Review: "Toy Story 4" is Very Good, But Not Great

TRASH IN MY EYE No. 13 (of 2019) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Toy Story 4 (2019)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – G
DIRECTOR:  Josh Cooley
WRITERS:  Andrew Stanton and Stephany Folsom; from an original story by John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack, Martin Hynes, and Stephany Folsom
PRODUCER:  Mark Nielsen and Jonas Rivera
EDITOR:  Axel Geddes
COMPOSER:  Randy Newman

ANIMATION/ADVENTURE/DRAMA/COMEDY/FAMILY

Starring:  (voices) Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Jordan Peele,  Madeleine McGraw, Christina Hendricks, Keanu Reeves, Ally Maki, Jay Hernandez, Lori Alan, Joan Cusack, Wallace Shawn, John Ratzenberger, Carl Weathers, and June Squibb

Toy Story 4 is a 2019 computer-animated feature film from Pixar Animation Studios.  It is the fourth film in the Toy Story franchise.  The new film focuses on a new toy and a road trip that will change the life of a beloved toy.

Toy Story 4 opens nine years earlier when Woody (Tom Hanks) and the gang were still Andy's toys.  Woods leads the successful rescue of a toy car, R.C.   In the present, Woody and the other toys are happy in their new life as the toys of a little girl named Bonnie (Madeleine McGraw).  Bonnie is about to enter kindergarten and is distressed about going to school.  Woody sneaks into Bonnie's backpack and joins her on her first day of school.  Woody's action even lead to Bonnie using discarded arts and crafts supplies to transform a “spork” (spoon-fork) into a new toy she names “Forky” (Tony Hale).  Although Forky becomes Bonnie's favorite toy, the spork does not believe that he is a toy, and he is always trying to return to a trash can.

Bonnie and her mom (Lori Alan) and dad (Jay Hernandez) go on an RV road trip, and Bonnie takes Forky, Woody and company with her.  Instead of enjoying the trip, Woody spends his time trying to rescue Forky.  This misadventure leads Woody to an antique story, Second Chance Antiques, and also to a fairground/playground, where he is reunited with old friends and makes new friends.  And Woody learns just how big the world can be for a toy with an open mind.

Toy Story 4 is a good movie, not as good as Toy Story, Toy Story 2, and Toy Story 3, but quite good.  Keegan-Michael Key as Ducky and Jordan Peele as Bunny are nice additions to the cast.  Keanu Reeves is a surprise and gives a surprising voice performance as Duke Kaboom, the Canadian daredevil toy.  The sycophantic ventriloquist's dummies, “the Bensons,” are a nice, creepy distraction.  Christina Hendricks is appropriately pathetic and menacing as the tragically desperate doll, Gabby Gabby.

But Toy Story 4 is, more than the first three films, a movie about adult issues and regrets that tries to be a family movie, if not an outright kids' movie.  More than anything, Toy Story 4 is Woody's movie.  [In this film, Tim Allen's Buzz Lightyear is a supporting character and not a co-lead].  In this movie, Tom Hanks gives one of the best voice performances for an animated film that I have had the pleasure of enjoying.  In Hanks' performance, you can feel it.  Woody is like a father who “lost” one child, Andy (because he grew up and gave away his toys), so he is an obsessive “helicopter parent” about the new child, Molly, who does not need Woody as much as he thinks she does – if at all.

It would be pretentious of me to say that this movie is about becoming a man and putting away the things of boy.  No, I think Toy Story 4 is about the change and the passage of time that is forced upon us, so if we don't change and move on, change and the passage of time is going to happen anyway.

Yes, each Toy Story film has its Mission: Impossible-like operation in which our beloved toys try to save another toy or toys, my favorite being the race to save Woody from an unscrupulous toy dealer and a devious toy in Toy Story 2.  In Toy Story 4, the new “toy,” Forky, needs to be saved, and Woody keeps endangering first, himself, and then, others in increasingly desperate and dangerous bids to save the spork.

Ultimately, however, this movie feels like the franchise has come back one too many times.  The end of Toy Story 3, in which a grown-up Andy gave his beloved Woody and the other toys to Molly, was really meant to be the happily ever after.  Once Toy Story 3 grossed over a billion dollars in worldwide box office, it seemed like common-moneymaking-sense to make a fourth film.  Don't make another Toy Story film, Disney.  Let Toy Story 4 be a very good, but not great coda to the series.

7 out of 10
B+

Tuesday, July 2, 2019


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "Inside Out" is Outta Sight

TRASH IN MY EYE No. 17 (of 2016) by Leroy Douresseaux

[This review was originally posted on Patreon.]

Inside Out (2015)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG
DIRECTOR:  Pete Docter
WRITERS:  Pete Docter, Meg LeFauve, and Josh Cooley; based on an original story by Pete Docter and Ronnie Del Carmen
PRODUCER:  Jonas Rivera
EDITOR:  Kevin Nolting
COMPOSER:  Michael Giacchino
Academy Award winner

ANIMATION/ADVENTURE/DRAMA/COMEDY/FAMILY

Starring:  (voices) Amy Poehler, Phyllis Smith, Richard Kind, Bill Hader, Lewis Black, Mindy Kaling, Kaitlyn Dais, Diane Lane, Kyle MacLachlan, Paula Poundstone, Bobby Moynihan, Frank Oz, Dani Dare, Dara Iruka, Dawnn Lewis, and Rashida Jones

Inside Out is a 2015 computer-animated feature film from Pixar Animation Studios.  The film is directed by Pete Docter and is based on a story written by Docter and Ronnie Del Carmen (who also co-directed this film).  Inside Out focuses on a 'tween girl who struggles with the move to a new home and on her animated emotions who get carried away by her stress.  Inside Out was executive produced by John Lasseter and Andrew Stanton.

Riley Anderson (Kaitlyn Dais) has within her mind, five personifications of her basic emotions:  Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling), and Sadness (Phyllis Smith).  This quintet influences Riley's actions by using a console in her mind's Headquarters.  The emotions' biggest challenge comes when Riley is 11-years-old.

Riley and her parents, Bill Andersen (Kyle MacLachlan) and Jill O'Riley-Andersen (Diane Lane), move from her birthplace in Minnesota to San Francisco for Bill's new business.  Joy, who is the leader of the emotions, is determined to keep Riley happy during this transition.  However, an accident sends Joy and Sadness far away from Headquarters, leaving Anger, Disgust, and Fear in charge.  Chaos ensues, and Joy is determined to get back in order to take charge and fix the problems.  But can she get back in time before a great disaster occurs, and does she know what the problem with Riley really is?

Sometimes, it seems pointless to review Pixar movies, especially when they are as exceptionally good as Inside Out most certainly is.  Of course, this film is gorgeously animated.  Of course, it is both inventive in its conception and powerfully moving in its drama.  Inside Out is the best non-sequel Pixar film since 2009's Up.  So instead of heaping more praise on a movie upon which much praise (and an Oscar) has already been heaped, I will talk about a few things I liked about Inside Out.

