The Toy Stories (1995) (1999) (2010)

It’s hard to imagine that back in 1995 Disney and Pixar knew they were creating a new classic. Fifteen years later and we have a trio of amazing stories filled with genuine heart and authentic characters that everyone (with a soul) connects with. The main characters just happen to be toys and the story very personal.

In the first story, we meet our toys. ‘Old faithful’ a cowboy known as Woody (Tom Hanks) feels threatened when his boy Andy gets space ranger Buzz Lightyear (Tim Allen). Intimidated and insecure, Woody takes an immediate dislike to the bells and whistles of Buzz. The film excels on many different levels. But for a babysitting junior high-schooler (me) watching it with her charges, it was funny to them and heartwarming for me. In retrospect, there was and still is an immediate connection to your childhood and those toys you held most dear. The ones that had a special place on the bed when you were told to clean up while the rest when in the box.

Toy Story 2 rolled out in 1999. Skeptical of the sequel—I didn’t see this film until 2000—I shrugged it off as a ‘Disney Pixar money grab’. How very wrong. Again, I was amazed at how emotionally connected I was to this story of toys director by John Lasseter. At 20, you’re not quite old enough for nostalgia, but toys are clearly in the rearview mirror. Still, the storyline of Woody being a collector’s item and being held hostage by one resonated for a time when eBay was at its peak and my brother and I are visiting every Wal-Mart to complete a Star Wars figures collection.

2010 and along comes Toy Story 3. I laughed when friends mentioned ‘crying’ at the film’s climax. My nieces mentioned it being scary. Somewhere between 20 and 30, nostalgia set in. For me, Toy Story 3 is not only another adventure for Buzz, Woody, T-Rex and the Potato Heads it’s a trip down memory lane. It’s revisiting that special bond between a child and their toys. Not all of them—just the special ones. Parents and kids alike will identify with this film on some level. Maybe it's the toys, maybe it is Andy. Regardless, there is something special here, something to be treasured, and something not to be missed.

The Ricky Gervais Show: Season One (2010)

Based on the podcasts of the same name, The Ricky Gervais Show is essentially three animated characters: Gervais, Stephen Merchant, and Karl Pilkington sitting in a radio studio debating the finer points of inane topics like nudist colonies and having children.  It's actually just Gervais and Merchant making fun of stupid random stuff the Pilkington says.

Only fans of Gervais would truly enjoy the stupidity of it all.  Consider me one.  As I see it, The Ricky Gervais Show makes a better podcast that animated series, but either way you have a laugh.

Fantastic Mr. Fox (2009)

Wes Anderson's Fantastic Mr. Fox is super-fantastic!  Indulge me, dear readers.

This first animated feature from Anderson contains his trademark humor and dialogue.  The only difference is the stop-motion delivery by a myriad of woodland creatures.  If you're unfamiliar with the story, you must look elsewhere as I will only sing the praises of this adaptaion.

Using the voice talents of George Clooney (Mr. Fox), Meryl Streep (Mrs. Fox), Anderson muse Bill Murray (Badger), Jason Schwartzman (Ash Fox), Michael Gambon, Willem Dafoe, and Owen Wilson, Anderson brings these creatures to life with personalities, quirks, and insecurities.  Mr. Fox is a reformed chicken thief who gave up the life of crime when Ash was born as Mrs. Fox's request, but his natural habits get the better of him and Mr. Fox inadvertently brings the wrath of Boggis, Bunce, and Bean--three farmers--down on the whole community of badges, oppossums, mice, and more.

The adventure unfolds with gorgeous animation that captivates.  You swear the fur sways in the breeze.  Whether Mr. Fox or the home he inhabits, everything is charming to behold.  Pixar's multi-hued palatte pales in the golden rays of this creative piece.  The 'cussing' is another great, imaginative touch.  And I love Dafoe's turn as a karate-wielding rat.

As I see it, Anderson is at the top of his craft here.  He has successfully parlayed his hand into a tricky new arena and brilliantly delivered.  It's safe for the whole family, but I think the true genius of Fantastic Mr. Fox is the way Anderson winks at his adult audience with nary a derogarty remark in sight.

