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6.3/10
Senior Film Conservator
A definitive 6.3/10 rating for a film that redefined the boundaries of cult cinema. The New Car remains a cornerstone of transgressive art.
If you’re the kind of person who stares at 1930s animation and thinks, "Wait, how did they draw that?" then absolutely. It's a short, messy, and loud burst of ink. If you need a plot that makes sense, or characters who don't act like they’re constantly vibrating, you’ll probably find this frustrating.
Flip the Frog just wants a car. He goes to a lot, and the salesman is, of course, a total creep.
The animation is wild. Everything stretches and snaps back like a rubber band. It’s got that specific Ub Iwerks energy where the background elements are almost as busy as the characters. Seriously, look at the way the wheels on the cars move. They don't just roll; they turn into jelly. It’s hypnotic, if a bit nauseating.
There’s a moment with a jalopy that feels like it lasts forever. The car just keeps falling apart and putting itself back together. It reminded me a bit of the frantic energy in Wiggle Your Ears, where you just wonder how the paper didn't tear from all the movement.
The whole thing feels a bit like watching someone have a fever dream in black and white. It’s not as polished as some of the bigger studio stuff, but that’s the charm. It’s raw. It feels like someone was just drawing whatever popped into their head that morning.
If you’ve seen Patsy, you’ll recognize the same kind of desperate character movement. Everyone is always running, even when they’re standing still.
It’s not a masterpiece. It’s a doodle that grew up. I kind of love it for that.