I liked how the film emphasized that it is okay for people not to be happy all the time, that it is okay to sometimes be sad.  Joy and sadness go hand in hand, and sometimes they are connected in ways we never realize.  Obviously, Inside Out seems to be a movie made by filmmakers who are parents and who wish that their children would never grow up, but realize that of course they will.  Inside Out is about change, and sometimes change is painful for the things that we lose that we cannot get back.  Sometimes, we should not even want to get back things that are recoverable.

The voice performances are, all around, quite good.  I particularly liked Richard Kind as Riley's former imaginary friend, Bing Bong.  Amy Poehler's turn as Joy is full of shifts in character, mood, timbre, and color that not only define Joy, but also shape and define the narrative.  Lewis Black is surprisingly nimble as Anger, and Bill Hader manages to make his character, Fear, stand out when he could easily disappear into the pack.  I have to admit that I find Kaitlyn Dias exceptionally good as Riley; her performance makes the character seem genuine and goes a long way in making Inside Out work.

I won't say that this film is perfect.  I think the first 25 minutes are problematic because the story struggles.  It is as if the storytellers cannot hide the fact that they are bored with the obligatory set-ups and cannot wait to get to the part where the story really begins.

I have often heard it said or read that Pixar is like classic Walt Disney animated film in that Pixar movies have heart.  I think that Pixar's storytellers are willing to grapple with the bittersweet nature of life.  Like true artists, they find beauty in life:  the good, the bad, and even the mundane.  Pixar sells hope and embraces the fight for survival... or at least for something better.  Some might think of this as American middle class values.  I think Pixar's films are timeless and universal.  Woody and Buzz Lightyear's race to catch up to the car at the end of Toy Story will always be compelling.  And now, Inside Out has Joy and Riley's journey, and I don't think that story will ever grow old.

9 of 10
A+

Friday, April 22, 2016


NOTES:
2016 Academy Awards, USA:  1 win: “Best Animated Feature Film of the Year” (Pete Docter and Jonas Rivera); 1 nomination: “Best Writing, Original Screenplay” (Pete Docter-screenplay/story, Meg LeFauve-screenplay, Josh Cooley-screenplay, and Ronnie Del Carmen-story)

2016 Golden Globes, USA:  1 win: “Best Motion Picture – Animated”

2016 BAFTA Awards:  1 win:  “Best Animated Film” (Pete Docter); 1 nomination: “Best Original Screenplay (Josh Cooley, Pete Docter, and Meg LeFauve)


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

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Review: Pixar's "Brave" is Brave, But Not Bold

TRASH IN MY EYE No. 43 (of 2013) by Leroy Douresseaux

Brave (2012)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – PG for some scary action and rude humor
DIRECTORS: Mark Andrews and Brenda Chapman with Steve Purcell
WRITERS: Mark Andrews, Steve Purcell, Brenda Chapman, and Irene Mecchi with Michael Arndt; from a story by Brenda Chapman
PRODUCER: Katherine Sarafian
EDITOR: Nicholas C. Smith
COMPOSER: Patrick Doyle
Academy Award winner

ANIMATION/FANTASY/DRAMA

Starring: (voices) Kelly Mcdonald, Emma Thompson, Billy Connolly, Julie Walters, Robbie Coltrane, Kevin McKidd, Craig Ferguson, Sally Kinghorn, Eilidh Fraser, Peigi Barker, Steven Cree, Steve Purcell, Callum O’Neill, Patrick Doyle, and John Ratzenberger

Brave is a 2012 computer-animated, fairy tale film from Pixar Animation Studios. Distributed by Walt Disney Pictures, Brave won the Academy Award for “Best Animated Feature” (February 2013), making its co-director, Brenda Chapman, the first female director to win an Oscar in that category. The film was executive produced by three of Pixar’s biggest creative voices: John Lasseter, Pete Docter, and Andrew Stanton.

Brave centers on a defiant princess who must fight a curse she brings upon her family. As Pixar films go, Brave is second-tier and not on the level of such films as Toy Story 2, Wall-E, or Up. It is a good movie, but nothing I would call great. In fact, I would not have voted Brave the best animated feature Oscar over a film like ParaNorman and Madgascar 3: Europe’s Most Wanted (which was not nominated).

In Scotland of old, Princess Merida (Kelly Mcdonald) is the 16-year-old daughter of King Fergus (Billy Connolly) of the Clan Dun Broch (Dunbroch). Merida’s mother, Queen Elinor (Emma Thompson), wants what is best for both the kingdom and her daughter. Thus, the Queen clashes with the rebellious and free-spirited Merida who wants to make her own path in life. Skilled at horse-riding and with a bow, Merida does not want to be a lady.

One day, Elinor informs Merida that she must be betrothed to one of her father, King Fergus’ allied clans. Lord Macintosh (Craig Ferguson), Lord MacGuffin (Kevin McKidd), and Lord Dingwall (Robbie Coltrane) arrive with their first-born sons. These sons will compete in the Highland Games for Merida’s hand in marriage. Merida balks, however, and runs away. Desperate to find her own fate, she makes a deal that unwittingly hurts her family. Now, Merida must rely on her bravery and her archery skills to undo a beastly curse.

The first half-hour of Brave is an awkward attempt to introduce characters, themes, plot, and setting, with wheezy music making that awkward even more annoying. The first half hour is the usual raucous, kid-friendly, action-comedy material, which is a Disney trait of turning every family in its films into a nuclear family-like unit. It sort of knocked me for a loop, because it seemed to me that in Brave, Pixar had made its first film that could be described as typical Disney animation product.

It is not until Merida’s second encounter with the will-o’-the-wisps and her meeting with The Witch (Julie Walters) that Brave becomes what it is supposed to be, a fairy tale. When it focuses on Merida’s quest, the magical elements, and the mother-daughter relationship, Brave is at its best. Merida’s younger brothers, the identical triplets: Hamish, Harris, and Hubert are excellent comic relief, but are woefully underutilized.

Everything else about this movie is not really special. The animation is good, although some of the characters bounce like Muppets when they walk or run. The animation’s colors are spectacular, especially Merida’s gloriously red hair and the rich greens of the forests and countryside.

You might be surprised at how deeply Brave digs into the mother-daughter relationship; that brought tears to my eyes. Still, the movie misses the mark of perfection. Brave is mostly a great fairy tale, but partly a Disney-movie-by-committee. That’s a shame, and that is not an Oscar winner (or shouldn’t be).

7 of 10
A-

NOTES:
2013 Academy Awards: 1 win: “Best Animated Feature Film of the Year” (Mark Andrews and Brenda Chapman)

2013 BAFTA Awards: 1 win: “Animated Film” (Mark Andrews and Brenda Chapman)

2013 Golden Globes, USA: 1 win: “Best Animated Film”

Tuesday, June 18, 2013

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Review: "John Carter" Will Show You a Good Time

TRASH IN MY EYE No. 73 (of 2012) by Leroy Douresseaux

John Carter (2012)
Running time: 132 minutes (2 hours, 12 minutes)
MPAA – PG-13 for intense sequences of violence and action
DIRECTOR: Andrew Stanton
WRITERS: Andrew Stanton, Mark Andrews, and Michael Chabon (based upon the novel, A Princess of Mars, by Edgar Rice Burroughs)
PRODUCERS: Lindsey Collins, Jim Morris, and Colin Wilson
CINEMATOGRAPHER: Dan Mindel (D.o.P.)
EDITOR: Eric Zumbrunnen
COMPOSER: Michael Giacchino

FANTASY/ACTION/ADVENTURE/SCI-FI

Starring: Taylor Kitsch, Lynn Collins, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Bryan Cranston, Daryl Sabara, and (voices) Samantha Morton, Willem Dafoe, Thomas Haden Church

The subject of this movie review is John Carter, a 2012 American science fiction and fantasy film released by Walt Disney Pictures. John Carter is the first live-action film from director Andrew Stanton, who won Oscars for directing the computer-animated films, Finding Nemo (2003) and WALL-E (2008) for Pixar.