Brilliantly crafted, perfectly executed, Fantastic Mr. Fox is a masterpiece for a new generation!  These characters come alive and it is fantastic thing!

Cloudy with a Chance of Meatballs (2009)

Swallow Falls is small town whose down and out residents must now eat the sardines that they once sold the world. Inventor Flint Lockwood is about to become the town's hero after numerous mishaps. Ratbirds?  Monkey-thought translator? Flint inadvertently rockets a machine  that rains food onto the city. Renamed Chewandswallow, the town becomes a tourist attraction just in time for the machine to conjure spaghetti tornadoes.  Flint must regain control or lose everything.

Cloudy with a Chance of Meatballs is family fare with enough sight gags and snarky moments for the adults. Vivid animation pops onscreen supported by predictability and fun dialogue.

The voice cast is a fun who's who including Bill Hader, Anna Faris, and Neil Patrick Harris. My personal favorite: Mr. T. You can also catch the voices of James Caan, Andy Samberg, Will Forte, and Al Roker is you pay attention.

As I see it, Cloudy with a Chance of Meatballs is no Up. But still the movie entertains with all its cartoon zaniness. Pull up a plate and enjoy!

The Princess and the Frog (2009)

Growing up in the 1920’s New Orleans, Tiana’s father has taught her two things: hard work will get you want you want and don’t forget what really matters. Now Tiana is a waitress who is hoping to realize her father’s dream of a restaurant. But when Prince Naveen comes to town and both become prey in the plays of a local shadow man, her future is in question. What follows is an uninspired, insulting piece of garbage.

Disney’s latest money-pit, The Princess and the Frog, is an attempt at reviving classic Disney animation and it fails miserably. There is no charm, no life, no joy, and no beauty. Studded with death, dismemberment, and untold clichés, this movie has no soul. Even the score found herein by Randy Newman is forgettable. The film is set during the Jazz Age and there is nothing musically interesting to speak of.

Cheap jokes and even cheaper characters flail onscreen. The sequences in the voodoo emporium are one-dimensionally creepy and the shaman looks suspiciously like Prince. The bayous of Louisiana have potential until they are soiled by yet more uninspired animation.

Disney where is the brilliance you were once know for? Where’s the magic?! You insult your fans with this rubbish. If Walt and Roy could see the House of Mouse now, they’d be ashamed!!

There were no squeals of laughter to be found where I was sitting. My two young nieces were not dazzled. They seemed unaffected by what they witness. Thank God! And as I see it, the crying of young children says it all. Disney’s The Princess and the Frog is one to be missed.

The Nightmare Before Christmas (1993)

Though an apt description of my past week, The Nightmare Before Christmas is known as the film of young suburban misanthropic Goths.  Dazzling stopmotion animation delights onscreen, but this viewer found the movie lacking charm.  Full disclosure: I gave up after 38 minutes.

It seems Jack Skellington, the king of Halloween Town is tired of the screaming and scaring every 31st of October.  Somehow he finds the door to Christmas Land and is dumbfounded by it as I am of this film.

The self-indulgent score overpowers every element.  Jack Skellington seems to be a character worthy of our compassion, but his elocution is pitiful.  The viewer cannot relate if he does not understand.

Unique as it may be, The Nightmare Before Christmas falls flat.  Stop-motion animation is a fabulous technique.  The film is fascinating to look at, but  you quickly get over that to find the story is unappealing.  It's tedious.  The musicality is the film's weakness.  Garbled and monotonous, the songs just aren't good.

As I see it, Tim Burton and director Harry Selick missed the mark with this one.  I'm at a loss to explain the film's cult following.  The film is a mess.  Burton's Corpse Bride is a far superior piece. Selick fares better with James and the Giant Peach or the creepfest Coraline.  The Nightmare Before Christmas is just that.

A Christmas Carol (2009)

Robert Zemeckis was going to lose this battle the moment I set foot in the theatre. Nothing compares to the classic 1951 version starring Alistair Sims. But in Zemeckis’ defense (not that he needs any); his animated adaptation of the iconic tale is a delightful reimaging.

