Movie Review: The Croods

Thursday, October 3, 2013

Movie Review: The Croods

The Croods
Directed by: Kirk De Micco & Chris Sanders.
Written by: Chris Sanders & Kirk De Micco and John Cleese.
Starring: Nicolas Cage (Grug), Emma Stone (Eep), Ryan Reynolds (Guy), Catherine Keener (Ugga), Cloris Leachman (Gran), Clark Duke (Thunk), Chris Sanders (Belt), Randy Thom (Sandy).

The best Hollywood animated films are the ones that are able to satisfy kids desire to have fast paced, colorful, funny movies with something buried in their for adults. Pixar manages this trick often – although their batting average is a little lower over the past few years – but no other studio has really been able  to pull off the trick with any sort of consistency. Since its inception with 1998’s Antz, Dreamworks animation has made far more feature films that Pixar (27 to 14) – but far fewer that are able to pull the trick off. From every film that pulls it off – Antz (1998), Chicken Run (2000), Shrek (2001), Wallace and Grommitt: The Curse of the Were Rabbit (2005), Kung Fu Panda (2008), How to Train Your Dragon (2010) or Megamind (2010) – there is a Shrek sequel, or a Madagascar film or a Shark Tale or a Bee Movie or an Over the Hedge (you get the point) that may not be a bad movie, but do leave the audience of adults left wanting a little bit more. Unfortunately, The Croods is more in line with those later films than the earlier ones. It is by no means a bad movie – it held my interest throughout, is amusing at times, and has some wonderful sequences in it – but I couldn’t help by wonder if the filmmakers couldn’t have pushed this a little bit further, and made something better. The kids will – and have – liked the film, and adults aren’t going to annoyed by it (unless their kids play it on repeat) – but that’s about it. In short, it’s a fine film – but a completely forgettable one.

The movie is about the title family – The Croods – who are cavemen who have managed to survive because the patriarch, Grug (Nicolas Cage) hardly ever lets them leave the safety of their cave. But the oldest daughter Eep (Emma Stone) doesn’t just want to survive – she wants to live. She wants to go out and explore, and is becoming frustrated that she’s not allowed to. But events are going to force The Croods to leave their cave – the earth is shaking, the ground is opening up, and lava is flowing. They meet Guy (Ryan Reynolds) – one step up the evolutionary chain from the cavemen – and he says he can help get them to safety. Having no choice, Grug agrees and the family goes on their journey.

There are some wonderful sequences in the movie – the opening hunt perhaps being the best one. The movie doesn’t pretend to be accurate historically – after all, Guy would never exist in a time where the Croods do – so the filmmakers take this inaccuracy a step further and create some creatures that never existed – like the horde of parrots who behave like piranhas. The movie is at its best when the characters are engaged in action, and not in dialogue. The story – about the conflict between the over protective Grug and the more relaxed Guy, and Eep trying to forge her own way in the world – is predictable in the extreme – but hey, it gets the job done.

And that’s about all you can say about The Croods as movie – it gets the job done. It is far from a bad movie – it’s mildly amusing, and well animated with some nice vocal work by Cage, Reynolds and especially Stone. But it's a largely forgettable experience. If you’re an adult forced to watch it with yours kids, you’ll be mildly amused. If you don’t have kids – well, then there’s little reason to see it at all.

Movie Review: Despicable Me 2

Thursday, August 8, 2013

Movie Review: Despicable Me 2

Despicable Me 2
Directed by: Pierre Coffin & Chris Renaud.
Written by: Ken Daurio and Cinco Paul.
Starring: Steve Carell (Gru), Kristen Wiig (Lucy), Benjamin Bratt (Eduardo / El Macho), Miranda Cosgrove (Margo), Russell Brand (Dr. Nefario), Ken Jeong (Floyd), Steve Coogan (Silas), Elsie Fisher (Agnes), Dana Gaier (Edith), Moises Arias (Antonio), Nasim Pedrad (Jillian), Kristen Schaal (Shannon), Pierre Coffin (Kevin the Minion / Bob the Minion / Stuart the Minion / Additional Minions / Evil Minions), Chris Renaud (Additional Minions / Evil Minions / Italian Waiter).

Despicable Me 2 is the very definition of disposal family entertainment. I have a hard time believing too many people can actually actively dislike the movie – and none of those who do will be children who will have a blast, and probably watch it repeatedly. It is too sweet, funny, fast moving and well animated for anyone to hate the film. And yet, the film doesn’t stick in your mind in any meaningful way after it’s over. The first film was inventive and funny – it played with genre stereotypes about super villains in the movies, and went knowingly over the top when Gru tried to steal the freaking moon. Perhaps it’s better that they didn’t try to top that in the sequel (really, what the hell else could you steal after the moon) but while I had a good time while watching Despicable Me 2, it has all but faded from my memory just a few days later.

The movie once again has the voice of Steve Carell as Gru – once a super villain, who had his evil heart melted when he adopted three girls as part of his evil plan, and ended up loving them like he never thought he would. Gru is now trying to stay on the straight and narrow and be a good father. But it’s a rather dull life – and his idea for a line of jams and jellies doesn’t seem to be going anywhere. Even his sidekick – Dr. Nefario – has grown tired of not being evil, and decided to pursue other opportunities.

And that is when he is contacted by the AVL – Anti Villain League. It seems someone has stolen some super-secret, super dangerous drug that makes even docile animals into killing machines. And traces of the substance have been found at the local mall. The AVL wants Gru to team up with Lucy (Kristen Wiig) to figure out who it is. From the beginning we’re pretty sure it’s Eduardo (Benjamin Bratt) – especially when his son starts flirting with Gru’s oldest – much to his dismay.

The movie moves at a brisk pace – we know what’s going to happen on its two different story tracks – the tracking down of an evil villain, and Gru’s blossoming romance with Lucy – and the movie doesn’t really surprise us. But it’s still hard to complain when the movie is this much fun – as a film buff, I did enjoy playing spot the reference throughout the film, some are obvious, some quite subtle. And as with the last film, the film is very well animated. Yes, the film probably does rely too heavily on the Minions this time around – kind of like the Madagascar movies rely too heavily on the Penguins in the sequels, or the Ice Age with Scrat, etc. – but they’re still adorable and funny, so yet again, it’s hard to complain too much.

Overall, it’s easy to see why Despicable Me 2 has become one of the biggest hits of the year so far. It gives fans of the first movie precisely what it wants – is hugely enjoyable for kids, and not a pain to sit through for adults. If that sounds like I’m damning the movie with faint praise, so be it.

