Photo credit: www.thewrap.com
The animated film “Sneaks” brings to mind the unconventional visions of renowned director Werner Herzog, not merely due to his famous shoe-eating incident, but because he once stated that humanity is “starving for new images.” This sentiment resonates in a film where animated shoes find themselves in surreal scenarios, such as navigating Central Park at night while being pursued by large, menacing rats intent on destruction. While it’s uncertain how Herzog would respond to a film portraying such bizarre imagery, it’s undoubtedly an original concept that pushes the boundaries of creative storytelling.
“Sneaks” joins a lineage of films that explore the emotions and experiences of everyday objects, akin to “The Brave Little Toaster” and the “Toy Story” franchise, both of which encourage viewers to empathize with items often overlooked. The film’s central question is simple yet profound: Do the everyday objects we disregard have lives and emotions of their own? Why not extend this sentiment to shoes, which are often taken for granted?
Featuring the voices of Anthony Mackie and Chloe Bailey, the narrative centers around two extravagant sneakers named “Alchemy 24s.” Maxine, one of the sneakers, aspires to be worn by a human in need of shoes, while her counterpart, Ty, hopes to be showcased as a prized collectible. This metaphor resonates with universal human dilemmas about purpose—whether to be revered or relegated to mere functionality.
At a bustling shoe convention, the Alchemy 24s are raffled off, where a teenage boy named Edson (voiced by Swae Lee) unexpectedly wins the sneakers despite a seemingly rigged contest set by a shady collector, played by Laurence Fishburne. When the Collector attempts to coerce Edson into selling the sneakers back, offering ludicrous incentives, Edson’s steadfast desire to keep the shoes leads to a dramatic heist involving theft and escape attempts.
As Maxine seeks freedom from the grasp of the Collector, Ty embarks on a daring adventure through the streets of New York, guided by a playful, scheming shoe named J.B. (voiced by Martin Lawrence). While claiming to assist Ty in finding Maxine, J.B. harbors ulterior motives that complicate their journey. The film’s anthropomorphic portrayal of shoes sometimes leads to confusion in understanding such metaphysical concepts, particularly when visual metaphors in design blur the usual interpretations of footwear.
At first glance, the premise of “Sneaks” may seem flimsy and derivative, with an unclear universe and muddled allegories. However, embedded within the narrative are explorations of consumer culture and an encouragement to engage with the possessions we own rather than letting them languish in dusty corners. One might appreciate this moral, although some items, like the elusive “Rocket Firing Boba Fett” action figure, might be better left unboxed.
The film also incorporates an element of humor through puns, including a whimsical Greek chorus of shoes that can no longer provide “arch support” but instead offer “narrative support.” Such wordplay adds a lighthearted charm to the film, resonating particularly with those who find joy in clever language. As the film leans heavily into shoe-related puns—like “The Taming of the Shoe”—it’s difficult not to admire the writers’ willingness to embrace ridiculousness.
While “Sneaks” risks being labeled as a shallow adaptation of a familiar theme, it showcases bursts of creativity in its vibrant presentation. Directed by Rob Edwards and Christopher Jenkins, the film vividly illustrates a stylized New York City teeming with quirky characters and playful visuals reminiscent of classic video games. This distinctive approach lends a sense of life and dynamism that emphasizes the film’s artistic effort and helps to elevate the story amidst its narrative disarray.
Though “Sneaks” may not attain the status of a classic, it provides an unexpected vigor that can captivate audiences, particularly younger viewers. The film’s quirky energy is evident from the outset and persists throughout its runtime, sustaining moments of entertainment where one might least expect it. In conclusion, while the film may hover at a status of “mostly OK,” there’s a little truth to the adage—if the shoe fits, wear it.
Source
www.thewrap.com