Admirably faithful to Dickens’s tale, A Christmas Carol takes few artist liberties. The ones that Zemeckis bravely executes add a modern charm that is commendable. The 3-D effects (now, for the record, this is the first film that I’ve viewed since the 3D epidemic took hold in Hollywood) are arresting and beautifully rendered.

Star of the show—Jim Carrey, surprisingly enough, is lost in the film. Though we see glimmers of the spastic star, the motion-capture is top-notch and his ugly face doesn’t come through. Scrooge's expressions are more lifelike with subtle changes. Colin Firth as Scrooge’s nephew is a sweet surprise. Bob Cratchit (voiced by Gary Oldman) is a bulbous, nearly lifeless fellow--a true disappointment.

The Ghosts of Past, Present, and Future rendered are faithful, if sometimes oddly frightening. A few particularly dark scenes mar an otherwise family-friendly fare. They are truly terrifying and out of character, but I am a classicist. Modern film-goers will find no issues with the aforementioned.

The scoring is complimentary. Andrea Bocelli sings a beautiful piece over the nondescript closing credits. What a waste!

Here’s the part where I leave, once again, my readers with a quizzical expression. Visually, Zemekis’ A Christmas Carol is arresting, but often times, I feel the ‘flying over and through London’ is pure filler, detracting from essential elements. At one point, I felt nauseous. Additionally, I take to task the overly diabolical element of our specters. This film does not have the charm of previous renditions, nor do I think it captures the true spirit of the novel.

This version is all style with no substance. But criticisms aside, most movie-goers will find A Christmas Carol a decent if unsatisfying film.

9 (2009)

After a raging war between man and machine, stitch punks are the only remaining creatures on Earth. These rag-doll creatures were the last hope for the Scientist. Survival is a struggle for the rag-tag group led by 1 (voiced by Christopher Plummer) who deems fear essential to life. 2 (Martin Landau) discovers 9 (Elijah Wood) disoriented and confused, bringing him into the group. When one of their kind is ‘sacrificed’ for the better good, 9 challenges their leader. Shock, but intrigued, the remaining stitch punks must stand tall if they truly wish to survive.

Wonderfully dark and post apocalyptic, 9 is a visually stunning film co-produced by Tim Burton and Timor Bekmambetov. Directed by Shane Acker, 9 is an arresting spectacle. The animation is top-notch, adult in nature, with untold action and detail. The Burton/Bekmambetov influences are strong, but never overshadow this fit little number.

Credible voice work by the aforementioned, John C. Reilly, Jennifer Connelly, and Crispin Glover are delightful. Though the film is essentially a one-note plot, it’s the distinct personalities of these rag-doll creatures that keep your attention.

Themes courtesy of Danny Elfman serve to further the atmospheric nature of the film. Director Acker does remarkable stuff with his short story turned debut feature, but the film has much unrealized potential. Clocking in at less than 90 minutes, 9 is brilliantly executed with macabre and sometimes quizzical elements that play to the film’s strength.

As I see it, 9 is an interesting animated piece. Not typical Disney fair thanks to a set of off-beat protagonists and bleak subject matter. Things do not bode well and while it’s dark, often creepy, 9 never fails to entertain.

Postscript 01.02.10 ~ I was excited to finally sit down and revisit this one.  But what I came home from the theatre with (and blogged about) is different than what I saw tonight.  I'm a wee bit disappointed --kinda like The League of Extraordinary Gentlemen.  The idea is brilliant, but after tonight, I'm not sure what I saw.  The animation is techinically amazing.  The stitchpunks are interesting, but the film lacks something.  What, I am unsure.

Coraline (2009)

Young Coraline (Dakota Fanning) is enchanted by the Other World found on the other side of a small door in her family's new apartment. In the Other World, the Other Mother (Teri Hatcher) dotes on young Coraline. Finding a strangely improved world of her own, Coraline considers staying forever until the ugly truth is exposed. When Coraline wants to leave her other world and Other Mother say no, Coraline must unravel the sinister fantasy.

Coraline, a stop-motion creation from director Henry Selick, is creepily captivating. Dark, bleak, and macabre, this is hardly fare for the Disney set. Juxtaposed against vivid animation and equally daunting score, is an eerie atmosphere that's riveting.

