He and co-writer Caroline Thompson take the bountiful meal that is Marwencol, and slather it with rancid mayo, topped with a urinal cake garnish. You get the sense that he skimmed a summary of Marwencol, focused in on the concept of the dolls, and then said, "How can I take this, and make it unwatchable?" With Welcome to Marwen, Zemeckis isn't interested in any of that, though. It merely presents him as he is, warts and all. The documentary also takes great care to never judge or exploit Hogancamp. It simply lets the story unfold, as told by Hogancamp. Malmberg's doc is reserved – it doesn't use any tricks or flashy edits. The photos were so good, they eventually lead to his own art show. He then began taking stunning photographs of the dolls posed throughout the village.
To channel his artistic and emotional frustrations, Hogancamp built a 1/6-scale Belgian village straight out of World War II, and populated it with dolls based on himself and his friends, decked out in military garb. His face had been reconstructed, and he had lost almost all of his memories from before the attack – along with his talent for illustration. When he came out, he was a completely different person. The attack left Hogancamp in a coma for nine days, and in the hospital for 40 more. Directed by Jeff Malmberg, Marwencol followed Mark Hogancamp, an artist who was brutally beaten by five men outside a bar. Here, the Back to the Future mastermind is borrowing from the quiet, melancholy, curious documentary Marwencol.
Marwen also finds Zemeckis once again needlessly remaking an excellent documentary into an over-the-top shit-show – just as he did with The Walk, repurposing the doc Man on Wire with tons of CGI and Joseph Gordon-Levitt's questionable accent. It makes the dead-eyed zombie people of Polar Express look downright cuddly. He's done this several times already – Beowulf, The Polar Express and A Christmas Carol – but Marwen is the absolute pits the bottom-of-the barrel, be all, end all nightmare destination Zemeckis has been dragging us all towards for the last 11 years. Here, Zemeckis once again takes viewers on a journey into the Uncanny Valley, employing computer-rendered characters that never seem convincing, and are always distracting.
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