Movie Review: Monsters University

Tuesday, June 25, 2013

Movie Review: Monsters University

Monsters University
Directed by: Dan Scanlon.
Written by: Robert L. Baird & Daniel Gerson & Dan Scanlon.  
Starring: Billy Crystal (Mike), John Goodman (Sullivan), Steve Buscemi (Randy), Helen Mirren (Dean Hardscrabble), Peter Sohn (Squishy), Joel Murray (Don), Sean Hayes (Terri), Dave Foley (Terry), Charlie Day (Art), Alfred Molina (Professor Knight), Tyler Labine (Greek Council VP), Nathan Fillion (Johnny), Aubrey Plaza (Claire Wheeler), Bobby Moynihan (Chet), Noah Johnston (Young Mike), Julia Sweeney (Ms. Squibbles), Bonnie Hunt (Mrs. Graves), John Krasinski (Frank McCay), Bill Hader (Referee / Slug), Beth Behrs (PNK Carrie), Bob Peterson (Roz), John Ratzenberger (Yeti), Frank Oz (Fungus).

Last week, I did a post asking if something was wrong with Pixar. The gist of the piece was essentially that after an almost unprecedented run between 2003’s Finding Nemo and 2010’s Toy Story 3, where they made 7 films, 6 of them being great, and the other being Cars which was merely good, Pixar now seems to have three films in a row – with Cars 2, Brave and now Monsters University – that were not quite up to snuff. What I tried to convey in that piece that while it is fair to say Pixar’s films aren’t quite as great as they were during that stretch a major part of the problem was the weight of expectations. I think Cars 2 was a legitimately bad film, but last year’s Brave was very good – it would considered a triumph for any other animation studio, but coming from Pixar, it was seen as a mild disappointment. The early reviews of Monsters University seemed to suggest the same thing – they were respectable, but hardly over the moon like some of the Pixar’s best efforts. What I will say about Monsters University now that I have seen the film is similar to what I said about Brave – not quite as good as Pixar’s best – and as such, a mild disappointment – but miles better than what most children’s animation made in America is. Monsters University may not be WALL-E – but it’s no Cars 2 either.

The movie is a prequel to 2001’s Monsters Inc., where we followed intrepid duo Sully (voiced by John Goodman) and his sidekick Mike (Billy Crystal) on their adventure working for the premier scaring company in Monster Land – which is powered by children’s screams the scarers must get out of them by creeping up on them as they sleep. Monsters University goes back to the time where Sully and Mike first met - and shockingly, didn’t like each other at first. Sully came to MU as it’s called as a legacy – his father is a famous scarer, and Sully can be scary simply by showing up and growling – he slacks off, does no work, but it doesn’t matter – he’s just that good. Mike on the other hand works his eyeball off – reading every book on scaring ever written, memorizing “Scream Theory” and practicing non-stop. There’s just one problem – he’s not really all that scary.

The plot basically involves Sully and Mike butting heads with each other – and running afoul of Dean Hardscrabble (Helen Mirren), a wonderfully creepy centipede with wings creation. In order to stay in school, they have to assemble a ragtag group of losers and win the “Scare Games”. You can probably see how this is going to play out – and for the most part you’d be right. Unlike the best Pixar movies, Monster’s University doesn’t really have many surprises up its sleeves. There is the Fraternity led by Johnny (Nathan Fillion), who always wins the Scare Games, and need to be taken down a peg, and then there’s the Frat Mike and Sully are stuck with – amusingly with the intitals OK – that is full of the nicest monsters who would ever hope to meet, who seem like hopeless losers, but who Mike and Sully will whip into shape to surprise everyone at the Scare Games.

So no, Monsters University does not rank alongside Wall-E, The Incredibles or Toy Story 3 as one of the very best films Pixar has ever made. And yet, to call the film bad or even disappointing would be wrong. The film, like even the worst Pixar movie, is stunningly well animated – a colorful world full of the strangest, funniest, creepiest monsters you will ever see in a kid’s movie. And while the plot may be fairly well worn territory, that doesn’t mean that co-writer/director Don Scanlon and company don’t deliver the goods and make an extremely entertaining, often times very funny children’s films. The kids will love Monsters Inc. – it’s got enough bright colors, action sequences and humor they can enjoy for that (although, I do wonder if little kids may be given a few nightmares by Hardscrabble – Mirren does a remarkable job of matching the monster’s creepy exterior with a pitch perfect voice).  And there are a few scenes that just about perfect for older movie buffs – the best being a sequence that relives every horror movie cliché “Boo” moment imaginable, deployed in increasingly clever ways.

Monsters University does not live up to the best movies Pixar has ever made. But it is still a very good animated movies that both children and adults should like immensely. What’s so disappointing about that?

Movie Review: From Up on Poppy Hill

Thursday, March 28, 2013

Movie Review: From Up on Poppy Hill

From Up on Poppy Hill
Directed by:  Goro Miyazaki.
Written by: Hayao Miyazaki & Keiko Niwa based on the comic by Tetsurô Sayama and Chizuru Takahashi.

One of the great things about the work of Hayao Miyazaki is that although his movies are often fantasies, they remain grounded in the real world. Yes, his films are filled with wizards and witches, floating castles, spirits and all sorts of strange creatures, but when at their most basic level, they are still relatable stories for children, that address their lives in a subtle, sometime sad, sometimes joyous ways. The new film From Up on Poppy Hill was not directed by Hayao Miyazaki – although it was written and “planned” by him – but his son, Goro Miyazaki. The apple has not fallen far from the tree this time. And From Up on Poppy Hill is more grounded in reality that any of the older Miyazaki’s films – no mystical creatures exist here at all. It tells the haunting, beautiful and sad story of a Japan intent on building its future by tearing down its past.

The film takes place in the early 1960s – specifically in the run-up to the 1964 Tokyo Olympics – although the film doesn’t take place in Tokyo, and we see no games, the Olympics, and what they represented serve as a metaphor for the entire film. As a nation, Japan wanted to press forward, modernize, exorcise or at least forget about the war that had crippled their country. The same thing is happening on a smaller scale in a small town.

The heroine (and there is always a heroine in Japanese animation, a refreshing change to the male dominated heroes in American animation) in Umi, a teenage girl who still misses her father – a ship captain killed in the Korean war. Her mother is away studying, which leaves Umi at home with a grandmother, younger siblings and quite a few kindly, yet eccentric, boarders. She is constantly busy – but she likes it that way.

At school, there is a mini-war brewing as the school wants to tear down the old, rundown clubhouse – used by many male members to house their various clubs, ranging from the school newspaper to astronomy club, to a very large student who makes up the Philosophy club of one. The place is a dirty mess, and the school wants to replace it with something new. But the students who use the clubhouse love it – they feel it connects them to the past. Umi it gets drawn into their fight, when she develops a crush on Shun, and the two dance around each other in that way that young teenagers who don’t quite know how to express themselves do. But there are darker secrets yet to be revealed. From Up on Poppy Hill, although outwardly a sweet, innocent film, is also one haunted by war and death.

