★★★ / ★★★★
“ParaNorman” began with Norman (voiced by Kodi Smit-McPhee) sitting on the floor and watching a grindhouse horror flick where an actress, barely acting, screamed to the top of her lungs as a zombie crept toward her and finally lunged at her head to eat her deliciously juicy brain. Norman’s grandmother, sitting on the couch, asked him to turn up the heater because her feet were cold. Norman got up to see his family in the kitchen and when he informed them of his grandmother’s request, Mom (Leslie Mann) and Dad (Jeff Garlin) became upset: Grandmother had been dead for a while. Norman, as it turned out, had the ability to communicate with the dead. Written by Chris Butler, the film had a surplus of ideas in order to make Norman’s small town bizarre enough to be unique and yet relatable enough to be enjoyable. Clearly influenced by scary movies, the film was almost made for fans of the genre more than children, from its eerie atmosphere directly taken from George A. Romero’s undead classics to the menacing beats of Lucio Fulci’s score. Its first half was rather mysterious in that it took a bit of time for us to be fully understand what it was supposed to be about. At school, Norman was bullied by Alvin (Christopher Mintz-Plasse) for being a weirdo and befriended by socially awkward Neil (Tucker Albrizzi), a kid picked on for being fat. The picture could have used a little more interaction between Norman and Neil. Since the two had opposite personalities, when the script focused on conjuring reasons why the duo were a good fit for one another, the human factor really shone and made their universe more realistic. Their most effective scene involved Neil asking his new friend to throw a stick for fun. Norman, barely having any fun in his life, found it difficult to perform such a simple task. One could detect an underlying message regarding Norman’s reluctance to throw caution to the wind in relation to his negative experiences with the living: they wanted Norman for feel embarrassment or shame for his contentment in being different. Its more sensitive moments and dirty jokes, like a broken sign flashing “Itchy Wieners” which was originally “Witchy Wieners,” were clearly designed for adults. The exaggerated images, on the other hand, were aimed for kids. The young characters on screen were pleasing to eye but the adults had an almost toady quality to them. It seemed like the older the character, the features were bigger, saggier, more abstract. It was an interesting technique. Because a lot of its jokes were adult-oriented, the filmmakers had to make its younger characters visually appealing so that the children could root for them. About halfway through, the film finally found its footing with respect to Norman’s mission. Creativity was abound as Norman and Alvin were chased by zombies in the woods as well as the awkward but hilarious car ride with Neil, Courtney (Anna Kendrick), Norman’s short-tempered sister, and Mitch (Casey Affleck), Neil’s muscular but dense brother. Although “ParaNorman,” directed by Chris Butler and Sam Fell, featured a lesson about forgiveness toward the end which I found too slow and sentimental, its other severed parts were edgy and fun. When was the last time you saw an animated film in which its kid protagonist had a chance to engage with a corpse and its bodily functions?