There’s also a disappointing lack of inflection to the characters’ facial and physical features, not to mention the movie’s unexciting and un-nuanced color palette. Today, rotoscoping animation, which makes individual characters move with limited photo-realistic sensitivity, looks like a retro-futuristic relic. The first and maybe biggest problem facing viewers when they watch “The Spine of Night” is its drab and dramatically inert animation style. Sounds great, I know, but that uneasy mix of progressive ideals and earthy charms doesn’t come together as often as it should. In that way, this blood-soaked fantasy, chockablock as it is with flaming blue skulls and assorted genitalia, also occasionally makes time to lament systemic oppression and class inequality. That is: if you or your tribe have access to the Pantheon, then you don’t need to worry about having not. Her efforts are contrasted and juxtaposed with the selfless and/or self-serving actions of other heroes and villains, like Mongrel ( Joe Manganiello), an inevitably corrupted barbarian leader and necromancer, and Phae-Agura ( Betty Gabriel), an unusually sensitive librarian-cum-warrior.īeyond a wealth of exploitation-friendly elements, the other unifying quality among these stories is a (largely implied) parallel between the endangered Bastallian flowers and the well-guarded Pantheon, an Alexandrian-ish reserve of human knowledge that separates the haves from the understandably revolting have-nots. She then seeks out more blue flowers, which can be used to tap into a mystical Force-like power, to restore some balance to a cyclically bent universe.
Bastal doesn’t last very long in “The Spine of Night” since Tzod defies petulant despot Lord Pyrantin (Oswalt), who burns down Tzod’s swamp. The first story introduces viewers to the magical blue flowers of Bastal, the enchanted swamp home of ferocious pinup queen Tzod (Lawless).
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In the movie’s press notes, co-writer/co-director Philip Gelatt notes that “the world feels increasingly like a nightmare,” then admiringly paraphrases an unidentified “someone,” who described “ Conan the Barbarian” (1982) as “’Star Wars’ for crazy people.” (Co-writer/director Morgan Galen King also name-checks Bakshi and “Fire and Ice” as creative influences.) Unfortunately, not even scads of gore and full frontal nudity (both sexes!), nor a voice cast of fan favorites, like Lucy Lawless and Patton Oswalt, can inject “The Spine of Night” with enough crazy to jumpstart its tired counter-cultural posturing.
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“The Spine of Night” can therefore be read as a contemporary balm for nostalgic movie misfits.
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