I cannot think of a higher compliment to pay to the film than to say that I could easily believe it was a Hayao Miyazaki film. The animation of the film is beautiful, rendering the smallest details – the leaves, the flags that Umi raises every morning, etc. with detail and a sad beauty. The film will likely be a little slow for young children – the story doesn’t feel the need to rush, to be loud and noisy and all constant motion and action like American animated films. It takes it’s time getting where it’s going. Older children will likely appreciate how the movie doesn’t talk down to them – and while the film has dark moments, it’s the type of darkness that isn’t going to scare children. They can relate.

And adults, who love animation, will love the film. It is a beautiful, lovely film – and a nostalgic one. We shouldn’t tear down the past to make way for the future – as this beautiful, haunting sad film shows us.

2012 Year End: Best Animated Films of 2012

Tuesday, January 15, 2013

2012 Year End: Best Animated Films of 2012

It was not a banner year for animation in the sense that we didn’t have one truly great animated film this year. However, we did have more very good animated films this year – by my count 4 films worthy of lots of attention. That doesn’t sound like much, but it’s more than many years.

True, we had some unnecessary, loud, obnoxious sequels like Madagascar 3 Europe’s Most Wanted and Ice Age 4: Continental Driftboth of which gave me a headache. I didn’t hate Dr. Seuss’ The Lorax but it is certainly true that it needlessly complicated a simple, great story by the master children’s author. Rise of the Guardians was good enough that you wish it was just a little bit better – a great idea that doesn’t quite live up to it. The Secret Life of Arietty does not quite reach the levels of the best Studio Ghilbi films (which is a near impossible bar to hit), but is still wonderful, old school animation. And there are probably some great foreign films lurking out there among the films Oscar qualified, that we won’t be able to see until next year. The Pirates! Band of Misfits was not quite up to the high standards of Aardman, but was still an absolute delight.

But, for now anyway, the following five films were my favorite animated films of the year.

5. It’s Such a Beautiful Day (Don Hertzfeld)

Don Hertzfeld’s trilogy of animated short films – made from 2006-2012 – and edited together in this film, just barely over an hour, is easily the most original animated film of the year. It’s hero is Bill, a stick figure who has waking dreams and nightmares, which start out funny and absurd, and then slowly turn darker. Eventually, he will be diagnosed with an unnamed, but possibly fatal, disease, which explains his condition – and a flashback to his family life sheds even more light. The film is the most crudely animated film you’ll see this year, but it at times touching and funny, and the work of a true artist, struggling with mortality. Not completely satisfying as a feature – the fact that it was made as three shorts shows – but such an original film, you hardly care.

4. ParaNorman (Chris Butler & Sam Fell)

Like The Pirates, ParaNorman is also a stop motion animated film (with some CGI help) that has a wonderful hand-made look and feel to it. The story, about a strange little boy who can talk to dead people, who is the only one who can save his small New England town from the Witch`s Curse, is rather predictable. But the film is full of small details that make it a never ending delight to watch. For one thing, Norman is your typical kid’s movie hero – there is something undeniably creepy about him. And while the supporting cast seem to fall into archetypes – the bully, the ditzy older sister, the supportive mom, the strict father, the loving grandma, the crazy uncle – the film plays with those stereotypes quite effectively. The film also is filled with clever references to cinema`s Golden Age of horror movies. The film is a little creepy for younger kids – but older and intelligent ones should love it. If you missed it in theaters, and many seemed to, make sure to check it now.

3. Wreck-It Ralph (Rich Moore)

Although Wreck-It Ralph was made by Disney Animation, and not Pixar, the film certainly does follow the Pixar formula – of mixing great animation, heartfelt storytelling and nostalgia into an irresistible package. In this film, Ralph, a Donkey Kong like video game bad guy, is tired of being the guy after 30 years, and wants just once to be the good guy – so he escapes into another arcade game, and all hell breaks loose. The relationship between this big lug, and the charming, adorable girl race driver (voiced to perfection by Sarah Silverman) is genuinely heartfelt and moving. The animation is full of clever touches – like the way characters from older video games move compared to the more realistic newer ones. And old gamers, like myself, will certainly be thrilled to see many of their favorites show up in cameos. The movie doesn’t quite reach the levels of Pixar`s best – the third act is touch reliant on non-stop action for that, but for the most part, this was one of the most enjoyable films of the year – animated or otherwise.

2. Brave (Mark Andrews & Brenda Chapman)

Pixar has painted themselves into somewhat of a corner. Because their best films – Finding Nemo, The Incredibles, Ratatouille, Wall-E, Toy Story 3 and Up – are all great films in their own right, when they make a film like Brave – which is merely really good – it can be seen as somewhat of a disappointment. The storyline of Brave is rather straight forward – the type of Princess story that Disney has been making for decades, albeit with a modern twist. Its effective, but does feel like a little warmed over. Yet the animation in Brave is as stunning and beautiful – if not more so – than anything Pixar has ever made before. Princess Merida`s hair itself is a visual triumph. If any other studio made Brave, it would rank among their very best. But because Pixar, as I have said many times before, is the most consistent creative force in American movies today, Brave ranks as one of their middle pictures – like Monsters Inc. That`s still damn good, just not quite great.

1. Frankenweenie (Tim Burton)

Unfortunately it seems like pretty much every parent made the decision that Frankenweenie was too creepy and scary to subject their kids to, and that’s a shame, because this was my favorite animated film of the year. Every time I see a Tim Burton animated film, I think it would be better for all of us if he just stuck to animation full time – it is the perfect medium for his dark, creepy point of view. This remake of his own live action short film from the 1980s is made in brilliant, beautiful black and white, and is full of references to the old school horror and sci-fi films Burton was weaned on. It is also a surprisingly touching film about a boy and the love he has for his dog, even after the poor thing is killed by a car. This is Burton`s best film in years – and perhaps his most personal. So while I do not think this was a great year in animation, I have no problem with naming Franenweenie the best animated film of the year.

Movie Review: It's Such a Beautiful Day

Monday, December 31, 2012

Movie Review: It's Such a Beautiful Day

It’s Such a Beautiful Day
Directed by: Don Hertzfeldt.
Written by: Don Hertzfeldt.
Starring: Don Hertzfeldt (Narrator).

Don Hertzfeldt’s It’s Such a Beautiful Day is one of the most unique animated films you will ever see. It is actually three short films – Everything Will Be OK (2006), I Am So Proud of You (2009) and It’s Such a Beautiful Day (2011) that Hertzfeldt has edited together into a seamless feature film of just over an hour long. It was barely released in theaters, and can be purchased on his website (http://www.bitterfilms.com/), which I encourage everyone to do. I was lucky enough to be able to borrow a DVD from a friend, and the film, while crudely animated, is actually quite sophisticated in its storytelling, sound design and at times, its visual effects. This is a one of a kind film that you should track down.

The film is about Bill, an animated stick figure in a top hat. The movie takes place mainly in his mind as it slowly falls apart. At first his visions, dreams and nightmares are simply surreal, and at times downright hilarious. But the film gets darker as it goes along, and ends up being a rather touching, sad reminder of mortality.