John Carter is largely based upon the 1917 novel, A Princess of Mars, written by Edgar Rice Burroughs (the creator of Tarzan of the Apes). A Princess of Mars began life in 1912 as Under the Moons of Mars, a serial in the pulp fiction magazine, The All-Story. A Princess of Mars is the first novel in the 11-book “Barsoom series” The film focuses on a former Confederate Army officer of the American Civil War who is transported to Mars, where he meets a princess in desperate need of a savior.

It is 1868, and John Carter (Taylor Kitsch) is in the Arizona Territory where he has a dangerous encounter with the Apache. After escaping them, Carter hides in a cave. He has an extraordinary experience in which he gets transported to the planet Mars, which the inhabitants call “Barsoom.” There, he meets 15-foot tall Martians called Tharks and the human-like Red Martians. Two of the Red Martian cities, Zodanga and Helium, have been at war for a thousand years. However, the Therns, a group of mystic types, have taken Zodanga’s side.

Thern leader, Matai Shang (Mark Strong), gives Sab Than (Dominic West), the leader of Zodanga, a special weapon which will turn the tide of the war in his favor. Now, Than can force a ceasefire and use his advantage to demand that Tardos Mors (Ciaran Hinds), surrender his daughter, Dejah Thoris (Lynn Collins), to him for a marriage that will unite Zodanga and Helium. When Dejah meets John Carter, she see someone who can save her people from Than’s machinations. After the losses he suffered during the Civil War, however, is John Carter ready to help a princess of Mars?

First, let me say that as far as I can tell, not only are there no African-American actors in John Carter, but there are also no Black actors providing voices in this film. That’s consistent with Pixar films, in which there are, at best, token participation of African-American actors and other actors of color. Anyway…

John Carter is an entertaining film. It was something of a major box office disappointment, and Disney reportedly took a write-off somewhere in the neighborhood of 200 million dollars because of John Carter. Some movies deserve to be flops, but John Carter isn’t one of them. It’s one of those odd, swashbuckling, effects-laden adventure movies that come across as weird when you only see a few minutes of it in a trailer or commercial. These movies fail to meet box office expectations, but I think when people see them, they realize what harmless, even charming fun these movies are. Another example would be Prince of Persia: The Sands of Time, another pricey Disney disappointment at the box office.

A Princess of Mars and the other Barsoom novels would go on to influence science fiction writers such as Robert Heinlein and Ray Bradbury and such film’s as James Cameron’s Avatar and George Lucas’ Star Wars. However, the series is outdated and quaint, and the genre to which it belongs, interplanetary romance, is practically dead. Some readers of science fiction and fantasy and also people interested in pulp fiction and nostalgia will like the Barsoom stories. Beyond that, much of the audience for movies may ask, what’s the point of this? So much about this movie is just too old-fashioned, outdated, and weird for modern audiences.

John Carter is, from the point of production values and special visual effects, quite well made. The screenplay is as wonky as the source material, but the actors seem genuinely interested in selling their characters and this concept. The big problem with this movie is that the gadgets, tech, and other science fiction stuff – all the cool toys – are under-utilized. John Carter is more like a sword and sandal/sword and sorcery, Conan the Barbarian movie than it is a science fiction movie. Plus, there isn’t enough Mark Strong in this film; you can never have too much Mark Strong.

Anyway, movie audiences that enjoy anything science fiction and fantasy will find an entertaining oddity in John Carter. I liked it, and wouldn’t mind seeing a sequel.

6 of 10
B

Thursday, September 13, 2012

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Disney's "John Carter" Now on DVD and Blu-ray

A Warrior On Earth Becomes a Hero On Mars

Disney's John Carter

New On Disney Blu-ray™ Combo Pack, Blu-ray 3D™, HD Digital, DVD, and On-Demand June 5th

“A Visual Marvel” ––Steven Weintraub, Collider.com

Disney brings to life an iconic hero, John Carter, in a visually stunning new world with heart-pounding action. The heroic epic adventure “John Carter” arrives on Disney Blu-ray Combo Pack, Blu-ray 3D™, HD Digital, DVD and On-Demand June 5, 2012, just in time for Father’s Day!

As a warrior lost on Earth, John Carter is magically transported to Mars, where the fate of the planet and its people ultimately rest in his hands. With surprising new powers, and epic battles, he rises to become the man he is meant to be and the hero he truly is.

From Academy Award®-winning filmmaker Andrew Stanton (Best Animated Film, WALL•E, 2008) “John Carter” is a sweeping action-adventure set on the mysterious and exotic planet of Barsoom (Mars). John Carter is a war-weary, former military captain who’s inexplicably transported to Mars and reluctantly becomes embroiled in an epic conflict. It’s a world on the brink of collapse, and Carter rediscovers his humanity when he realizes the survival of Barsoom and its people rests in his hands. Stunning special effects, great characters and villains — and complete with extraordinary bonus features — “John Carter” is a heroic and inspirational adventure that will thrill audiences beyond imagination.

This ambitious and unforgettable screen adaptation of the classic novel “A Princess of Mars” by Edgar Rice Burroughs, stars heartthrob Taylor Kitsch (“Friday Night Lights,” “X-Men Origins: Wolverine”) in the title role, Lynn Collins (“X-Men Origins: Wolverine,” “The Number 23”) as Dejah Thoris, Willem Dafoe (“The English Patient,” “Spider Man”) as Tars Tarkas, and Dominic West (“300,” “The Wire”) as Sab Than. The screenplay is written by Stanton, Mark Andrews and Michael Chabon.

“John Carter” will be available to own and for in-home viewing as follows:

4-Disc Combo Pack (3D BD + 2D BD + DVD + Digital Copy)

Includes:
Blu-ray bonus features:  Disney Second Screen – Explore John Carter’s journal with this innovative in-world experience and uncover a trove of fascinating details that extend the mythology of the movie. 360 Degrees of John Carter – Experience every aspect of the filmmaking process on one of the movie’s biggest production days. Deleted Scenes with Optional Commentary by Director, Andrew Stanton Barsoom Bloopers Plus all DVD features

DVD bonus features: 100 Years In The Making – Follow the journey of Edgar Rice Burroughs’ story, from its origins as a pulp novel to its arrival onscreen. Audio Commentary with Filmmakers

*The 3D Blu-ray Disc & The Digital Copy Disc do not include bonus features on it

2-Disc Combo Pack (Blu-ray + DVD)

Includes: All Blu-ray bonus features All DVD bonus features:

1-Disc DVD

Includes: All DVD bonus features

Digital 3D High Definition Digital

Does not include bonus features

High Definition Digital

Includes: Life by the Second: The Shanzam Unit (digital premiere) Disney Second Screen Barsoom Bloopers Deleted Scenes with Optional Commentary by Director, Andrew Stanton

Standard Definition Digital

Includes: Life by the Second: The Shanzam Unit (digital premiere) Disney Second Screen Barsoom Bloopers Deleted Scenes with Optional Commentary by Director, Andrew Stanton

On-Demand

Does not include bonus features

DISC SPECIFICATIONS:
Street Date: June 5, 2012

Suggested Retail Prices:
4-Disc Combo Pack = $49.99 U.S./$56.99 Canada
2-Disc Combo Pack = $39.99 U.S./$46.99 Canada
1 Disc DVD = $29.99U.S./$35.99Canada

3D High Definition, High Definition & Standard Definition Digital = Please check with your favorite digital retailer for pricing

On-Demand =Please check with your television provider or favorite digital retailer for pricing

Feature Run Time: 132 minutes

Ratings: U.S.: PG-13 / Canada: PG (bonus material is not rated)

Presentation: Blu-ray 3D & Blu-ray: 1080p High Definition 2.40:1 / DVD: Widescreen 2.40:1

Audio/Languages: Blu-ray 3D & Blu-ray: 7.1 DTS HD-MA; French & Spanish 5.1 Dolby Digital

DVD: English, French & Spanish 5.1 Dolby Digital, English DVS 2.0 Dolby Digital

Subtitles: Blu-ray 3D & Blu-ray = English SDH, French, Spanish

DVD = English SDH, French, Spanish

Social Media:
Stay connected with the latest news and information on Disney’s JOHN CARTER  “Like” the Facebook page at www.Facebook.com/JohnCarterMovie Follow us on Twitter at @JohnCarter View videos at www.YouTube.com/DisneyMovies


About The Walt Disney Studios:
For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under the following banners: Disney, including Walt Disney Animation Studios and Pixar Animation Studios; Disneynature; Marvel Studios; and Touchstone Pictures, the banner under which live-action films from DreamWorks Studios are distributed. The Disney Music Group encompasses the Walt Disney Records and Hollywood Records labels, as well as Disney Music Publishing. The Disney Theatrical Group produces and licenses live events, including Disney on Broadway, Disney On Ice and Disney Live!.

© 2012 Disney


Trademarks JOHN CARTER, JCM Design, JOHN CARTER OF MARS, BARSOOM, and PRINCESS OF MARS, owned by Edgar Rice Burroughs, Inc. and used by permission.

Disney Makes It Official: "John Carter" is a Box Office Bomb

Yesterday, The Walt Disney Company released a statement regarding the disappointing box office of its recent release, John Carter.  The film made a little over $30 million during its opening weekend, March 9-11, 2012.  The film, which reportedly had a production budget of $250 million, is largely based upon A Princess of Mars (1917), the first novel in Edgar Rice Burroughs' Barsoom novel series.  Disney's statement read:

“In light of the theatrical performance of John Carter ($184 million global box office), we expect the film to generate an operating loss of approximately $200 million during our second fiscal quarter ending March 31. As a result, our current expectation is that the Studio segment will have an operating loss of between $80 and $120 million for the second quarter. As we look forward to the second half of the year, we are excited about the upcoming releases of The Avengers and Brave, which we believe have tremendous potential to drive value for the Studio and the rest of the company.”

There are a number of theories as to why the film failed to meet expectations.  One is that there was a disconnect between the film's director, Andrew Stanton, a two-time Oscar-winner at Pixar Animation Studios for Finding Nemo and Wall-E, and Disney's marketing division.  So because of disagreements between the two or a lack of cooperation, if you read it that way, the film's marketing never piqued the interests of large numbers of potential moviegoers.  And big-budget event films like John Carter need lots of tickets sold to be profitable theatrically.

So far the film is doing okay outside of the North American market.  I guessing that Disney probably spent about $400 million making and marketing the film, so they're announcing a loss to their shareholders and the public because there is no way that this film can make a profit theatrically.  It would probably need to make around $800 million worldwide to do so.

I have been too busy to see the film at the theatre, but I will see it on DVD or on television.  Most people who see it will probably see it via some kind of home entertainment.  Who knows?  Over time, it may make Disney a pretty penny and become liked enough to make frequent appearances on the networks and channels that seem to have Disney franchises like Pirates of the Caribbean and National Treasure on heavy rotation.

Disney's D23 Expo Starts Friday, August 19th

THE WALT DISNEY STUDIOS TAKES FANS BEHIND THE SCENES AT DISNEY’S D23 EXPO, AUGUST 19-21

Exclusively at Disney’s D23 Expo August 19-21 at the Anaheim Convention Center, Disney film fans will go behind the scenes to explore the exciting roster of projects on the horizon at The Walt Disney Studios, with a variety of panel discussions, sneak peeks and exhibits.

On Saturday, August 20, Rich Ross, chairman, The Walt Disney Studios; Sean Bailey, president, production, The Walt Disney Studios; John Lasseter, chief creative officer, Walt Disney and Pixar Animation Studios; and Kevin Feige, producer and president, Marvel Studios, will present a not-to-be-missed look at The Walt Disney Studios’ upcoming film slate, which includes Disney’s The Muppets, John Carter, Disney•Pixar’s Brave, Marvel’s The Avengers, Tim Burton’s Frankenweenie, Oz The Great and Powerful and more.

With projects from Disney, Pixar Animation Studios and Marvel Studios, this special presentation will feature never-before-seen footage and all-star appearances by Jason Segel, Kermit and Miss Piggy (Disney’s The Muppets), Taylor Kitsch, Lynn Collins and Willem Dafoe (John Carter), Kelly Macdonald and Kevin McKidd (Brave), Jennifer Garner (The Odd Life of Timothy Green), Jack McBrayer and Sarah Silverman (Wreck-It Ralph), cast members from Marvel’s The Avengers and other surprise guests.

In celebration of 25 years of moviemaking magic, five sessions will be devoted to the artistry and technical wizardry of Pixar:

* A Conversation with the Pixar Creative Team – Enjoy a rare opportunity to spend some time with the key figures responsible for Pixar’s unprecedented success, including John Lasseter (chief creative officer, Walt Disney and Pixar Animation Studios), Jim Morris (general manager, Pixar Animation Studios), Pete Docter (director, Monsters, Inc., Up), Andrew Stanton (director, Finding Nemo, WALL-E), Bob Peterson (co-director, Up), Lee Unkrich (director, Toy Story 3), Mark Andrews (director, Brave) and Dan Scanlon (director, Monsters University).

* The Characters of Monsters University – Director Dan Scanlon and Production Designer Ricky Nierva discuss how they combine hair, horns and a lot of heart to bring the wonderful Monsters University characters to life.

* Michael Giacchino’s Music of Pixar – In this musical presentation, award-winning composer Michael Giacchino explores his early influences through the creation of modern-day classic scores from Ratatouille, Up and Cars 2.

* The Art of Brave – Production Designer Steve Pilcher and Shading Art Director Tia Kratter show how they and their team put paint to canvas and fingers to computer keys to create the stunning visuals of Scotland for Disney•Pixar’s upcoming film Brave.

