The eponymous corporation employs one-eyed, green Mike Wazowski (voice: Billy Crystal) and big, all-over blue hairy James P. Sullivan (voice: John Goodman) to terrify kids, processing their screams into energy for use in the monster world’s power plants. Human touch being deadly to monsters, chaos ensues when little girl Boo (voice: Mary Gibbs) gets into monster world, exteriors of which owe much to New York.

The first Pixar feature to manage convincing hair has an opening minute recalling stop-frame short The Sandman (Paul Berry, 1991), a bar named Harryhausen’s, a fight with an invisible adversary straight out of Ghost in the Shell (Mamoru Oshii, 1995) and a much better integrated interdimensional door plot device than anime Urusei Yatsura Video 1 Inaba the Dreammaker (Satoshi Dezaki, 1987). Minor details aside, the inventive and original narrative runs true to form, though the directorial team’s leanings prove unexpectedly closer to Disney’s fast-paced, gag-orientated The Emperor’s New Groove (Mark Dindal, 2000) than to Pixar’s heart-warming Toy Story (John Lasseter, 1995).

(Notes written at the time of release; previously unpublished.)

*****

In this adaptation of Kurt Vonnegut’s novel, a former Nazi propagandist awaits trial in Israel for war crimes – retail VHS review from Home Entertainment, 1997

From his Israeli prison cell where he must compose his memoirs while awaiting trial for his war crimes in black and white, Howard W. Campbell, Jr. (Nick Nolte in a career-defining performance) recalls in colour flashback his rise to fame in wartime Berlin as a radio propaganda writer / broadcaster for the Third Reich, surviving that regime’s madness by devoting himself to actress wife Helga (Sheryl Lee) and their self-contained Nation Of Two.

Recruited from a park as an undercover American spy by raincoat‑wearing American top brass John Goodman (a small part, but likewise impressive), Campbell has to incorporate coded messages to the Allies in his broadcasts. In 1944, Helga dies. After the War, Campbell winds up alone in a seedy New York apartment where neighbours include fellow widower Alan Arkin and Auschwitz survivor‑turned‑doctor Ayre Gross.

When admiring right wing activists arrive at Campbell’s door, the tale (based on Kurt Vonnegut’s novel) lurches even further into surrealism. Gordon’s direction is flawless throughout.… Read the rest