Why is Bill’s failing falling apart? For much of the movie, we don’t know, and neither does Bill. Eventually we will learn he has been diagnosed with some sort of disease – what I don’t think the film ever says. The movie contains a flashback to his childhood, which helps to explain why Bill is the way he is. And there is also a rather touching relationship with an ex-girlfriend, who seems to the be the only person who truly loves Bill.

I don’t want to talk too much about the story, because I think it is better left unsaid. What I will say is that although Bill is nothing more than a stick figure in a top hat, he is also a touching, realistic person that anyone watching can relate to. You will be surprised just how much you come to care about this little man.

The entire movie was made by Hertzfeldt working by himself, doing everything by hand. The animated sequences are inventive in their own crudely drawn way. There is also some interesting, lve action practical special effects sequences which are even more inventive in what Hertzfeldt is able to achieve. The sound design is even more impressive, especially in a few sequences where Bill’s mind seems to be completely falling apart.

It’s Such a Beautiful Day is a testament to what one man can accomplish when he has a story he wants to tell, and the skill and determination to do so in an intelligent way. Hertzfeldt is a one of a kind filmmaker, and It’s Such a Beautiful Day is a one of a kind film.

DVD Review: Ice Age: Continental Drift

Wednesday, December 12, 2012

DVD Review: Ice Age: Continental Drift

Ice Age 4: Continental Drift
Directed by: Steve Martino & Mike Thurmeier.
Written by: Michael Berg & Jason Fuchs.
Starring: Ray Romano (Manny), Denis Leary (Diego), John Leguizamo (Sid), Queen Latifah (Ellie), Jennifer Lopez (Shira), Wanda Sykes (Granny)Keke Palmer (Peaches), Nicki Minaj (Steffie), Peter Dinklage (Captain Gutt), Drake (Ethan), Josh Gad (Louis), Aziz Ansari (Squint), Joy Behar (Eunice), Nick Frost (Flynn), Heather Morris (Katie), Kunal Nayyar (Gupta), Josh Peck (, Eddie), Simon Pegg (Buck), Seann William Scott (Crash), Patrick Stewart (Ariscratle), Alan Tudyk (Milton / Hunky Siren), Chris Wedge (Scrat), Rebel Wilson (Raz).

I was surprised to learn that I had never seen Ice Age 3: Dawn of the Dinosaurs. I discovered this fact while looking for my review of the film to see if I had such a low opinion of that film as I did of Ice Age 4: Continental Drift. You see, movies like this all start to drift together at some point – apparently to such a degree that I didn’t even realize that I had only seen two Ice Age films before, and not three. Judging on the box office returns of this film, there will eventually be an Ice Age 5 – and perhaps I should follow the lead of my 2009 self, who skipped Ice Age 3, and not my 2012 self, who watched Ice Age 4. Mind you, by then my daughter (who is only 16 months old right now) will probably be of an age where watching these films is no longer a choice for me – but an obligation.

The story involves our three lovable heroes – Manny the Mammoth, voiced by Ray Romano, a constant worrier. Sid the Sloth, voiced by John Leguizamo, who is sweet but clueless. And Diego the Saber Tooth Tiger, voiced by Denis Leary, who puts up with the idiots around him, because his icy heart has been melted by them. In the opening sequence, we see Scrat once again trying very hard to get his hands on an acorn – which has the unlikely side effect of causing the Earth’s one land mass to break apart, and start drifting to wear they are today. Never mind that that happened a hell of long time before these creatures existed, and probably didn’t happen in a matter of seconds like it seems to here. That type of thing really isn’t what Ice Age 4: Continental Drift is about.

That’s because Ice Age 4 is all about rapid movement, lots of action sequences, bright colors and characters and everything else hurling at the screen almost constantly – because of course, in the theaters this movie was in 3-D, and you got give the audience their money’s worth of crap flying at the screen. Watching it  at home, this just looks pathetic.

I’m sure little kids will love Ice Age 4. There is nothing complicated about the movie at all, and it never slows down for a second. The film is full of chases and action sequences – many involving a band of animal pirates who constantly get in the way of Manny and his friends attempts to reunite with their family, after the continent split up. The jokes come at you fast and furious when the action isn’t, but they’re aimed at kids, with none of the knowing nods, winks or in-jokes direct at the kids parents.

The film was, for me, a chore to sit through. Like the recent Madagascar 3, this film foregoes any attempt at plot or character, and just throws one “visual extravaganza” at you after another. And nothing is more boring to me than constant movement.

DVD Review: ParaNorman

Friday, November 30, 2012

DVD Review: ParaNorman

ParaNorman
Directed by: Chris Butler & Sam Fell.
Written by: Chris Butler.
Starring: Kodi Smit-McPhee (Norman Babcock), Tucker Albrizzi (Neil), Anna Kendrick (Courtney Babcock), Casey Affleck (Mitch), Christopher Mintz-Plasse (Alvin), Leslie Mann (Sandra Babcock), Jeff Garlin (Perry Babcock), Elaine Stritch (Grandma), Bernard Hill (The Judge), Jodelle Ferland (Aggie), Tempestt Bledsoe (Sheriff Hooper), Alex Borstein (Mrs. Henscher), John Goodman (Mr. Prenderghast), Hannah Noyes (Salma).

Everything about ParaNorman is delightfully off-kilter. This is a traditional stop motion animated film (with a little help from computers) about a very strange little boy named Norman, who cannot only see dead people all around him, but talks to them. For the most part, these dead people are nice to him – and like having someone to talk to. His dead grandmother hangs out on the couch to keep an eye on him. Everyone in town thinks he’s nuts and more than a little creepy. But when the Witch’s Curse threatens this small New England – still proud of it’s with trail days (or at least not ashamed enough to not use it as a tourist attraction – he may be their only hope.

There is something about stop-motion animation that I like. Unlike the more advanced computer driven animation that dominants children’s films nowadays, stop-motion animation isn’t perfect. The characters are lovingly sculpted by hand, and prone to look and feel imperfect. The same is true for how the characters move – not quite like real people. Computer animation can be great – but there is something I love about the handcrafted feel of stop motion – and it’s just about perfect for ParaNorman.

Norman is not your typical protagonist for an animated children’s film – he isn’t really a plucky, misunderstood, underdog. There is something creepy about him. He’s a nice guy, but he is certainly morose and has an understandable fascination with death. His hair stands straight up on, no matter what he tries to do with it, and his ears stick out funny. Even his own family doesn’t understand him – his father wants him to be normal, his mother loves him, but worries about him, and his older sister is a typical self-involved teenage girl. The only (living) person who likes him is Neil, a tubby kid in his class who finds Norman’s gift fascinating. Everyone else – including the school bully Alvin – hates Norman.