* Pixar Shorts – This retrospective screening of the animation studio’s legendary short films will be followed by a panel discussion with several of the filmmakers, including Ralph Eggleston (director, For the Birds), Andy Jimenez (director, One Man Band), Angus MacLane (director, BURN-E), Pete Sohn (director, Partly Cloudy), Teddy Newton (director, Day & Night), and Enrico Casarosa (director, La Luna).

Expo attendees will also have access to advance screenings of an all-new 3D version of The Lion King, presented by RealD 3D, coming to theaters and homes this fall, and the upcoming ABC holiday special Prep & Landing: Naughty vs. Nice from Walt Disney Animation Studios.

Out on the Expo floor, fans can explore the world of The Walt Disney Studios at their leisure with comprehensive exhibits, including:

* Walt Disney Studios Animation Pavilion – Experience the art, technology, culture and legacy of Walt Disney Animation Studios with filmmaker demonstrations, drawing classes, book signings, meet-and-greets and art exhibits.

* Walt Disney Studios In-Home Entertainment Pavilion – Dive into cutting-edge home entertainment technology and learn what the future holds for Disney movie fans, with sneak peeks of upcoming films in breathtaking high-definition Blu-ray 3D™ and more.

* Inside Tides: Pirates of the Caribbean Film Prop Collection – Get an up-close look at an exclusive collection of detailed set pieces, props and costumes from the billion-dollar blockbuster Pirates of the Caribbean: On Stranger Tides.

Tickets to the D23 Expo are available at http://www.d23expo.com/. Admission includes access to all experiences and entertainment at the D23 Expo, including the Disney Legends Ceremony, and can be purchased for single days or for the full three days of festivities. Admission is $47 for a one-day adult ticket and $37 for children 3-12. Three-day passes are $136 for adults and $106 for children. Members of D23: The Official Disney Fan Club will receive a discount for up to four admissions, as well as early entry to each day of the D23 Expo for themselves and their guests.


About D23 Expo 2011
The D23 Expo—The Ultimate Disney Event for Fans and Families—brings the entire world of Disney under one roof at the Anaheim Convention Center, providing guests with unprecedented access to Disney films, television and theme parks.

About D23
The name "D23" pays homage to the wonder and excitement that began in 1923 when Walt Disney opened his fledgling studio in Hollywood. D23 is the first official community for fans in Disney's 88-year history. D23 gives its members a greater connection to the entire world of Disney by placing them in the middle of the magic through its quarterly publication Disney twenty-three; a rich website at www.Disney.com/D23; a collectibles line, The Walt Disney Archives Collection; and special events for D23 Members throughout the year, highlighted by the D23 Expo in Anaheim, California, August 19-21, 2011.

Fans can join D23 at www.Disney.com/D23, select shops at Disneyland Resort and Walt Disney World Resort and www.DisneyStore.com/D23. To keep up with all the latest D23 news and events, follow us "DisneyD23" on Twitter, YouTube and Facebook.

Aaron Sorkin Wins Best Adapted Screenplay Oscar for "The Social Network"

Writing (Adapted Screenplay)

“The Social Network” Screenplay by Aaron Sorkin WINNER

“127 Hours” Screenplay by Danny Boyle and Simon Beaufoy

“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich

“True Grit” Written for the screen by Joel Coen and Ethan Coen

“Winter's Bone” Adapted for the screen by Debra Granik and Anne Rosellini

Walt Disney Studios Celebrates Multiple 2011 Oscar Nominations

The Walt Disney Studios Celebrates 12 Oscar® Nominations for Toy Story 3, Alice in Wonderland and More

Disney•Pixar animated film earns Best Picture nomination for second straight year

BURBANK, Calif.--(BUSINESS WIRE)--The Walt Disney Studios is proud to announce its 2010 films have earned 12 Oscar® nominations. Today, the Academy of Motion Picture Arts and Sciences announced five nominations for Disney•Pixar’s Toy Story 3, including for the coveted title of Best Picture; three for Alice in Wonderland, and one each for Day & Night, Tangled, The Tempest and TRON: Legacy.

“2010 was a banner year for The Walt Disney Studios, and we are thrilled that the Academy has chosen to recognize both our animated blockbusters Toy Story 3 and Tangled and our live-action hits Alice in Wonderland and TRON: Legacy for their artistry, technical achievements and storytelling,” said Rich Ross, chairman of The Walt Disney Studios.

Toy Story 3 marks only the third time in history that Academy members have honored an animated film in the Best Picture category. It also earned a nomination for Adapted Screenplay – making it the fourth consecutive screenplay nomination for a Disney•Pixar film. The Toy Story trilogy’s tally of Oscar nominations now stands at nine.

Commenting on the announcement, John Lasseter, chief creative officer for Walt Disney and Pixar Animation Studios, said, “To have Toy Story 3 represented in the Best Picture category is a great honor, and a fitting tribute to director Lee Unkrich, producer Darla Anderson, screenwriter Michael Arndt, and all of the talented people at Pixar, who worked so hard to live up to and exceed the standards and expectations of Toy Story fans and moviegoers all over the world.”

A summary of nominations for The Walt Disney Studios is as follows:

Toy Story 3
Best Motion Picture of the Year - Toy Story 3 (Walt Disney) A Pixar Production: Darla K. Anderson, Producer
Best Animated Feature Film of the Year - Toy Story 3 (Walt Disney): Lee Unkrich
Achievement in Music Written for Motion Pictures (Original Song) – “We Belong Together” from Toy Story 3 (Walt Disney):  Music and Lyric by Randy Newman
Achievement in Sound Editing - Toy Story 3 (Walt Disney): Tom Myers and Michael Silvers
Adapted Screenplay - Toy Story 3 (Walt Disney): Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich

Alice in Wonderland
Art Direction - Alice in Wonderland (Walt Disney): Robert Stromberg (Production Design), Karen O’Hara (Set Decoration)
Achievement in Costume Design - Alice in Wonderland (Walt Disney): Colleen Atwood
Achievement in Visual Effects - Alice in Wonderland (Walt Disney): Ken Ralston, David Schaub, Carey Villegas and Sean Phillips

Day & Night
Best Animated Short Film - Day & Night (Walt Disney) A Pixar Animation Studios Production: Teddy Newton

Tangled
Achievement in Music Written for Motion Pictures (Original Song) – “I See the Light” from Tangled (Walt Disney): Music by Alan Menken; Lyric by Glenn Slater

The Tempest
Achievement in Costume Design - The Tempest (Touchstone): Sandy Powell

TRON: Legacy
Achievement in Sound Editing - TRON: Legacy (Walt Disney): Gwendolyn Yates Whittle and Addison Teague

2011 Oscar Nominations: Adapted Screenplay

Writing (Adapted Screenplay)

“127 Hours” Screenplay by Danny Boyle & Simon Beaufoy

“The Social Network” Screenplay by Aaron Sorkin

“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich

“True Grit” Written for the screen by Joel Coen and Ethan Coen

“Winter's Bone” Adapted for the screen by Debra Granik & Anne Rosellini

Review: "Toy Story 3" is Really Good; So What Else is New?