The central theme of the story is an oft-used catalyst. Its only the medium used here that makes this animated piece worth watching. Coraline's reality and fantasy stand in grave contrast. While I don't think Selick successfully executes thematically, he certainly gives us lots to look at. The aesthetic is stunning; odd neighbors, a creaky old house, a bedraggled black cat--it all becomes magical at the hand of Selick.

Despite it's beautiful nature, Coraline contains a frightful element that won't endear the film to anyone but disaffected youth. It's too scary for children; not intelligent enough for adults. As I see it, Coraline is creepy and destined to become the hottest line at Hot Topic. While the film may be a must-see for fans of stop-mo or Selick, I, will not be visiting Coraline again any time soon.

J4T: 2½ stars

Partly Cloudy (2009)

For those that don't know... storks deliver infants of all sorts and {new to me} apparently clouds make them. That is the premise of Pixar's new animated short found on the front end of Up.

Partly Cloudy, with its effects only sounds, is cute and clever. We have a myriad of happy 'births' across the clouds with beaming storks all too happy to deliver. The partnership between cloud and stork is one of happiness and joy. One dark and lonely cloud, it seems, is responsible for the making of any number of particularly dangerous infants. Baby eels, rams, porcupines, sharks, and alligators makes one stork's job extremely hazardous.

As I see it, Partly Cloudy is an enjoyable short with the perfect blend of humor and sweetness that makes a great addition to the canon of Pixar.

Just for Tom: 2½ stars

Up (2009)

Widowed curmudgeon Carl Fredrickson has dreamed of traveling the world. When his beloved wife Ellie died, Carl (voiced by Ed Asner) all but gave up the dream that he shared with her. Fate lures him into an unbelievable adventure as Carl sets out to realize Ellie's wish. As he floats away, Carl discovers an annoying 8-year old Wilderness Explorer, Russell, has tagged along in an effort to help old people.

Pixar's latest offering, Up, is a tender, but thrilling story of love and rough terrain. It's heartwarming story that allows Pixar genius to shine through.

The story is endearing--had me weeping in the theatre in the first five minutes--and despite themes of death, loss, obsession, and disappointment, the film celebrates all the good. Christopher Plummer is the voice of baddie and fellow explorer, Charles Muntz.   Muntz, the character is a huge letdown.  He is disappointing as is his army of talking dogs. Doug--the good dog--is the Jar-Jar Binks of the film.

Pixar is known for the souls in their movies and Up is imbued with the best.  It joins the ranks of WALL*E, Finding Nemo, and The Incredibles for its spirit.
Visually, Up is beautiful to behold--the balloons especially. Their jewel tones are so vivid and life-like. Watch closely and you see how smartly they are utilized--physically and symbolically. Subtle homages to pop culture makes for a great treasure hunt.

As I see it, Up is technically perfect. All elements of effective animation are here. It's the weak story and lack of character development that are HUGE disappointments. Up isn't an entire waste of time--it's pretty to look at, but ultimately, the film is overinflated.


Postscript 12.26.09  Perhaps one of the truest stories of the year, the crew at Pixar has successfully created a film that appeals to all ages and culls the best elements of ever movie genre.  It has the depth of the finest dramas, the humor of the oddest indies, the silliness of the classic children's movies, the technicality of the most intricate sci-fi.  I was wrong.  But... I still think that Muntz and Doug are the films weakest points.  They still irritate me.

Burn*E (2008)

Burn*E is the supplimental animated short to Pixar's 2008 film, Wall*E. This little robot gets his very own story to support his cameo (see Wall*E and Eve coming back from their star-filled romp) in the movie. As shorts go, Burn*E is reminiscent of Wile W. Coyote with his repeated attempts to fix a broken light. Circumstances beyond his control cause poor {disrespected} Burn*E to weld and repeat much to the robot's exasperated annoyance.

As I see it, Presto, the film's opening short is a much better use of your time. It's throwback to Looney Tunes is unmistakable {and dear to my heart}. Burn*E is pure Pixar self-indulgence and that is never a bad thing.