The plot of ParaNorman is fairly typical – a witch is going to release a curse on the town, and Norman is the only one who can stop it. He has to assemble his ragtag group – including Neil, Alvin, his older sister and Mitch, a lovable but lunkheaded jock who is Neil’s older brother. Their journey takes them all over town – including the cemetery a number of times. It is an effective plot, but a fairly by the numbers one.

What I admired about ParaNorman were the visuals, which as I mentioned has a lovable homemade quality to them, and the characters, who neatly skirt around cliché for the most part (not really in the case of the older sister or the bully). I’m glad they’re still making animated films like ParaNorman – aimed at slighter older kids, which treat them with respect, and has a distinct visual look all their own. I tire of many animated films with their concentration on bright colors and non-stop action, but ParaNorman is so lovable, I never grew bored.

Movie Review: Rise of the Guardians

Thursday, November 22, 2012

Movie Review: Rise of the Guardians

Rise of the Guardians
Directed by: Peter Ramsey.
Written by: David Lindsay-Abaire based on the book by William Joyce.
Starring: Chris Pine (Jack Frost), Alec Baldwin (North), Jude Law (Pitch), Isla Fisher (Tooth), Hugh Jackman (Bunny), Dakota Goyo (Jamie Bennett), Khamani Griffin (Caleb), Kamil McFadden (Claude), Georgie Grieve (Sophie Bennett).

Rise of the Guardians is good enough to make you wish it was better. It has an ingenious premise – one of those ones that is so obvious you wonder how no one else ever thought of it before. Yet I wish that the movie had either taken that premise either a little more or a little less seriously. Rise of the Guardians is one of those strange children’s movies that is both a little too dark for younger kids, and a little too naïve for older ones. There is probably a sweet spot – that age that the movie is perfect for – but I’m not quite sure what it is.

The movie’s hero is Jack Frost (voiced by Chris Pine), who has spent the last 300 years bringing blizzard, ice and snow ball fights to the children of the world. But there’s a hole at his core – he doesn’t know why he was put here by the Man on the Moon – just that he was. He wants desperately to belong to something. Even the kids he gives snow days to do not believe in him – and as such, they cannot see him. He is a merry prankster, who isn’t all that merry.

But then the Guardians come calling. Their arch nemesis Pitch (voiced with appropriate menace by Jude Law), better known as the Boogey Man, is getting ready to make a comeback. The Guardians are a group of four childhood icons – Santa (voiced by Alec Baldwin, with a Russian accent for some reason), the Easter Bunny (Hugh Jackman, exaggerating his Australian drawl), the Tooth Fairy (Isla Fisher, who has an unhealthy fixation on teeth), and the silent Sandman, my personal favorite, as he seems to have been inspired by Harpo Marx. Their job is to preserve children’s belief and innocence – and Pitch wants to destroy that, by giving them nightmares. Pitch ruled in the Dark Ages, when everyone was miserable and scared, and he wants that back. For reasons he does not explain, the Man on the Moon tells the Guardians they need to recruit Jack Frost to join their ranks.

Rise of the Guardians has enough action to keep children entertained for the most part. Jack Frost sails along on the wind and the other characters either fly, or take Santa’s sleigh everywhere, and their numerous battles with Pitch are handled well, even if they do start to repeat themselves after a while. These are the scenes that any kid will enjoy – even if other parts of the movie they don’t like as much. The character design is also interesting and well done – twisting the classic image of these characters enough to give them their own unique look for the film – Santa with Naughty and Nice tattoos on his arms, the Easter Bunny as a muscular jack rabbit, the tooth fairy more of a traditional looking fairy than a Tinker Bell-esque fairy princess, and Sandman as an ever shifting mass of sand, Pitch as an almost vampire pale creation, Jack Frost an innocent yet mischievous teenager. It didn’t surprise me to learn that one of the producers of the movie was Guillermo Del Toro – because the creatures resemble some of the ones he has put on screen before. At times, these characters are upstaged by their various sidekicks – I particularly liked Santa’s two groups of minions – the hapless, hilarious elves, and the put upon, exasperated Yetis who actually do all the work, and Pitch’s galloping, red eyed black horses, who are literal nightmares come to life. The idea of essentially making these childhood fantasy figures into superheroes – much like The Avengers – is an idea that is ingenious in its simplicity.

And yet, while I was watching the movie, I wanted more from the movie. For my tastes, I would have preferred a darker outlook. The movie sees childhood as either black or white – either completely naïve and innocent, or else mired in fear, when in reality these two states co-exist in every child. You don’t need to look any further than the original backstories of most of the Guardians themselves, who while they have become symbols of childhood innocence, have some pretty dark stuff in their past. Children are afraid of things precisely because they are more willing to believe in them – things that as adults we know are not logical – the monster under the bed for example – can scare the crap of a child. Personally, I would have liked to see the movie go darker into this area – much like Spike Jonze’s Where the Wild Things Are. But I also think that the movie would have better served had the gone the other way – and completely embraced the childhood wonder the movie endorses, and made this a purely innocent rollick for younger kids. The movie tries to have it both ways.

Overall though, Rise of the Guardians is a solid animated film – not quite as loud, flashy, colorful and headache inducing as many of the movie that pass themselves off as children’s entertainment these days. But it never rises to the level of greatness either – even though there are certainly great moments in the film. As I said at the beginning of the review, Rise of the Guardians is good enough that you wish it was even better.

DVD Review: The Pirates! Band of Misfits

Wednesday, November 14, 2012

DVD Review: The Pirates! Band of Misfits

The Pirates! Band of Misfits
Directed by: Peter Lord and Jeff Newitt.
Written by: Gideon Defoe
Starring: Hugh Grant (The Pirate Captain), Martin Freeman (The Pirate with a Scarf), Imelda Staunton (Queen Victoria), David Tennant (Charles Darwin), Jeremy Piven (Black Bellamy), Salma Hayek (Cutlass Liz), Lenny Henry (Peg Leg Hastings), Brian Blessed (The Pirate King), Anton Yelchin (The Albino Pirate), Brendan Gleeson (The Pirate with Gout), Ashley Jensen (The Surprisingly Curvaceous Pirate), Al Roker (The Pirate Who Likes Sunsets and Kittens).

The Pirates! Band of Misfits is a very much a British film – and I mean that in the best way possible. The folks who work at Aardman – and created Wallace and Gromitt among others – never quite rush like their American counterparts do. So often animated movies aimed at children whiz by so fast that they leave me tired by the end – no time is taken to make the screenplay anything more than an excuse to string one brightly colored scene to another, and the visual creations just don’t feel real. But Aardman has always been different – yes, they are shooting in digital know, and use computers to do at least some of their animation (not as much here as in Flushed Away), but their movies still feel hand made. Their characters are made out Play-Doh, or something very much like it anyway, and while you cannot see the literal fingerprints here, as you can on some other Aardman creations, you can feel them. The visual touches in The Pirates! Band of Misfits are so lovingly created, that the lift the entire movie. No, The Pirates! Band of Misfits doesn’t rise to the level of the best Aardman movies – but it’s still much better than most animated films I see.

