As touching, funny and timely a film as any committed to celluloid

Rating: 10/10 (26 May 2009)

Having to compete with Disney, Dreamworks and Pixar, Warner Brother's animation has never been at the forefront of the animation industry. Apparently all they needed was the brilliant Brad Bird to quell any doubt about their capabilities. The Iron Giant is one of the final films to be presented in the traditional animation form, but even this flick had begun the transition to computer generated visuals. A number of characters, including the giant, were inserted digitally over the hand drawn background, taking special care to perform this imperfectly so as to contrast the rougher backdrop. The finished piece is a visually flawless and captivating film and ranks among the best animated features to ever grace the screen.
Brad Bird who began with significant role in The Simpson's cartoon, marks his feature film debut, and would follow up with the even superior films The Incredibles and Ratatouille. The Iron Giant is part political statement, part satire and part family fare, but contains more substance then most children's films, containing passionate and is reminiscent of classics such as ET and The Lion King. Based on the book by Ted Hughes, the tale tells of a young boy in Rockwell, Maine named Hogarth Hughes voiced by unknown Eli Marienthal who, if you must put a face to the voice played Stiffler's younger brother in American Pie, in Cold War era 1958. His mother voiced by Jennifer Aniston, works late shifts at a local diner, his father has been killed (presumably in combat, as we see from a photograph he was a fighter pilot) and Hogarth who has been moved up a grade, finds himself lonely and misunderstood.
On a stormy night, a mysterious object crashes off the coast, which to Hogarth's surprise (and everyone's for that matter) is a giant metal eating robot. Finding the creature to be as harmless and confused as a young boy, he befriends the behemoth, stashing him away in a local scrap yard, who the owner (voiced by Harry Connick Jr.) is not especially pleased about. After the giants shenanigans begin to be noticed, a federal agent, brilliantly voiced by Christopher McDonald, comes to investigate ands comes to suspect Hogarth may know something.
The scenes where Hogarth attempts to hide the creature are the most hilarious, one sequence after the giant loses his hand (which can walk on its own once severed) our young protagonist attempts to sneak it out of the house. But don't be fooled, the iron Giant is less comedy then it is bold statement, but don't let this turn you off either.
Bird's piece is riddled with political commentary on the Cold War and its effect on America and the society's obsession with warfare, weapons and at what cost freedom can be obtained, issues such as morality and death, and explores the human gift of free will, as both a blessing and as a means to do harm. The Giant, despite having every few lines is surprisingly layered and human, and has an innocence covering an inner evil turmoil. The message that you are who you chose to be is reminiscent throughout the whole film, but it never for a second feels preachy. The climax is a thrilling as any action picture, which I will say may be slightly too violent for younger children, and the closing act is as touching as any committed to celluloid.
The Iron Giant is a dazzling tale and complex experience which is bound to keep you involved, entertained and will give you something to think about after leaving the theatre. Ranking as one of the best films of 1999, if The Iron Giant marks the end of the reign of the traditional animation style, I say that no finer adieu could be given in this world, or any, dare I say it, beyond this Earth.
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