Mad God Review
Phil Tippett's vision of a post-apocalyptic Hellscape in Mad God is the result of a thirty-year effort for the filmmaker. A nightmare born from a man who considers himself «misanthropic» by nature and was aiming to invoke the fears and anxieties he felt watching the news for three decades. The themes and ideas explored in Mad God are incredibly hard to swallow and will even cause acid reflux. But one thing is certain, if this is how Phil Tippett sees the future, then God help us all.
The legendary creature design and visual effects master who gave fans practical visions in Star Wars, Robocop, and Starship Troopers continues to prove his genius here with monsters of vivid detail with miniature setpieces that are haunting in their excessive realization. This is the most metal stop-motion animated film ever made that will surely go unacknowledged during awards season. And this is a shame considering the amount of work on display speaks for itself despite it being a genre the Academy ignores.
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The story within Mad God is quite difficult to articulate. It's about as self-explanatory as Pink Floyd's The Wall. It's more of an experience that the viewer must allow to wash over them than a movie intended to have narrative clarity. At the center of this stop-motion nightmare, is a character known as «The Assassin.» He (or possibly she) has no speaking parts and for the first half of Mad God, the silent gas-masked character acts as sort of a tour guide (or audience surrogate) through this fever dream of the future.
The visual aesthetic feels heavy metal with mutated monsters and surgeons that walk jittery in menacing ways. Imagine a producer watching a stop-motion music video from the band Tool and
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