The movie is about The Pirate Captain (voiced by Hugh Grant, with impeccable comic timing), who feels this is the year where he’ll finally win Pirate of the Year. He has been passed over so many times that he feels he is due. Never mind that his competitors – in particular Black Bellamy (Jeremy Piven) have pillaged much more booty than he has. He is determined to win. So, The Pirate Captain and his ragtag crew – who are more lovable than scary – set out to pillage once again – and wind up empty handed, until they raid a boat called The Beagle, and meet a young Charles Darwin – a buffoon who worries he’ll never get a girlfriend. Darwin informs the Pirate captain that his beloved parrot Polly isn’t a parrot after all – but a dodo, once thought extinct. Darwin convinces the Pirate captain to set sail for London, where they will surely win the top prize at the annual Scientist of the Year awards. The only problem is that Queen Victoria hates pirates with an absurd passion – and also has a healthy appetite for exotic animals.

The movie has a very British sense of humor – it doesn’t bang you over the head with its jokes, but is filled with witty one liners throughout, and are delivered by a cast to near perfection. Hugh Grant is an odd choice to play a pirate, but perhaps not this pirate – because The Pirate captain is so genial and put upon, so riddled with insecurity that he tries so hard to mask, that Grant is actually the perfect choice. Martin Freeman is the voice of reason as his Number 2, who tries so hard to get The Pirate Captain to see what he has. David Tennant is perfect as Darwin, not quite as smart as you may think. Jeremy Piven is obviously a bad guy the second he opens his mouth and his brash, American voice comes out. Best of all is Imelda Staunton as Queen Victoria – playing the villain here much like she did in Harry Potter, with her kind voice masking inner brutality. The movie draws parallels between Victoria’s imperialism and pirates, but doesn’t dwell on it – it makes its point in the background, and then moves on.

The Pirates! Band of Misfits isn’t as good as the best work Aardman has done – but perhaps that’s an unfair comparison. Not every Pixar movie can be Wall-E – and not every Aardman movie can be Wallace and Gromitt. I have a feeling kids won’t quite like this one as much as the non-stop action of American animated film – they’ll be entertaining but not overjoyed. Their parents, however, will have a much better time.

DVD Review: Madagascar 3: Europe's Most Wanted

DVD Review: Madagascar 3: Europe's Most Wanted

Madagascar 3: Europe’s Most Wanted
Directed by: Eric Darnell & Tom McGrath & Conrad Vernon.
Written by: Eric Darnell and Noah Baumbach.
Starring: Ben Stiller (Alex), Chris Rock (Marty), David Schwimmer (Melman), Jada Pinkett Smith (Gloria), Sacha Baron Cohen (Julien), Cedric the Entertainer (Maurice), Andy Richter (Mort), Tom McGrath (Skipper / First Policeman), Frances McDormand (Captain Chantel DuBois), Jessica Chastain (Gia), Bryan Cranston (Vitaly), Martin Short (Stefano), Chris Miller (Kowalski), Christopher Knights (Private), Conrad Vernon (Mason / Second Policeman), Vinnie Jones (Freddie the Dog), Steve Jones (Jonesy the Dog), Nick Fletcher (Frankie the Dog), Paz Vega (Horses).

The two best moments in Madagascar 3: Europe’s Most Wanted are the only two moments in the movie that actually slows the pace down at all, and doesn’t try to give you sensory overload with a non-stop blast of color, and dialogue spewed so fast between the characters you can never quite tell what is supposed to be funny and what isn’t. The first of these moments happens right at the beginning, when Alex the Lion (Ben Stiller) has a nightmare than the penguins he, and his group of friends from the Central Park Zoo still trapped in Africa, have put all their faith into will never come back and rescue them. He envisions growing old in Africa, and having an empty life. The moment is heartfelt, and may even resonate with some older members of the audience. The second moment comes late in the movie, when the animals finally arrive back in Central Park, and realizes they don’t really want to be there anymore – now that they have seen the world, the Zoo just doesn’t offer them the same rewards. You really cannot go home again.

If Madagascar 3 had more moments like that, then the movie could have been something a lot more than what it is – a diversion for kids, who will undoubtedly enjoy the non-stop barrage of action and color, but pretty tedious for the adults in the crowd. Madagascar 3 seems to want to do as much as possible as quickly as possible – so by the end of the film’s not quite 90 minute running time, after countless chase sequences and dazzling high wire circus acts, that foregoes any connection with even the slightest bit of reality, I was exhausted. The damn movie never lets up for a second.

The basic plot concerns Alex and his friends wanting to get out of Africa, and back to the Central Park Zoo. They have been waiting for months for the penguins to return from Monte Carlo with their winnings, which will get them home – so long that they decide not to wait anymore and just head there themselves. They get there, surprisingly quickly, and then almost immediately are spotted by the cruel animal control captain Chantel DuBois, who wants Alex’s head for her wall. They pull off an improbable escape, and end up on a train full of circus animals, heading to Rome and then London – where a big time American circus promoter will be in attendance, and if they do well, they’ll all be headed for America! But of course, the circus is a joke, and it’s up to Alex and his friends to give these once great circus animals their confidence back – and dodge DuBois, who will not denied her lion head, even though she clearly has no jurisdiction most of the places she goes to.

Surprisingly, the screenplay was co-written by Noah Baumbach – who normally makes his own indie movies like Greenberg, Margot at the Wedding, The Squid and the Whale or combines efforts with Wes Anderson on screenplays like The Fantastic Mr. Fox and The Life Aquatic with Steve Zissou. I can only imagine that Baumbach wrote this one for the money, because there is nothing in this movie that has his normal wit or emotional underpinnings. The dialogue in this movie is worse than the other two Madagascar movies – hardly great to begin with – and favors a lot of rapid fire jokes, than occasionally make you chuckle, but mainly inspires groans.

There is a reason why Pixar movies are more critically acclaimed than most animated films aimed at children – and that’s because Pixar (normally) spends as much perfecting the screenplay as it does with its brilliant animation – and because Pixar doesn’t treat audiences like their idiots. A movie like Madagascar 3 simply wants to be a feast for the eyes – some brightly colored crap to amuse kids for a little while. On that level, I guess, the movie succeeds. Kids obviously like the movie. But for adults looking for something for them will simply end up bored by the movie.

Movie Review: Wreck-It Ralph

Wednesday, November 7, 2012

Movie Review: Wreck-It Ralph

Wreck-It Ralph

Directed by: Rich Moore.

Written by: Phil Johnston and Jennifer Lee.

Starring: John C. Reilly (Ralph), Sarah Silverman (Vanellope), Jack McBrayer (Felix), Jane Lynch (Calhoun), Adam Carolla (Wynnchel), Alan Tudyk (King Candy), Mindy Kaling (Taffyta Muttonfudge), Joe Lo Truglio (Markowski), Ed O'Neill (Mr. Litwak), Dennis Haysbert (General Hologram), Edie McClurg (Mary ).

