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.

Nanny McPhee Returns (2010)

Nanny McPhee (Emma Thompson) returns in this sequel to the 2005 film. Nanny McPhee arrives to help the Green family with her special blend of magic and discipline. Mrs. Green (Maggie Gyllenhaal) is struggling to cope in her husband’s (Ewan McGregor) absence due to WWII. Not only is she left to work and save the family farm, she must also care for her three small children and their two cousins.

In theory, Nanny McPhee Returns should work. The love Emma Thompson has for this character is apparent. But unlike the original, Nanny McPhee lacks charm, spunk, and cohesion. The film had a great cast including Ralph Fiennes and Dame Maggie Smith—but this hodge-podge of scenes and poo jokes isn’t. The surrealistic atmosphere set at the height of the war effort is an odd element, but again, could have worked if the viewer wasn’t as detached as I felt.

As I see it, Nanny McPhee Returns could be entertaining for the 6-10 age group. Fans of the first best be prepared for the same great nanny is a less that great production.

Heavyweights (1995)

One of Disney’s dated feel-good family films about overweight boys with Ben Stiller as a crazed fitness guru.

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!

Kit Kittredge: An American Girl (2008)

Executive producer Julia Roberts takes another of the American Girls from book to screen in this new adaptation. Kit (Abigail Breslin) is a young aspiring journalist growing up at the Depression Era. Dealing with poverty is just the beginning for this courageous girl. While her father (Chris O’Donnell) is in Chicago looking for work, Kit and her mother (Julia Ormond) turn their home into boarding house taking in array of people. When Kit discovers one of the boards is a con-artist (Stanley Tucci), she investigates ands save more than her family.

Kit Kittredge joins Samantha, Molly, and Felicity with a full-length feature. It’s a delightful family film that takes the opportunity to insert relatable characters into key historical periods giving children the opportunity learn and be entertained.

The supporting cast of Jane Krakowski, Joan Cusack, Jeffrey Dean Morgan, and Colin Mochrie add delightful touches as boarders, cons, and hobos.  Abigail Breslin is just a delight.  She's a bit younger here, but perfectly fits the precocious child needed.

Genuine with being sacchrine and with a timeless message, Kit Kittredge is solid choice for family entertainment.

The Spiderwick Chronicles (2008)

Arthur Spiderwick (David Stratharin) spent many years secreting away the hidden world around us. 80 years later, Jared Grace (Freddie Highmore)discovers his great-great uncle’s journal. Opening this field guide of nature’s fantasy world exposes Jared and his siblings, Simon and Mallory to adventure and danger.

With ogres, goblins, griffins and faeries to rival those of any children’s story, The Spiderwick Chronicles is a film to see thanks to great story-telling and solid special effects.

The cast including Mary Louise Parker, Joan Plowright, Nick Nolte, and Martin Short and Seth Rogen in voice roles supply endless possibilites. Freddie Highmore carries the core of this film as twin brothers Jared—the more sullen, angry—and Simon—the bookish, well-adjusted one. Highmore is exceptional, leaving his English accent behind to bring two multi-facted characters to life.

With a story reminiscent of Bridge to Terebithia, The Spiderwick Chronicles is a smart balance of lessons and entertainment. The dark overtones are hardled nicely and the sweetness is never cloying. The film isn’t dumbed down, nor does it feel like mass-produced garbage. As I see it, The Spiderwick Chronicles is a safe family choice and a magical one to boot.

Mr. Rice's Secret (2000)

This movie should remain a secret.  David Bowie fans, it's a true cameo here and nothing worth watching.  A total dud.

Bandslam (2009)

Bandslam is a solid tween offering centered around David Bowie-writing freshman, but well-versed music geek Will (Gaelan Connell) who is convinced to manage the popular senior girl’s rock group. Helping the band win the school’s battle of the bands is one thing. Managing this new relationship with Sa5m (Vanessa Hudgens), a girl who shares Will’s passion, is another.

Bandslam, though predictable, is surprisingly good and without the cloying melodrama of High School Musical. The corny humor balances the syrupy drama to create a likeable movie. It’s more Nick & Norah for the 10-13 set.

