports of authority figures considering kids' consent valid and not cluing in parents, just imagine if Stan had gotten killed. And what's the point if you never publicize the feat anyway? I'm sure NASA would much rather cut its losses by junking the capsule.
Thing is, the rest feels highly authentic. In a nonlinear fashion, Stan's slice-of-life backstory takes up more than half the runtime. Much of it has nothing to do with the then-rampant obsession with the space program. I think we spend more minutes learning about Stan's neighbors than about his alleged time on the moon. It feels somewhat like A Christmas Story for a later decade, except with real brands, classic and forgettable TV excerpts, and possibly no exaggeration at all. Linklater did take inspiration from his own life. So of course it's only mildly funny.
Like Dazed and Confused, it's a coming-of-age period piece with an excellent soundtrack. Unlike DaC, it's rated PG-13. Nice to get away from illegal drugs and profuse swearing. I could see it getting knocked down to a PG, regardless of a lot of tobacco smoke, one major injury, and some shadowy necking in a drive-in.
How rare for an American feature to lack an obvious reason for being animated. I guess it simply adds visual interest to maintain our attention. And it helps justify the fast pace, if an excuse was necessary. Artistically, it might convey a touch of surrealism, blurring the line between truth and daydream.
I don't care if I never see another Linklater production, but this wasn't a bad one to end on. It may even be my favorite movie to depict Apollo 11. I almost wish I could have been in that setting, warts and all.
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