Poor Ralph. For 30 years, he has had to be the bad guy in an arcade game, Fix-It Felix Jr., where his job is to try and destroy a building, before that do-gooder Fix It Felix Jr. himself, with a magic hammer, comes along, fixes the building, and save all the residents, who then give him pie and a medal, while they throw Ralph into the mud below. Even after the arcade closes for the day, the other characters in the game celebrate in their nice apartments, while Ralph retires to his home in the dump. One day he goes to a Bad Anon meeting, where all the bad guys from the arcade games gather to tell their stories – about how hard it is to be the bad guy. But hey, just because you’re a “bad guy”, doesn’t mean you’re a bad guy, right? All Ralph wants is to just once get a medal of his own. So Ralph does the unthinkable and game jumps. One day, instead of reporting for work in his game, he disguises himself as a soldier for the new game Hero’s Duty, so he can win a medal. He does, but botches the escape, and ends up, along with an evil Cy-Bug, in the candy colored girls racing game Sugar Rush, where he almost immediately makes an enemy, and then a friend, of Vanellope, a “glitch” who just wants to race like the rest of the girls. Of course, by game jumping, he has put his own game at risk of being unplugged – and by bringing a Cy-Bug along with him into Sugar Rush, he may have put the whole arcade at risk, so Fix-It Felix teams up with Calhoun, the main character from Hero’s Duty, to bring Ralph home, and stop the Cy-Bug.

Wreck-It Ralph may not be a Pixar film, but it operates on the same principles of a Pixar film – give the kids a lot of brightly colored action and humor, while sliding in sly in-jokes and nostalgia for their parents. There’s no mistake that I, who played a lot of video games as a teenager, but very few (other than the yearly installment of EA Sports’ NHL series) since then, could almost immediately identify almost all the “real” video game characters that Wreck-It Ralph has in it. While it’s clear that Hero’s Duty is modeled, at least somewhat, on Call of Duty, for the most part the real game characters the movie has could be found on your old Super Nintendo or Sega Genesis. The movie wants to get that nostalgic laughter from the parents in the audience – and it does a wonderful job of that. Wreck-It Ralph is not quite at the level of the best Pixar movies, but it’s much better than most of the movies made for kids these days.

I loved the animation of Wreck-It Ralph, which is almost endlessly inventive. The film, directed by Rich Moore, moves seamlessly between the different video games it takes place in, but I loved how the characters from different games moved differently, depending on when the game was made. The Nicelanders (the residents of the building Fix-It Felix is building) move with that choppy motion anyone who grew up with a Nintendo will immediately recognize. When we move into Hero’s Duty, it has the same sort of energy that the best first person shooters have. And the candy land created in Sugar Rush is almost endlessly inventive, and sprawling. The movie is a visual delight from beginning to end.

The filmmakers also cast the movie very well. Is there anyone who can sound more depressed, and yet still be lovable as John C. Reilly, who was perhaps the only choice to give Ralph his voice? Or anyone who sounds more like a goody-two shoes, innocent hero than Jack McBrayer, who is great as Fix-It Felix? Or any woman who sounds more convincing than Jane Lynch barking out orders as Calhoun? The real treat here though is Sarah Silverman as Vanellope, who may not have jumped to mind to play an a character this cute and lovable, even if she does have a mischievous side. But Silverman nails it, and makes Vanellope into perhaps the most lovable animated creation this year.

Yes, the movie devolves into the kind of loud, seemingly never ending climax with lots of action and noise, that can grow tiresome after a while, unless you’re a kid. Yet, there’s some much here to love, that I’ll forgive the film for taking the easy way out with its finale. Wreck-It Ralph is one of the better animated films you’ll see this year.

Movie Review: Frankenweenie

Tuesday, October 9, 2012

Movie Review: Frankenweenie

Frankenweenie
Directed by: Tim Burton.
Written by: John August based on the character by Tim Burton.
Starring: Catherine O'Hara (Mrs. Frankenstien / Weird Girl / Gym Teacher), Martin Short (Mr. Frankenstein / Mr. Burgemeister / Nassor), Martin Landau (Mr. Rzykruski), Winona Ryder (Elsa Van Helsing), Charlie Tahan (Victor Frankenstien), Atticus Shaffer (Edgar 'E' Gore), Robert Capron (Bob), Christopher Lee (Movie Dracula), Conchata Ferrell (Bob's Mom), James Hiroyuki Liao (Toshiaki), Tom Kenny (New Holland Townsfolk), Dee Bradley Baker (Persephone van Helsing / Shelly / Were-Rat / Colossus / Mr. Whiskers / Driver), Jeff Bennett (Giant Sea Monkeys), Frank Welker (Sparky Frankenstein).

Perhaps Tim Burton should concentrate on animation from now on. He has been the driving creative force behind three animated films so far – The Nightmare Before Christmas, A Corpse Bride and now Frankenweenie – and the three films are far more consistent in quality than the majority of his career. And animation suits his dark, visual style – which is the highlight of most of films anyway – even better than live action films. Frankenweenie may not quite reach the heights of Nightmare Before Christmas, but it still one of the most enjoyable animated films of the year – and one that feels more personal than much of Burton’s films. It is easy to see Little Victor Frankenstein, the main character of Frankenweenie, as the director himself as a child – obsessed with monster movies, death and science experiments. Frankenweenie feels like an ode to Burton’s own childhood – and it makes this film one of the best Burton has ever directed.

The movie is a feature length version of the Burton’s (live action) short that he made almost 30 years ago at the beginning of his career. In the film, Victor Frankenstein is just a regular suburban kid – lonely because he has no real friends, and spends of all of his time in the attic making ingenious little 3-D monster movies with his toys, and his beloved dog Sparky – who is his only real friend. But when Sparky is tragically killed in an accident, Victor decides to use some of the lessons learned from the strange, new science teacher Mr. Rzykruski about electricity and reanimation to good use. But of course, bringing a dog back from the dead is one thing, keeping a secret is quite another.

The movie has a wonderful visual look – in black and white, which is appropriate given that much of the movie is homage to the monster movies Burton grew up loving. Frankenstein and Bride of Frankenstein are both obvious references, but really only scratches the surface of the movie references that Burton makes in this film. One of the pleasures for movie buffs watching the film will be to spot as many as they can.

And yet, while many of Burton’s films have made references to the movie of the past that he loves, Frankenweenie goes beyond that – and actually crafts a heartfelt story about a boy and his dog. One of the hardest things in childhood is dealing with death – and a pet’s death is harder than most because it often hits children before they know anyone else who has died. Pets offer the kind of unconditional love that people just do not offer – and having that suddenly taken away is truly heartbreaking. Frankenweenie gets that, and tells that story with genuine emotion, that had me on the verge of tears at times – which is rare for a Burton movie, which are generally style over substance affairs.

