After animation director Chris Sanders (Lilo and Stitch) was unceremoniously booted off of Disney’s American Dog, it was obvious that some major studio would scoop him up. Quite unsurprisingly that studio has turned out to be DreamWorks Animation. Ben Fritz reports in a Variety Web exclusive that Chris Sanders has signed on with DreamWorks and “will direct Crood Awakening, a project that DreamWorks had been developing with Aardman but took inhouse after its partnership with the British claymation house recently ended…Crood Awakenings, which is about a culture clash between cavemen, has a script by Brit comedy icon John Cleese and Krik De Micco (Racing Stripes). Sanders is rethinking the project, however, and will likely end up doing a significant rewrite.” More details can be found in the Variety article.

We don’t usually report on anime releases (we leave that to others more qualified like Anime News Network and the like), but this one is worth noting—not for the film itself, but the manner of its U.S. presentation.

Naruto, the Viz manga series-turned-anime hit series (on Cartoon Network in the U.S.), about the trials of a young ninja, is one of the most popular Japanese series now playing. Three theatrical films have been spun off and released in Japan. The first of these Daikatsugeki! Yukihime Ninpocho Dattebayo!! (English Translated Title: Snow Princess’ Book of Ninja Arts) is being theatrically released in the U.S. this year, on Wednesday June 6th at 7:00pm.

It is being shown on that day and time only, in selected theaters in cities including New York, Philadelphia, Atlanta, Boston, Los Angeles and San Francisco. NCM’s Fathom Events is handling this distribution plan. Fathom’s approach is somewhat unique. Taking advantage of digital distribution technology, they are creating a nationwide locked date event for this film. This forces all those interested in seeing the film to attend the one-time theatrical showing, practically assuring sold-out shows at each location.

This kind of “four-wall” event showing has been done before, but I don’t recall it being done on a national basis. As a former film distributor myself, and a student of trends in animated theatrical distribution, this strikes me as a great idea, a great way to get specialized film (particularly foreign animation) showcased.

The plain truth is that these films can’t make big money theatrically in the US. DVD, cable and Internet distribution have wiped out commercial theaters as a financially viable place to screen foreign animated films. The shame is that some of these films deserve the big screen experience.

National CineMedia (NCM), a partnership of AMC Theatres and Regal Theatres, was set up to explore alternative movie programming. They are experimenting with events centered around targeted audiences: Nascar films, faith-based movies, a Metropolitan Opera series… even a repertory screening of Dirty Dancing. Naruto the Movie (now subtitled Ninja Clash in the Land of Snow) is clearly test of the anime/animation fanbase.

I think this distribution scheme may work for them. It’ll certainly excite Naruto fans and build anticipation for the US DVD release (in September). I’ll certainly be keeping my eye on it and, if successful, NCM has the potential to become a new outlet for many international films unable to attain a US release. And that would be a good thing.

I saw this film at a free screening today so you don’t have to. And I urge you not to.

AQUA TEEN HUNGER FORCE (COLON): MOVIE FILM FOR THEATRES is, without question, the worst animated film of the year. It may be the worst film (of any type) I’ve ever seen. A text book example of an unfunny comedy, with poor production values; no craft, no art, no laughs, period. I’ve only seen one episode of the TV series, so I’m clearly not the intended audience for this. But who is? High School drop-outs on pot? I suspect there may be 7 year old out there who may think this is the funniest film they’ve ever seen. If so, I’d be worried about that 7-year-old.

For those unfamiliar with the show, there’s really no premise. It’s about the relationship between three fast-food icons, Master Shake (an idiot milkshake cup), Frylock (a large side of french fries) and Meatwad (a stupid meatball). There is a whole load of unfunny side characters. In an effort to cram as much “funny” into the proceedings, every voice is “funny”, every character name is “funny”, every title card is “funny”, every action is “funny”. All this adds up to incredibly “un-funny”. For those who have been waiting for it, the origin of the characters is explained - and Space Ghost makes an unfortunate cameo (and is killed off quickly).

Needless to say, there’s a fart joke every ten minutes.

Is there anything I liked? The first two minutes, a spoof of the corny “Let’s All Go To The Lobby” trailers (again?) was fun, but after this pre-title skit it’s all downhill. I also like the elaboratly painted one sheet poster art (above), but that has nothing to do (visually or conceptually) with the film itself.

I used to imagine the process of making animated films was fun. This one looks like it was a chore for its creators - it certainly was to sit through. I haven’t squirmed so much in a movie theatre since the time I saw a 1972 Woody Woodpecker as a teenager at the RKO Keith’s in Flushing, New York.

Don’t see it. If you do, demand a refund. Adult Swim owes me 79 minutes of my life.

Cartoon Network: If you really want to hurt the members of the Academy of Motion Picture Arts and Sciences, you’ll submit this film for consideration, for Best Animated Feature. Now that might actually be funny.

The third trailer for The Simpsons Movie has been released, this time with lots more animation from the film. Watch it here.

(Thank, Steve Wojcik)

There IS a need to fear. The UNDERDOG trailer is here.

Twitch Film is reporting that the Weinstein Company has picked up Michel Ocelot’s French feature Azur and Asmar for distribution. As we’ve reported earlier, the fledgling Weinstein Co. has not had a particularly inspiring track record with animated films. Ocelot’s film, which premiered at Cannes last year to rave reviews, is the Weinstein’s first decent pick-up. There’s reason to fear though: among other adult touches, Azur and Asmar features a woman breastfeeding her children and has unsubtitled sequences with characters speaking Arabic. Knowing the amount of respect that the Weinsteins have for the animation art, a good probability exists that there’ll be substantial changes to Ocelot’s vision before the film reaches American audiences. I’d love to be proven wrong on this one.

Click here to see the large size version of this promotional image, above, from Foodfight.

Can you spot the product placement? Foodfight is now scheduled for theatrical release this fall from Lions Gate Films (the same people who brought us Happily N’ever After). It’s a great idea for a film: after midnight all the packages in a local food store come alive, with the goodguy characters (including Mr. Clean, Cap’n Crunch, Charlie the Tuna, the Engergizer Bunny, et al) taking on a villainous band of Brand X characters for control of supermarket aisles. Of course this plot harkens back to several Merrie Melodies of yore (September In The Rain (1937), Goofy Groceries (1941), etc.). So far so good.

However, the real trouble begins with a visit to the Foodfight website. The character designs look awful. B-list celebrities are doing the voices. The film’s partners (read: producers) include Proctor and Gamble, Del Monte and Tootsie Roll, among others. We already get enough commercials at the movies as it is. I don’t know about you, but I predict a short shelf life for this flick.

Earlier coverage of Foodfight on Cartoon Brew here.

This one’s even better.

Click here to see the new Seinfeld Bee Movie trailer with Steven Spielberg - and some actual animation.