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Logorama (2009)

7.7
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Ratings: 7.7/10 from 3,845 users  
Reviews: 14 user | 18 critic

Police chase an armed criminal in a version of Los Angeles comprised entirely of corporate logos.

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(screenplay), (screenplay), 2 more credits »
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Title: Logorama (2009)

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Won 1 Oscar. Another 4 wins & 4 nominations. See more awards »
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Cast

Cast overview:
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Ronald / Bibendum Mike / Bibendum Sheriff (voice)
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Bibendum Mitch (voice)
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Esso Girl (voice)
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Big Boy / Green Giant / Mr Clean (voice)
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Haribo (voice)
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Gregory J. Pruss ...
Chopper Pilot / Pillsbury Doughboy (voice)
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M&Ms (voice)
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Dispatch Girl - Radio (voice)
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Storyline

Police chase an armed criminal in a version of Los Angeles comprised entirely of corporate logos.

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Parents Guide:

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Details

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Release Date:

5 October 2011 (France)  »

Also Known As:

Logorama  »

Company Credits

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Did You Know?

Goofs

When the Michelin Man cops are parked outside the KFC, the Ghostbusters "No Ghost" logo Stop sign is facing them with the ghost's head on the left (as it is customarily displayed in North America). When the cops pull away, the sign is shown from the other side, and the ghost is still facing the same way. When seen from the other side, the ghost's head should be on the right - as seen later on when the the Esso Girl and Big Boy are getting into the abandoned cop car. See more »

Quotes

Michelinman Mike: [after getting berated by his boss] Captain Douchebag.
See more »

Crazy Credits

After the scrolling end credits have come to an end, a bald, toothless Ronald reappears to give a quick laugh. See more »

Connections

Spoofs Pulp Fiction (1994) See more »

Soundtracks

I DON'T WANT TO SET THE WORLD ON FIRE
Performed by The Ink Spots
Written by Eddie Seiler, Sol Marcus, Bennie Benjamin, Eddie Durham
Published by Warner/Chappell Music Inc. o/b/o Benjamin Bennie Music Inc., Bughouse Music Inc. o/b/o/ Eddie Durham Swing Music,
Ocheri Publishing Corp. From the Universal Records recording
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Smart funny Tarantino-esquire take on the ubiquity of logos.
21 November 2010 | by (United Kingdom) – See all my reviews

François Alaux, Hervé de Crécy and Ludovic Houplain apply an extensive use of symbolism in their short film Logorama (2009) to explore the realist idea of mass consumerism in a negative light. The characters, their surroundings, and every last object in the film are all anthropomorphised and become an embodiment of the persistent and unrelenting commercials we see in our everyday life. Far from being simply a chaotic incorporation of advertisements, Logorama is a witty and hyperbolic social commentary on the ubiquity of advertising and its energetic show of entrepreneurial images and metaphors make it a superb work of realism. By launching a barrage of countless brand logos at the viewer, Logorama makes us take notice of our solely consumerist generation. The choice of logos was decided by several different aspects. The heroes of the short, several Bibendi (or the Michelin Men), were chosen because of their perception as tough and being able to withstand hazards, it was also owing to their rotund appearance acting as a caricature of American policemen due to the long held notion of them being overweight. Ronald McDonald was chosen to be the villain because of the perception of clowns being fear-provoking; this is also an instance of major influencing the minor, as the Joker from Batman was part of the inspiration for this choice. One can easily see the contrasting characteristics of each company being incorporated into their characters; the Michelin Men who help with road hazards and ensure you make it on your way are shown in a better light than Ronald McDonald, the mascot for a company whose unhealthy and fatty food cause heart disease. Furthermore, by subverting the usual wholesome image of Ronald McDonald, the creators are emphasising the evils of commercialising and brand overuse. The menacingly ominous appearance of him at the end of the credits, after the viewer has seen him supposedly die, accentuates the idea of no escape from major companies and their icons; the indestructible symbols of the manufacturing supremacy; a very realist idea. Other, more trivial, characters were chosen for their graphic outward appearance such as Julius Pringles, the mascot for the Pringles potato snacks, being all the van drivers in the film as people associate them with moustaches. Mr Clean is portrayed as a flamboyantly camp stereotype, attributable to his appearance; the earring, the tight trousers, the muscular arms shown bulging through his tight white top and his shaved head. Other icons chosen include the Big Boy and Haribo mascots which do not fit the identity that their company and the general public have given them and have a completely different nature than the one they are associated with shown through their filthy language and misbehaviour. This is echoed in several of the other icons and works because of the viewers' knowledge of the companies they are known for, for instance the Esso girl smoking. By pitting corporations against one another, Logorama demonstrates how they are fighting off the competition; this is shown when Ronald McDonald destroys the Pizza Hut restaurant and when he is shown killing other logos such as Mr. Peanut or the Michelin man in a Maurice Binder barrel homage shot. This symbolism portrays a very real situation; this depiction of what these companies iconic logos will do to survive shows the desperate or harsh lengths the companies will go to in order to stay on top and bankrupt one another. By bouncing the companies off each other Logorama also shows the predicament of the onslaught of consumer culture feeding off one another and itself; an instance being when Ronald McDonald is flung from his Grease 2 bicycle when driving into a Weightwatchers sign. A company like Weightwatchers would have less demand without fast food restaurants like the one Ronald stands for. Next, the pace of the film is very rushed, with each key event taking seconds to happen, this can be seen to symbolise the speed of our everyday lives, the speed of commercial breaks on television, and the speed with which companies bring out new products and advertisements.


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