Animal Farm: Viva la Dystopia
This incarnation of Animal Farm is filled with the generic plot points, immature humor, cardboard characters and visual flaws that you have come to know from today’s lesser children’s films.

Since the 1990s, the old Gaulin Manor has housed erstwhile residents of Saint-Hyacinthe psychiatric hospital. Some thirty inhabitants occupy this alternative lodging space, their salvation after the wave of deinstitutionalization that one day threw them into the streets with no resources. Profit rules, and so this motel at the world's end will be destroyed to fill the pockets of promoters. The film captures this turning of the page, where each lost character reshuffles their daily life in moving on to the next chapter. Lending an ear to these forgotten outcasts, Manor is careful in framing these shadowy figures, bringing them to life in the light of our attention.
This incarnation of Animal Farm is filled with the generic plot points, immature humor, cardboard characters and visual flaws that you have come to know from today’s lesser children’s films.
The film exhibits a respect for the craft and an empathy for human tribulations that have historically been ignored.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
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Neo Sora left a realistic and yet hopeful notion for the near future and the now.
Despite everything it was capable of, all of these poor choices strung together amount to nothing more than a counter-productive film.