TRASH IN MY EYE No. 3 (of 2011) by Leroy Douresseaux

Toy Story 3 (2010)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA - G
DIRECTOR: Lee Unkrich
WRITERS: Michael Arndt; from a story by John Lasseter, Andrew Stanton, and Lee Unkrich
PRODUCER: Darla K. Anderson
CINEMATOGRAPHERS: Jeremy Lasky (D.o.P.) and Kim White (D.o.P.)
EDITOR: Ken Schretzmann
COMPOSER: Randy Newman

ANIMATION/FANTASY/COMEDY/
ADVENTURE/FAMILY

Starring: (voices) Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Don Rickles, Michael Keaton, Wallace Shawn, John Ratzenberger, Estelle Harris, John Morris, Jodi Benson, Emily Hahn, Laurie Metcalf, Blake Clark, and Whoopi Goldberg

It was an 11-year wait for a sequel to Toy Story 2. The beloved, computer-animated Toy Story film franchise closes with Toy Story 3. The creation of Pixar Animation Studios (Monsters, Inc., Up), Toy Story 3 opened to near universal acclaim and record-setting box office, so I don’t know what more I can say. I was spellbound by the previous films. If I’d had a vote, I would have voted the first two Toy Story movies the best picture Oscar winners for 1995 and 1999, respectively.

Toy Story 3 begins with 17-year-old Andy Davis (John Morris) packing as he prepares to head off to college. Andy has not played with his toys in years, but he decides to take Woody (Tom Hanks) to college with him and store the other toys in the attic. Of course, Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), and the rest of the toys are disappointed. However, when Andy’s mom, Mrs. Davis (Laurie Metcalf), mistakenly throws them out, they’re furious. They climb into a box of stuff to be donated to Sunnyside Daycare. They also refuse to listen to Woody when he tries to explain that Mrs. Davis’ action was a mistake.

Andy’s toys are enthusiastically welcomed by the numerous toys at Sunnyside. The leader of the Sunnyside toys, Lots O’-Huggin Bear a.k.a. “Lotso” (Ned Beatty), gives the newcomers a tour. Andy’s toys quickly become enamored with their new home, and Woody is forced to leave without them in his attempt to return home to Andy. However, all is not sunny at Sunnyside, and so, a thrilling rescue mission and breathless adventure ensue before they return home, again.

Lots O’-animated movies blend adventure, comedy, and emotion, some more deftly than others, but the difference is that in every Pixar film, the emotions are always honest and genuine. Even with expectations so high for Toy Story 3, Pixar still managed to produce a movie that charmed, captivated, and moved audiences so deeply, even making grown men cry at the end.

Starting with the first film, I was not surprised that a 3D digitally animated film about plastic toys could charm us. I’ve been watching the work of animators and filmmakers of animated movies entertain, impress, and dazzle for decades. The more talented the animators, the more they are able to match the power of live-action film, and sometimes even surpass the work of the best live-action filmmakers. Toy Story 3 is clever and exhilarating, poignant and stirring, and amusing and sometimes just plain funny.

Still, I can say the above about a lot of Pixar productions, but this time there is something a bit darker and perhaps, more special about this movie. The story echoes themes of death and endings, betrayal and bitterness, and change and new beginnings – with children’s playthings as the characters. It is like classic juvenile literature that speaks to all of us. That’s it. Toy Story 3 is great.

10 of 10

Sunday, January 09, 2011

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Review: "Toy Story" Was and Still is the Best Picture of 1995

TRASH IN MY EYE No. 89 (of 2010) by Leroy Douresseaux

Toy Story (1995)
Running time: 80 minutes (1 hour, 20 minutes)
MPAA – G
DIRECTOR: John Lasseter
WRITERS: Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolow; from a story by John Lasseter, Pete Docter, Andrew Stanton, and Joe Ranft
PRODUCERS: Bonnie Arnold and Ralph Guggenheim
EDITORS: Robert Gordon and Lee Unkrich
COMPOSER: Randy Newman
Academy Award winner

ANIMATION/FANTASY/ADVENTURE/COMEDY/FAMILY

Starring: Tom Hanks, Tim Allen, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, John Morris, Laurie Metcalf, and R. Lee Emery

Released in 1995, Disney/Pixar’s Toy Story is remembered as the first feature-length, computer-animated film (or 3D animation). Being the first film made entirely with computer-generated imagery (CGI) may be Toy Story’s main claim to fame, but it is also a superb film. Its sophisticated screenplay is full of wit and rich characterization, and the film challenges the notion that only Oscar-caliber films can deliver mature drama and complex storytelling.

Toy Story is set in a world where toys come to life when their owners are not present. The story focuses on a traditional, pull-string, talking cowboy doll named Woody (Tom Hanks). Woody is the leader of a group of toys belonging to a six-year-old boy named Andy Davis (John Morris). Woody has also long enjoyed a place of honor as the favorite among Andy’s menagerie of toys. Woody is prepping the others toys for the Davis family’s big move to a new home. In the meantime, Andy is having his party a week before his actual birthday, so the toys stage a reconnaissance mission to discover what new presents Andy will receive.

It turns out that Andy’s favorite birthday gift is a new action figure – a space ranger Buzz Lightyear (Tim Allen). Buzz is an impressive toy that has lots of things on it that light up and make noise, and even has pop-up wings. Disappointed and resentful because he believes Buzz has taken his place, Woody plots to get rid of Buzz. His plan, however, backfires, and both Woody and Buzz end up on an adventure that might cost them their happy home and their very survival.

Toy Story is full of charming and funny characters, and they will be especially appealing to people who remember owning a toy that was their very best friend. The characters are what make this movie. Even though Toy Story marked the dawn of a new era of movie animation, it would be merely a technical achievement without such winning characters.

In fact, one cannot help but marvel at how fully-realized Woody and Buzz are. We watch each character grow and also see what seems like a real friendship blossom. It all feels real because Woody and Buzz’s personalities are revealed through the story’s action. Conflict and dilemma challenge the characters within the film, and how the two react tells the audience more about them.

It seems as if 3D animation has created a strange, almost real world that looks as if it is somewhere between animation and reality. This is what Toy Story introduced to movie audiences, but it would all seem flat without the characters. Toy Story has exceptional characters in a special story, and so it is more than just a landmark technical achievement.

10 of 10

NOTES:
1996 Academy Awards: 1 win: “Special Achievement Award” (John Lasseter – For the development and inspired application of techniques that have made possible the first feature-length computer-animated film.); 3 nominations: “Best Music, Original Musical or Comedy Score” (Randy Newman), “Best Music, Original Song” (Randy Newman for the song "You've Got a Friend"), and “Best Writing, Screenplay Written Directly for the Screen” (Joss Whedon-screenplay, Andrew Stanton-screenplay/story, Joel Cohen-screenplay, Alec Sokolow-screenplay, John Lasseter-story, Pete Docter-story, and Joe Ranft-story)

1996 Golden Globes: 2 nominations: “Best Motion Picture - Comedy/Musical” and “Best Original Song - Motion Picture” (Randy Newman for the song "You Got a Friend in Me")

1997 BAFTA Awards: 1 nomination: “Best Achievement in Special Visual Effects” (Eben Ostby and William Reeves)

Monday, November 01, 2010

 

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Review: "WALL-E" Was and Still is the Best Film of 2008

TRASH IN MY EYE No. 48 (of 2010) by Leroy Douresseaux

WALL-E (2008)
Running time: 98 minutes (1 hour, 38 minutes)
MPAA – G
DIRECTOR: Andrew Stanton
WRITER: Andrew Stanton and Jim Reardon; from a story by Andrew Stanton and Pete Docter
PRODUCER: Jim Morris
EDITOR: Stephen Schaffer
COMPOSER: Thomas Newman
Academy Award winner

ANIMATION/SCI-FI/DRAMA with elements of action and comedy

Starring: (voices) Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, and Sigourney Weaver

In terms of American animated films, WALL-E, a film from Pixar Animation Studios, is a visionary work, and even considering the few exceptional films released in 2008 (like The Dark Knight), WALL-E was the best film of that year. It is the extraordinary story of a lonely little robot that has been doing what he was built for until he accidentally discovers a new purpose in life when he falls in love.