Newcomer Gaelan Connell makes Will an honest dork who knows his CBGB from his BeeGees and how influencial The Sex Pistols were to a certain Irish band. Vaness Hudgens is about as interesting as a brick, but her part was underwriten. Lisa Kudrow plays Will’s mom convincingly.

David Bowie’s cameo was my reason for seeing Bandslam. But as I see it, the witty and overall authentic delivery of the entire cast made 111 minutes very enjoyable.

Big (1988)

There’s something about Big that’s still charming despite its years. I think its Tom Hanks. He’s portrayal of a 13 year old boy in a 30 year old body is exceptional. Get past the dated feel of the movie and you will enjoy the look of innocence, fear, and confusion found herein as Josh (Hanks) acclimates to life as a man.

You know the story. His boyish soul helps him climb the corporate ladder in a toy company much to the chagrin of fellow workers. He meets a girl, has an amazing penthouse—everything he wanted as a boy, but somehow Josh finds himself longing for home.

As I see it, the fashion may be dated, but the theme of Big is timeless. A family must see!

Willow (1988)

Long before Frodo Baggins, there was Willow Ufgood (Warwick Davis). Charged with delivering a baby princess found drifting in the river, Willow must protect the baby from evil Queen Bavmorda with the help of Madmartigan (Val Kilmer). Adventure across the land waits as this motley crew sets out.

Willow is the brain child of writer/producer George Lucas and director Ron Howard. Need I say more? James Horner scores the fantasy tale that is reminiscent of well, just about everything Lucas ever touched. Sure the visual effects are dated, but that doesn’t detract from Willow’s charm. The dialogue is particularly fun.

As I see it, Willow is a charming if forgettable 80s flick. Not a must-see, as both Lucas and Howard have gone onward and upward.

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!

Bedtime Stories (2008)

It was at the behest of my nieces and the prodding of my brother who knows of my fascination with Russell Brand that I sat down to watch Bedtime Stories starring Adam Sandler. Dear readers, you know of my distaste for the man. His best days were on SNL.

As Uncle Skeeter, Sandler is remarkably sane. His penchant for odd voices remains, but this time, as the down on his luck everyman who is caring for his niece and nephew, the voices work. Adept at story-telling, Skeeter begins to notice uncanny parallels between the bedtime stories he’s been telling Bobbi and Patrick and his real life. Before long, he’s trying to manipulate the bedtime stories to realize his own reality.

The characters herein aren’t particularly deep in Bedtime Stories. The casting is solid with Brand, Courtney Cox, Keri Russell, Guy Pierce and Richard Griffiths. Cox is funny with her obsessive mom disorder. Her poor kids haven’t experienced the true joys of childhood thanks to mom’s fascination with wheat germ. Sandler, however, is the real star of the show. And as much as it pains me to say it, some of the dialogue is funny and completely relatable.

Sandler, I’m impressed. You’ve forgone the raunchy uninspired brand of humor I have cursed you for and made something enjoyable for the whole family. Interesting enough for the adults; captivating for the children. Even computer generated Bugsy didn’t annoy me. Well done.

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.

Scrooge (1970)

Albert Finney (Big Fish, The Bourne Ultimatum) is Ebenezer Scrooge in this musical rendition of Charles Dickens’ perennial favorite. Thought I had seen every interpretation, but this musical was new to me. Scrooge isn’t cold, or witty, or hateful, but rather he looks to be sucking on sour marbles. The contorted, puckered face is off-putting.

The real treat is Sir Alec Guinness as Jacob Marley. The character has a stronger role here. In retrospect, one can see the influences of this film on the most recent release. I see Zemeckis’ version in a whole new light. The special effects found here are perfectly moribund. The ghosts of Past, Present, and Future Christmas are fascinating. But the film really lacks luster for me.

Let’s be honest. The musical number can’t win any awards. The warbling herein borders on torture. They all last a little too long. The Scrooge/Marley foray into hell is silly.

It’s funny how polarizing Dickens’ short story has become. Scrooge is the favorite of many a friend and colleague. I, however, am steadfast in my love of Alistair Sims. As I see it, there is a version for us all.  Which one do you prefer?  Do tell!