Oktapodi (2008)

Life is bliss for two octopi in love. Their love is threatened when dinner looms. Snatched from the tentacles of her lover, lady octopi is shoved into the fishmonger bucket and is away. Sir octopi leaps into superhero action to save his lady. Hilarious feats ensue as sir octopi uses every tentacle in his body to save her. Winding through the streets of a seaside village, the fishmonger comes under attack. Aw... true love.

Oktapodi, a silent animated short from France, is oddly clever and downright cute. The CGI is top-notch with beautiful coloring and detail to match. Clocking in at just under three minutes, Oktapodi is hardly a waste--if you can find it, enjoy.

Dr. Seuss' How the Grinch Stole Chrismas (1966)

This animated classic never fails to warm the soul. The original collaboration between animation innovator Chuck Jones and literary genius Theodor Geisel brings to life Dr. Seuss' world beautifully.

How the Grinch Stole Christmas is the epitome of classic. The animation is pure Jones and wonderfully rendered. Mt. Crumpit and Whoville are exactly as they should be. Max and Cindy Lou are delightful, but it's the narration by the legendary Boris Karloff that gives the film it's life. In his rich baritone, the film jumps off the screen. The inflection and warmth of two oh so distinct voices is so engaging. Then there's the score. Delightfully silly, incredibly memorable and perfectly singable. Every word perfect.

Avoid all imitators; they fall painfully short. See Dr. Seuss' How the Grinch Stole Christmas. See this one! This film is Christmas.

Pirates Who Don't Do Anything: A VeggieTales Movie (2008)

Larry the Cucumber, Mr. Lunt, and Pa Grape star in the latest feature from Big Idea. As lowly busboys at the Pieces of Ate Dinner Theatre, the trio finally get a chance to be heroes when they are sent back in time. The boys face pirates, rock monsters, and laziness in order to rescue the royal family.

In their trademark style, Big Idea wrap important lessons in animated stories starring vegetable. Always age appropriate, the only thing parents might need to worry about is killer cheese curls. Adults may find the story surprisingly flat. The typical pandering to adults hardly rises above a chuckle.

Watch past the credits for the highlight: Larry, Mr. Lunt and Pa Grape with their interpretation of The B-52's classic, Rock Lobster.

Pirates Who Don't Do Anything would be an entertaining addition to a 3-year old's collection. For my money, see Jonah instead.

Star Wars: The Clone Wars (2008)

This average animated adventure is in a word: tedious. Clocking in at 93 minutes, the adventure centers around Count Dooku's plot to kidnap Jabba the Hutt's son and blame the Republic for it, in order to gain Hutt's allegiance in the Outer Rim. Sound exciting? It's not.

The {for lack of a better word} manga-ey animation ranges from wooden to average. The galaxy and fight sequences are solid; it's the the characters that suffer. The dialogue is mind-numbingly boring. The film introduces a few new characters among Anakin, Obi-Wan, R2D2, Yoda, Mace Windu, etc.. Anakin is given a Padawan during the course of the story. A youngling named Ahsoka. What an annoying twerp! General Grievous is sadly absent, but we do meet Sith baddie Ventriss.

The Force is not with this one. There is no need to watch this.

Madagascar (2005)

Alex, Melman, Gloria, and Marty are the stars of New York's Central Park Zoo. The four friends, a lion, giraffe, hippo and zebra have all been raised in captivity. When they find themselves on a boat en route to Africa and wind up in Madagascar, the friends learn what the wild side is all about thanks to the local lemurs.

Madagascar is a mess! It is a kid's movie and the kids I was watching enjoyed it, but I couldn't help wanting to get them to turn this off. Madagascar is rote. There is no inspiration or character found in the film. The voice cast of Ben Stiller, David Schwimmer, Jada Pinkett-Smith and Chris Rock didn't even help this disaster. Even the animation comes across as ho-hum.

With smart animated features like Over The Hedge, The Incredibles and most recently, Wall*E, you and I can't be bothered with the ho-hum.