WALL-E is set centuries in the future on a ravaged Earth, devoid of vegetation and with its cities now largely empty ruins. Mountains of garbage, waste, junk, etc. cover the planet, and humans long ago fled the planet in spaceships that resemble cruise-line ships. Left behind to clean up the mess are small robots with melancholy binocular eyes called Waste Allocation Load Lifter Earth-Class or WALL-Es, for short.

For hundreds of lonely years, one WALL-E (Ben Burtt) has been compacting garbage into small cubes and piling them up until they form skyscraper-like heaps. WALL-E also collects knick-knacks, keeps a plucky cockroach as a pet, and obsesses over the 1969 film, Hello, Dolly. WALL-E’s life changes when he meets a strange new visitor to the planet, an advanced probe robot called Extraterrestrial Vegetation Evaluator or EVE (Elissa Knight), and falls in love with the sleek female robot at first sight. After EVE comes to realize that WALL-E has inadvertently stumbled upon the key to the Earth’s future, she races into space to return to the human flagship, the Axiom, where she will report her findings. Meanwhile, the smitten WALL-E has followed her.

WALL-E has the usual ingredients of that help make Pixar movies such huge hits, like exotic settings, splendid storytelling, winning characters and quirky but charming concepts. What makes WALL-E even more special is that it is the first Pixar film that is also a cautionary tale. The film assaults so many things that we hold dear: our materialism (as exemplified by the world-controlling mega-corporation, BnL or “Buy n Large”), gluttony (which results in obesity), our throwaway lifestyle (thus, the piles of garbage), and the instant gratification that high-tech gadgets offer.

This is the kind of thoughtful science fiction that American audiences rarely get. Director Andrew Stanton and his co-writers, Jim Reardon and Pete Docter, tackle our modern malaise and short-sightedness, the grasping corporation with their voracious appetites for wealth in almost any form, and our insipid and incompetent politicians.

Yet WALL-E, like other Pixar flicks is inimitably entertaining. All the robots, not just WALL-E and EVE, have such sparkling characters. Perhaps, that is the true magic of Pixar, the ability to fabricate humanity in any fictional characters – from a pack rat robot that picks up garbage and collects odds and ends to a busy-body sanitation robot neurotically cleaning contaminants. The voice performances (especially Ben Burtt’s) make all the characters, even the robots, seem uncannily human. The eventual robot mini-rebellion, which is a much smarter spin on man vs. machine than even The Terminator or The Matrix, provides the frenetic action-comedy that Pixar films always offer.

Thomas Newman’s exuberant score is consistently pitch perfect. It gives color to the film’s silent movie-like first act and helps brings the budding romance of WALL-E and EVE to life. Newman’s compositions turn the drama, conflict, and tension of the last half-hour into a whirlwind of action that just might take your breath away.

What else can I say? As usual, Pixar delivers, but this time WALL-E is especially special. It tells a wonderful love story, and asks us to love our world and to take care of ourselves. This is a visionary work.

10 of 10

NOTES:
2009 Academy Awards: 1 win: “Best Animated Feature Film of the Year” (Andrew Stanton); 5 nominations: “Best Achievement in Music Written for Motion Pictures, Original Score” (Thomas Newman); “Best Achievement in Music Written for Motion Pictures, Original Song” (Peter Gabriel-music/lyrics and Thomas Newman- music for the song "Down to Earth"), “Best Achievement in Sound” (Tom Myers, Michael Semanick, and Ben Burtt), “Best Achievement in Sound Editing” (Ben Burtt and Matthew Wood), “Best Writing, Screenplay Written Directly for the Screen” (Andrew Stanton-screenplay/story, Jim Reardon-screenplay, and Pete Docter-story)

2009 BAFTA Awards: 1 win: “Best Animated Film” (Andrew Stanton); 2 nominations: “Best Music” (Thomas Newman) and “Best Sound” (Ben Burtt, Tom Myers, Michael Semanick, and Matthew Wood); 2008 BAFTA Children's Award Best Feature Film (Jim Morris and Andrew Stanton)

2009 Golden Globes: 1 win: Best Animated Feature Film; 1 nomination: “Best Original Song - Motion Picture” (Peter Gabriel-music/lyrics and Thomas Newman-music for the song "Down to Earth")

Tuesday, June 29, 2010

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Review: "Finding Nemo" Recalls the Drama of Disney's "Bambi"

TRASH IN MY EYE No. 84 (of 2003) by Leroy Douresseaux

Finding Nemo (2003) – animated film
Running time: 100 minutes (1 hour, 40 minutes)
DIRECTOR: Andrew Stanton with Lee Unkrich
WRITERS: Bob Peterson, David Reynolds, and Andrew Stanton, from a story by Andrew Stanton
PRODUCER: Graham Walters
CINEMATOGRAPHERS: Sharon Calahan (director of photography) and Jeremy Lasky (director of photography)
EDITOR: David Ian Salter
COMPOSER: Thomas Newman
Academy Award winner

ANIMATION/FANTASY/ADVENTURE/COMEDY

Starring: (voices) Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe, Brad Garrett, Allison Janney, Austin Pendleton, Stephen Root, Vicki Lewis, Joe Ranft, Geoffrey Rush, Andrew Stanton, Eric Bana, and Elizabeth Perkins

Marlin (Albert Brooks), a clown fish, and his wife Coral (Elizabeth Perkins) live in an underwater suburban utopia for fish. They are about to be new parents as they await the hatching of over 400 eggs, when suddenly tragedy strikes in the form of a natural predator. After a horror that recalls the Disney classic Bambi, all that is left to Marlin is one tiny egg.

As the story moves to the future, Marlin has never really recovered from his loss. He is overprotective of his son Nemo (Alexander Gould), who was born with an underdeveloped fin (formerly known as a handicap), so he doesn’t swim well. Naturally, Nemo hates his father coddling him. One day he rebels by approaching a shipping vessel where a human captures him. Devastated, Marlin begins a desperate quest to find his only child. A blue tang fish named Dory (Ellen DeGeneres), who has short term memory loss, joins Marlin on the search for the boy. In the meantime, Nemo has found himself in the aquarium at an Aussie dentist’s office. He befriends a group of fellow captives who plot to help Nemo escape before he ends up an unfortunate gift to the dentist’s niece.