The style, though, is great. This is one of the better 3-D movies I can remember. One of the reasons is that 3-D generally makes everything darker, and given that the movie is in black and white anyway, it doesn’t negatively affect the movie.  For another, Burton doesn’t really use the 3-D to shoot stuff directly at the audience – he uses it more to add depth than anything else. The character design leaves no doubt who directed the movie. Frankenweenie is a dark, visual delight – but one that goes deeper than most of Burton’s films do. This is one of the best animated films of the year.

DVD Review: A Cat in Paris

Friday, October 5, 2012

DVD Review: A Cat in Paris

A Cat in Paris

Directed by: Jean-Loup Felicioli & Alain Gagnol.

Written by: Alain Gagnol & Jacques-Rémy Girerd.

Starring: Dominique Blanc (Jeanne), Bruno Salomone (Nico), Jean Benguigui (Victor Costa), Bernadette Lafont (Zoé's Nanny), Oriane Zani (Zoé), Bernard Bouillon (Lucas).

When the Oscar nominees were announced last year, the Belgium film A Cat in Paris surprised many by being nominated for Best Animated Film. Having seen the film now, I am even more surprised, as I found the entire film to be rather thin, and not very involving. Yes, it has some charming moments – and the animation has a certain flair to it – but overall, this was just an exercise in style.

The plot centers of Zoe, a young girl living in Paris with her mother, Jeanne, who is the police superintendent. Zoe’s father was killed by a gangster named Victor Costa, and Jeanne has been trying to prove it ever since. Zoe has taken to stop talking since her father’s death – her only friends her seemingly nice Nanny, and her cat Dino – who unbeknownst to everyone, leads a double life. At night, Dino sneaks out and accompanies a cat burglar – Nico – on his jobs. While following Dino one day, Zoe not only discovers his secret – but also her Nanny’s, and falls into the clutches of Victor. Nico, car burglar though he may be – is not that bad of guy, and tries to save her.

A Cat in Paris has its charms – it falls with film noir conventions at times, and there are some wonderfully choreographed chase sequences over the roofs of Paris – including the climax, which ends up at Notre Dame. And while I liked the character animation – which uses some bold geometry to create the characters, there was a constant flickering of shadows across everyone’s faces that I found to be rather distracting.

Overall, I’d say that at best, A Cat in Paris is an interesting, mildly amusing distraction. It is charming in fits and starts, but it never really adds up to anything.

Movie Review: Brave

Tuesday, June 26, 2012

Movie Review: Brave

Brave Directed by: Mark Andrews & Brenda Chapman.
Written by: Mark Andrews and Steve Purcell and Brenda Chapman and Irene Mecchi.
Starring: Kelly Macdonald  (Merida), Billy Connolly (Fergus), Emma Thompson (Elinor), Julie Walters (The Witch), Robbie Coltrane (Lord Dingwall), Kevin McKidd (Lord MacGuffin / Young MacGuffin), Craig Ferguson (Lord Macintosh), Sally Kinghorn (Maudie), Eilidh Fraser (Maudie), Peigi Barker (Young Merida), Steven Cree (Young Macintosh), John Ratzenberger (Gordon).

I doubt that you will see a more stunningly beautiful animated film this year than Brave, the latest movie from Pixar. In the past few years, I have often said that Pixar is the best creative force in mainstream American movies over the past decade – and I still believe that. There are few filmmakers who could claim to have been as consistent as Pixar has been since their inception in 1995. When you look at the fact that since then they have produced Toy Story, Toy Story 2, Finding Nemo, The Incredibles, Ratatouille, Wall-E to Up and Toy Story 3, all of which are great films, the run is remarkable. When they make a “disappointing” film, it is usually still of very high quality – like A Bug’s Life, Monsters Inc. and Cars, just not quite up to their almost impossibly high standards. Their only true misfire is last year’s Cars 2, which is the type of loud, obnoxious animated film that you usually go to Pixar films to get away from. All of this brings us back to their latest film Brave – which while not a disaster like Cars 2, also does not reach the heights of most of Pixar’s best films.

The film takes place in Scotland sometime in the past. Merida (voiced by Kelly Macdonald) is a tomboy Princess, with bratty triplet young brothers, a gruff father Fergus (Billy Connolly) and a refined mother Elinor (Emma Thompson). Merida is tired of what she sees as Elinor trying to run her life. This comes to a boil when Elinor feels it is time for Merida to get married. They invite the three eldest sons of the clans beneath them to compete for her hand in marriage. But Merida has no interest in marrying them – or in anyone else for that matter. But refusing to take anyone as a husband may well result in a war between the clans. Frustrated, Merida takes off into the forest, where she comes across a witch – or gives her a way to change her fate by changing her mother’s mind – which of course ends up having consequences Merida cannot possibly foresee.

The above plot summary probably sounds more like a traditional Disney film, than something from Pixar. Yes, the two companies have been related ever since Pixar’s inception, but when at their best, Pixar tells stories that are completely outside the normal comfort zone for animated children’s fare. That is the real reason why Brave never quite reaches the heights of Pixar’s best films – the plot seems far too standard, too predictable, even a little clichéd. When I watched Ratatouille, Wall-E or even the Toy Story movies, I’m never quite where they’re going to end up. Yet at every stage of Brave, you know precisely where it’s going. Yet, Pixar does update the traditional Princess story – this Princess is no damsel in distress, and needs no handsome prince to come along and save her or complete her in anyway. And, unlike other recent feminist spins on classic fairy tales, she never does fall in love. And I did love the sensitivity and complexity that they used in painting in the relationship between mothers and daughters – a relationship that is not usually the central one in children’s movies. Still, the story of Brave seemed to play it too safe for it to be truly great.

The film is, as stated above, stunningly animated. If Brave is a step or two behind Pixar’s best films in terms of its story, it is the equal of their best films in terms of the animation. The details in every frame are meticulously, lovingly crafted. Merida’s long, curly read mop of hair is a thing of beauty in and of itself – with each strand of hair individually crafted. The massive castle where she lives with her family is a traditional animated castle, but still expertly crafted, with many dark nooks and crannies, and secrets. But the most impressive thing may be the forest, where most of the action takes place, which uses bold, beautiful colors (especially the bright greens). The 3-D is well handled, but like most Pixar films, completely unnecessary.

The only criticism that Pixar has consistently faced over the years is that all of their films have male leads. Perhaps that explains Brave – that it is a response to all those criticisms. But I think Pixar could have thought this out a little bit more – to make a female heroine as original as Wall-E or Remy the Rat. So yes, Brave is a little bit of a disappointment simply because it does not live up to the best that Pixar has done – that it doesn’t live up to the nearly impossibly high standards that have set for themselves. Yet, it still must be said the chances of seeing a better animated film this year are rare – the chances that you’ll find a more beautiful animated film this year practically nil. Brave is not as good as Pixar is capable of – but it’s still head and shoulders above most animated films we get in a given year.