Veteran character animator Glen Keane's directorial feature debut is an ambitious but ultimately hit-and-miss musical tale of loss and grief, set against a modern exploration of Chinese mythology.
Over the Moon sees blossoming Chinese production company Pearl Studios part from DreamWorks to bring to life an energetic adventure-musical alongside streaming giant Netflix. However, while certain aspects of Over the Moon are indeed captivating- and sometimes surprisingly mature- it sadly struggles to remain consistently strong throughout.
Young protagonist Fei Fei's navigating of life following the death of her mother and father's subsequent engagement is immediately Over the Moon's strongest narrative thread. The late Audrey Wells screenplay is beautifully gallant in this regard, daring to tread into sometimes uncomfortable but ultimately very human responses to the breakdown of the family unit. Fei Fei's exploration of loss, grief, and eventual acceptance is reflected against the Chinese mythological tale of Chang'e, Goddess of the Moon, with whom the girl is devotedly drawn towards. Yet, while Phillipa Soo's scene-stealing diva depiction of Chang'e has been understandably popular with audiences, Fei Fei's strive to reach the Goddess make Over the Moon's first act its most engaging.
In some respects, Over the Moon seems self-aware that it peaks at Chang’e’s Ultraluminary performance, the film's most marketable musical number (though arguably, not its strongest). Both narratively and visually, the events following Fei Fei and her step-brother Chin's arrival on the moon- particularly during the film’s final third- seem half-baked and without the same tender love and care. Most notably a comparison can be drawn between the character designs of the inhabitance of the moon and Fei Fei's small yet lively hometown. It is somewhat of a disappointment that Keane's expertise in character do not translate to Over the Moon's fantastical creatures, who are all too safe and unmemorable in their colourful bubble-like designs. That is not to dismiss minimalist character designs as immediately poor however, something which Pixar's most recent venture, Soul (Doctor, 2020) makes abundantly clear. AnimatorIslandTV's video analysis into Soul's experimental character animation makes superb reference to this, and I highly recommend giving it a watch.
However, in comparison to the quirks of Over the Moon's first act- such as the incorporation of 2D animation during its opening number and the reference made to Le Voyage dans la Lune- the creative space of the Keane's moon is regrettably inferior. On the subject of the introductory musical number (On the Moon Above), there is a fluid exploration of human motion through hand-drawn animation, similar to that of Keane's short films Duet (2014) and the Oscar winning Dear Basketball (2017). It is a shame therefore, that these captivating visuals where not somehow implemented through the film's entirety.
Further weakening Over the Moon's strong opening is its distracting over-saturation of quirky animal sidekicks. While the likes of Fei Fei's companion rabbit, Bungie, does hold emotional weight which positively serves the narrative, the same cannot be said for others. The lovable cosmic pangolin, Gobi (Ken Jeong) and aid to Chang'e, Jade Rabbit, are both under-developed plot devices which would have been better served either as one combined character, or disregarded to make room for Fei Fei and Chin's relationship to be further explored. Also in need of tightening is Over the Moon's dialogue, which reads at times as weak and awkward. Show-don't-tell rules are disregarded by lengthy monologues, which are often rendered unnecessary when the same feelings and revelations are immediately explored through song. Had more ruthless cuts been made, Over the Moon's ambitious musical numbers would have felt more necessary and perhaps benefited as a result.
Ultimately, Glen Keane's feature debut doesn't land as delicately as it sets off. Its message of coping with grief is important, and its presence is a welcome one. However this becomes lost in a flurry of underdeveloped fluff, taking away much of the initial emotional weight. Over the Moon is at its most fantastical when it is grounded in reality, while its mystic world is comparatively weak.
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