This is the fifth Walt Disney Pictures/Pixar Animation Studios co-production, and the union has produced five beautiful films. Toy Story and Toy Story 2 are two of the best animated films ever made. A Bug’s Life was a big hit, and I adore Monster’s Inc. more every time I see it. Finding Nemo ably stands with its brethren as another very fine achievement in the very short his story of computer animated feature films. I can say this without hesitation: Finding Nemo is a great animated film. I’ll save you the time reading this unless you really want to know what I have to say – rush out and see this film. It’s not perfect, and I can forgive the filmmakers the awfully syrupy fish suburbia that they created for the film’s opening scene; still, excellence must be noticed.

Directed by Andrew Stanton (co-director of A Bug’s Life) with Lee Unkrich (Monster’s Inc. and Toy Story 2) the film has the emotional resonance of the Toy Story films. Yes, it is inspired wacky fun for the kids, and they’ll laugh at lot; adults will probably laugh more than the tykes. Yes, the film has a gorgeous color palette that just dazzles the senses; it’s a colorful, visual treat on par with the great Technicolor films of yesteryear. However, the most important thing about the film is how it touches upon the relationships between people, both entertaining and connecting with the audience. You know there is something special about using animals to tell human stories. People have told these “anthropomorphic” tales since we could tell stories. It is easier for people to laugh at human foibles when we see our foolishness copied by cartoon animal-people. Animated films, cartoons, and comic art stories use this genre extremely well and through this animators and cartoonists take the craft of storytelling and make it an art.

The central story is about the protective bond between parents and their children, in this specific case, a father and his son. Marlin lost so much when he seemed about to have it all that he is way too overprotective of Nemo, essentially the only person he has left in his life. Marlin can’t deal with the fact that the older his son gets, the harder it is to micromanage the boy’s life. He can’t stop every bad thing that may happen to his child from happening. He’s also afraid of the environment in which he lives, the ocean, so he doesn’t really enjoy life. Nemo wants to be independent, but buried in the back of his mind is that he may be as physically inadequate as his father treats him. There are also many notable subplots: friends overcoming obstacles, learning to accept the differences in others instead of prejudging negative traits on them, people joining together to help a stranger in need, and of keeping hope alive.

I know that this might seem to be a bit heady for a cartoon, but this ability of a Pixar film to entertain and delight and to teach and to inspire simply continues that which is a tradition of the best Disney animated films. We’ve often considered classic Disney animation to be amongst the best films ever made (well, at least some of us), and Pixar just shows audiences that an animated film can be just as fun as the funniest comedy, that a cartoon can mimic the drama of humanity as well the best “real” movies.

9 of 10
A+

NOTES:
2004 Academy Awards: 1 win: “Best Animated Feature” (Andrew Stanton); 3 nominations: “Best Music, Original Score” (Thomas Newman), “Best Sound Editing” (Gary Rydstrom and Michael Silvers), and “Best Writing, Original Screenplay” (Andrew Stanton-screenplay/story, Bob Peterson-screenplay and David Reynolds-screenplay)

2004 BAFTA Awards: 1 nomination: “Best Screenplay – Original” (Andrew Stanton, Bob Peterson, and David Reynolds)

2004 Golden Globes: 1 nomination: “Best Motion Picture - Musical or Comedy”

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"Monsters, Inc." a Fantastic Monster Movie

TRASH IN MY EYE No. 18 (of 2001) by Leroy Douresseaux


Monsters, Inc. (2001)
Running time: 92 minutes (1 hour, 32 minutes)
DIRECTORS: Peter Docter with David Silverman and Lee Unkrich
WRITERS: Andrew Stanton and Dan Gerson with additional screenplay material from Robert Baird, Rhett Reese and Jonathan Roberts, from a story by Peter Docter, Jill Culton, Ralph Eggleston, and Jeff Pidgeon
PRODUCER: Darla K. Anderson
EDITORS: Robert Grahamjones and Jim Stewart
COMPOSER: Randy Newman
Academy Award winner

ANIMATION/COMEDY/FANTASY/FAMILY

Starring: (voice) John Goodman, Billy Crystal, Mary Gibbs, Steve Buscemi, James Coburn, Jennifer Tilly, Bob Peterson, John Ratzenberger, Frank Oz, Dan Gerson, Steve Susskind, and Bonnie Hunt

Monsters, Inc. is the fourth collaboration between computer animation studio Pixar and Walt Disney, a match made in heaven that has already produced three brilliant films: Toy Story, A Bug’s Life, and Toy Story 2. Monsters was a safe bet to be a hit, which it is, and it was also a safe bet to be a darned good movie, which it certainly is.

Monsters, Inc. is a utility company that generates its power from the screams of children. James P. “Sulley” Sullivan (John Goodman) is the company’s top scream maker, but during an attempt to help his partner Michael “Mike” Wazowski (Billy Crystal), Sully accidentally lets a human child into the building and all heck breaks loose. Although they depend on children for the power to run their world, monsters are afraid of children. The child, whom Sulley names “Boo” (Mary Gibbs) touches Sulley’s heart, and he’s determined to return her to her bedroom before harm comes to her in the form of Sulley’s chief rival, Randall Boggs (Steve Buscemi).

Monsters employs the same formula that made the previous Disney/Pixar films huge successes. The personable voice talent comes in the form of Goodman and Crystal, who are capable, but are not as engaging as Tom Hands and Tim Allen in the Toy Story films; their performances are closer to the work of Dave Foley in A Bug’s Life. Buscemi, as Boggs, brings a venom filled performance that drips menace much in the manner Kevin Spacey did in A Bug’s Life.

The animation is nice, but the pastel-like tones are often dull in the film. The design of the citizens of Monstropolis, the home city of Monsters, Inc. is, at times, inventive, and at other times, rather ordinary. Most of the creatures seemed to have come straight out of cheap Saturday morning animation.

Where the film really scores is its script and direction. The film is a bit slow in its setup of the story, but the slowness does allow the story to indulge in the idiosyncrasies of its characters. The writers and directors build the tension with a slow burn, the film explodes into an old-fashioned barnburner with a rousing chases that rivals the best of cinema. The movie has the kind of action movie adrenaline hit that you’d get when Indiana Jones chased the trucks in Raiders of the Lost Ark or the pod race in Star Wars Episode One: the Phantom Menace. Pixar gave is previous films the same edge of the seat chase and rescue, which made the film a thrill ride for all ages.

With its sentimental and beautiful ending, Monsters, Inc. easily overcomes any reservations that anyone might have about it. Once again Disney/Pixar has produced a picture worthy of end of year best film lists. Awards usually ignore such films because they’re only animation, and, after all, cartoons are for kids. But the truth is in the result; don’t cheat yourself of this fine movie.

8 of 10
A

NOTES:
2002 Academy Awards: 1 win: “Best Music, Original Song” (Randy Newman for the song "If I Didn't Have You"); 3 nominations: “Best Animated Feature” (Pete Docter and John Lasseter), “Best Music, Original Score” (Randy Newman), and “Best Sound Editing” (Gary Rydstrom and Michael Silvers)
2002 BAFTA Awards: 1 win: “BAFTA Children's Award Best Feature Film” (Darla K. Anderson, Pete Docter, Andrew Stanton, and Daniel Gerson)