James and the Giant Peach (1996)

Young orphan James lives with his two wicked aunts, Sponge and Spiker.  A slave to the spinsters, James world is a lonely, miserable place.  His only solice is the memory of his parents.  Enter a spilled bag of crocodile tongues.  Overnight a giant peach grows in the wasteland of the front yard.  Before long, the huge fruit is rolling James and an odd bunch of inhabitants away and towards his dream of New York City.  During the journey, James is kept company by a lady bug, spider, centipede, earthworm, and a grasshopper.

Devilishly engaging and wonderfully macabre, James and the Giant Peach is produced by Tim Burton, directed by Henry Selick and adapted from the Roald Dahl classic.  The film is perfect.  A blend of live action and motion capture, it's equal parts odd and charm.

The cast of characters make the film.  Voices by Richard Dreyfuss, Susan Sarandon, David Thewlis, and Paul Terry warm the heart.  Pete Postlethwaite is delightful in a quaint role.  Aunts Sponge and Spiker are frightening.  The dialogue between James and his creature counterparts is vibrant, filled with humor and emotion.

The story is simple, but multi-faceted and is just as I imagined it.  The production values are left of center, fitting beautifully with my third-grade memories.  From the aunt's creepy old, far from square house to the lucious flesh of the peach, every image jumps from the scene making a vivid fantasy.

As I see it, James and the Giant Peach is a brilliant adaptation of a fine children's book.  Don't miss the perfect storm found herein.

Harry Potter and the Half-Blood Prince (2009)

As this film is no ordinary film, this is no ordinary review. If you've read the book, you can guess how Harry Potter and the Half Blood Prince goes. What you can't guess is how brilliantly writer Steven Kloves and director David Yates focuses the main storyline from the book, executes the key points and subtly layers the development of supporting characters--often times without saying a word.

Harry Potter and the Half-Blood Prince is a fine adaptation of the book thanks to each element being on par with the next. Let's break it down:

• Casting ~ Obviously phenomenal, I think in part to the trio of friends aging before our eyes. Harry, Ron, and Hermione (Radcliffe, Grint, Watson) share such affection with one another. It's authentic. Progressing into the gangly teen years, the trio discovers these odd feeling of attraction that threatens to complicate matters. Director Yates handles it perfectly with the right touch of humor.
• Screenplay ~ Kloves has a phenomenal book to draw from. In a perfect world, we'd see, feel, and hear it all. Alas, that's what the book if for. Kloves exercises tough love by developing essential moments, but underscores what we, the viewer really needs.
• Direction ~ David Yates delivers. Kloves gave him the tool to execute; Yates murdered it. What's perhaps most fascinating is while he maintains focus on Harry and Tom Riddle, he doesn't neglect the supporting cast. Rather he counts on the viewer's memories to develop the subtle hints surrounding Harry.
• Atmosphere/Design ~ The film is eerie and foreboding. Much like Harry, we know what's coming and Yates plays to that. Without the small moments of humor or Slughorn's perplexed facial expressions, there would be no release for anyone. Equally dark, the production is cast in tones of grey. All the joy at Hogwarts is tempered by the knowledge of the Death Eaters ever-increasing presence. Even Quidditch can provide a small level of comfort. The cinematography is perfectly executed providing an air of underlying suspicion and danger.
• Score ~ It is unassuming, but a beautiful compliment.

With that out of the way, allow me to disclose my personal high {and low} points. The greatest delight for me was the execution of characters. Jim Broadbent as Prof. Horace Slughorn is brilliant. Equal parts oddball and haunted, Slughorn is top-notch. Rupert Grint continues to flaunt impeccable comedic timing. Albus Dumbledore (Michael Gambon) has never been more relevant. Serverus Snape. Perfectly. Succinct. Luna! Also of note: the pensieve/memory sequences were perfect. The CGI and direction through each sequence was riveting. Kudos to Yates for picking the story up precisely. It was nice to see Neville, Hagrid, Seamus and the like hanging around.

My disappointments lie mainly with events that I deem crucial being footnotes or left out. What of Bill Weasley? Fleur? Tonks? Draco Malfoy was sorely lacking. His lurking about Hogwarts is an insult to the character. I really needed/wanted the conversation between Snape and Harry to take place. Though it was more of a visual, I needed that conversation. There is more to Tom Riddle to have been explored. The Slug Club?! C'mon!!

As I see it, only purists will take issue with Harry Potter and the Half-Blood Prince. To fully enjoy the film, it is essential to view all the movies as an entity separate from the books. Do that and I guarantee a good time.