Wall*E (2008)

In a world abandoned to trash, Wall*E is the last robot standing. Humankind, having mucked it up, left long ago. The Waste Allocation Lift Loader, Earth-Class was brought in to save Earth from garbage. Wall*E is essentially a trash-compactor, but after 700 years on Earth, this little robot has developed a personality and a penchant for collecting odd human things. Wall*E is curious, yet lonely and amuses himself by watching a Hello, Dolly! VHS tape--that is until Eve arrives. Eve, an Extra-terrestrial Vegetation Evaluator comes to Earth with a simple directive: find plant life to prove Earth is safe again. Fascinated by Eve, Wall*E immediately falls in love. When Eve completes her mission, love takes Wall*E to across the universe for her and ultimately, to save the humans.

The creators at Pixar are unabashed at examining society through the animated lens. Their latest, Wall*E is no different. But for a film with so little dialogue, Wall*E has a lot to say. Consumerism and commericalism top the list. Obesity, mass media, and environmental issues aren't far behind. The film is far from preachy. Smart choice. In not bashing the general audiences with that, Wall*E ultimately becomes whatever the viewer wants it to be.

The animation is, of course, flawless. Everything is top-notch in form and design. Thanks to DLP, is even more wonderfully realistic. Judging by the characters in Wall*E, Pixar animators are influenced by pop-culture. Wall*E is a E.T.-esque in looks, robotic by nature. Auto, the Axiom's pilot looks suspiciously like Hal 9000 and sleek, sexy Eve looks like a cross between an IKEA trash can and Apple's Ipod.

The feel of Wall*E is decidedly human and hopeful. The creators have managed to bring true emotion to these little robots. Afterwards, you feel silly for 'almost' losing it over certain points in the film.

Wall*E is a delightful, entertaining piece of animation. It's a a sci-fi epic that pays homage to 2001: A Space Odyssey and Charlie Chaplin. Pixar has found the perfect blend of elements to create classics for generations to come.

Also of note, the opening short rocks old school--evoking Bugs Bunny and Elmer Fudd.

Sergei Prokofiev's Peter & the Wolf (2007)

The 2007 Oscar winner for Best Animated Short is a combination of stop-motion capture and CGI. Peter & the Wolf feels familiar, yet new. This complex re-imagining speaks volumes thanks to sharp detail and a beautiful score.

Set in Russian (pre or post, depends on the viewer), morose Peter manages to escape the grim life he leads with his hard, aged grandfather for a few hours. With his pet duck in tow and a bird with a broken wing (supported by a balloon), the trio set out to play in the wintry canvas of forest. The carefree day is stolen from Peter when the wolf arrives. After suffering at the paws of the wolf, Peter sets his cap to catch the beast and prevail.

Simple in nature, the story is remarkably complex in director Suzie Templeton's hands. The emotion found in here is remarkable and very human. Peter's world is brutal and lonely. Thanks to Prokofiev's score we feel Peter's sadness, ache at his despair and find joy in his smile.

The motion capture is beautiful. The seemingly rough edge belies technical prowess as our characters are brought to life-- almost like magic. Templeton has interpreted the Peter, Duck Grandpa, and the Wolf wonderfully from Prokofiev's masterful score.

As I see it, Peter and the Wolf is a magical creation that cinephiles of all ages will appreciate. What a treat!

Heavy Metal (1981)

The things you do for people you love.

What the Hades do you call this stuff?! This collection of animated stories is like a train wreck-- so horrific you can't turn away. It's just stupid!! The animation is pure 80s and ridiculously dumb. This has hordes of cult fans?! It's disgusting. Not even the solid soundtrack can save this idiotic mix of anime, aliens, some green orb called Loc-Nar and large-breasted, naked women. WTF doesn't even cover it?!

Heavy Metal begs the question: What in the Hell was going in 1981?!

The first story seems to be a complete rip of The Fifth Element, but seeing as this sh!t came first, perhaps it's the inspiration. I don't really care.

The animation is about the only think I don't take issue with. It was the 80s. I equate animation of this type to many of my favorite cartoons of the decade. My biggest issue here is the lack of intelligence. There is nothing of substance here; must one be 'on a substance' to enjoy this?! Heavy Metal reeks of lameness.

I am not this film's demographic. Thank God. As I See It, Heavy Metal is a complete waste of celluloid that deserves to be forgotten.