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.

Night at the Museum (2006)

Larry Daley (Ben Stiller) is a divorced father who can't seem to win. Without a steady job and home, Larry's ex is threatening to take their young son away is he can't provide a stable home for the boy. Larry needs a job. The Museum of Natural History is looking for a night watchman and Larry seems to fit the bill. After a quick run though with Cecil (Dick Van Dyke) and Gus (Mickey Rooney), Larry's ready to go. Warned not to let anyone or thing in or out, Larry soon discovers the museum comes to life at night thanks to the tablet of Ahkmenrah.

Night at the Museum is a cheeky romp through natural history. As Larry, Stiller is the running joke throughout the film. Frenzied and chaotic, Stiller's performance is nearly overshadowed by the cavalcade of cameos. Steve Coogan as Octavius and Owen Wilson as cowboy Jedidiah have an ongoing feud for supremacy in the dioramas. Robin Williams pops up as an altogether nonsensical Teddy Roosevelt. Neanderthals, Huns, Vikings, Lewis & Clark, Sacajawea, Easter Island Heads, Christopher Columbus--they all pop in and out of the movie to provide comic relief and assist our protagonist to find the 'real bad guys'.

The film is chaotic and contains plot holes you could fly the Kitty Hawk through. Still, it's a riot with fun characters and rapid fire corny jokes. As I see it, Night at the Museum is entertaining thanks to the frenzied pace and despite its predictable twists and turns. It's an adventure for young and old.

The Court Jester (1956)

Socially inept Hubert Hawkins (Danny Kaye) assumes the role of Giacomo, the "King of Jesters, Jester of Kings" to help the rightful king of England regain his thrown.

Yes, The Court Jester is deceptively simple. However, with Danny Kaye at the helm of this classic, also starring Basil Rathbone, Angela Lansbury, and Glynis Johns, the film is perfection. The film features Kaye's trademark tongue-twisting dialogue, musical numbers, and top-notch humor.

The success of this classic film is due whole in part to the exceptional Danny Kaye. He is mesmerizing onscreen. From his `vessel with the pestle has the pellet with the poison, the chalice from the palace has the brew that is true' to his tender songs, Kaye shines. Basil Rathbone is perfectly evil in a spoof of his own Sir Guy of Gisbourne (see Errol Flynn's Robin Hood). Angela Lansbury is striking as the king's daughter.

The film is a success on every level. The script is fun and witty, the casting is pitch-perfect. Visually, The Court Jester is a real treat despite the age. Costuming and choreography remain beautifully rendered. The underlying humor that's quite smart. They slapstick never ends, but the sharp eye and ear will catch the subtle jabs and spoofs.

As I see it, The Court Jester is genuine slapstick as its finest. The film is unquestionably quotable, entertaining, and undeniably, Danny Kaye's best work. Get it, got it, good.

The Parent Trap (1961)

Sharon McKendrick (Haley Mills) and Susan Evers (Haley Mills) couldn't be more different. Sharon, from Boston, is a prim and proper young lady schooled in etiquette. California-bred Susan comes from horse ranch and relishes the outdoors. Two girls so different could never be so alike. Or could they? Their first meeting at summer camp leads to an all out war. It's not until camp counselors place the two in solitary confinement that they discover they are twins, separated as babies when their parents, Maggie McKendrick (beautiful Maureen O'Hara) and Mitch Evers (steely-eyed Brian Keith), divorced. With just a few weeks left of camp, the sisters hatch a plan to switch places, get to know their other parent and ultimately reunite them.

Walt Disney's The Parent Trap is rambunctious fun thanks to a fine performances all around. Mills is the star of the show, but she's constantly threatened by the likes of O'Hara {whose metamorphosis from dull socialite to motherly vixen is phenomenal} and character actress, Una Merkel. Mills walks a fine line of sweet and sassy that never overreaches. As polar opposites Susan and Sharon, Mills' acting chops are challenged and she delivers swimmingly.

Elegant Boston and sunny California make for beautiful settings for the twins' adventure. The film charms you with top-notch performances, an engaging musical number, and non-stop fun.

Much like The Swiss Family Robinson, Mary Poppins or 20,000 Leagues Under the Sea, The Parent Trap is a must-see Walt Disney classic.