Posts Tagged ‘Pixar’

Sugar Water: Dog Days

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I realized the other day that it’s been a couple months since I updated you on my personal life. No one’s asked for an update, of course, but I figured the fan letter that said “Send me the music from Running Scarred because I dont know how to use the internet except for email and this is the first time I have used email – I swear – so please hurry” was probably from a non-English speaker who really meant to say, “How’s your girlfriend, Aimiee, and the child you abandoned in Nebraska last fall?”

Well, I have good and bad news about Xing, our adopted son who’s really our daughter. The good news is she’s doing really well for herself in Lincoln, Nebraska, having been accepted for early enrollment at the University of Nebraska-Lincoln at the tender age of seven. She’s also reclaimed her natural name of Zhen, along with the gender Aimiee and I denied her. (Every parent makes mistakes. Don’t judge our gender reassignment until you’ve seen for yourself how it can have an unexpected negative side.)

As is the case with almost all children, Zhen got bored while waiting for school to start, so she took advantage of her free time and created a new iPhone application. Her “app” tells you how much longer you’ll be able to hold out before you break down and buy the latest iPhone.

I’m so proud of my little boy-girl! She’s all grown up now. This bird has flown, it’s time to let her make her own mistakes, we set the bar as low as possible as parents so she’d have nowhere to go but up, et cetera, et cetera, and so forth. Of course her new family in Lincoln still sees her as a seven-year-old who needs love and attention and discipline, even if she is a genius, but frankly I think that’s an insult to someone of her caliber.

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Film Review: “Up”

up-poster11The new Disney/Pixar collaboration, Up, has just opened to some of the best reviews the studio’s ever received. While it’s a very enjoyable film, I have to say it certainly isn’t among their best, in spite of the talent behind it.

As a child, Carl Fredricksen (at this point voiced by Jeremy Leary) is a huge fan of famed adventurer/explorer Charles Muntz (voiced by Christopher Plummer). Young Carl is a true devotee, keeping up with all of Muntz’ doings and is shocked to the core when one of his archaeological finds is disputed as a fraud. While Muntz sets off to clear his name, Carl happens to cross paths with Ellie (voiced by Elie Docter), who is just as much a fan of Muntz as Carl. The two become close, eventually falling in love, marrying and growing old together…all while keeping a coin jar in which they save whatever money they can to one day take a trip to Paradise Falls, the “land lost in time” for which Muntz set out. Carl makes the ultimate kids’ promise–crossing his heart–that he will one day take Ellie there, but before he can, she passes away. (more…)

Summer Movie Preview: Ten Films I May or May Not Be Looking Forward To

Normally Bob Cashill does a top-ten list of films he’s looking forward to each summer and fall. As he’s “out of town” this week (which, in the writing industry, is code for “on a bender and can’t be found”), I’ve been asked to step up to the plate and cover for him while he’s “away.”

I’ve chosen ten summer films — well, nine as far as Hollywood’s definition of summer goes (the beginning of May all the way to Labor Day weekend), so forgive me for cheating with my first choice.  I will now give my reasons as to why I’m either looking forward to these films or hope they die miserable, lonely deaths at the box office. Please be aware that while the majority of release dates have been locked down, film studios are sometimes fickle, and some later dates may be subject to change.

1. The Soloist (April 24), starring Jamie Foxx and Robert Downey Jr., directed by Joe Wright.

I’ve been looking forward to this film, based on the true story of celloist-violinist Nathaniel Ayers, an extremely talented musician who suffers from schizophrenia, for quite some time in spite of the semi-mediocrity of its trailer. While I’m certain the film will deliver the expected highs and lows of the friendship between Foxx’s Ayers and Downey Jr. as the reporter who befriends him, all replete with the expected script beats (pg. 50: “Have characters realize they’re more alike than different in spite of their dissimilar backgrounds”), the real reason to see this movie is for the act-off between two great thesps, and to begin the debate about which one will deserve to walk home with a statue come next year’s Oscars.

2. X-Men Origins: Wolverine (May 1), starring Hugh Jackman and Liev Schreiber, directed by Gavin Hood.

Yes, this film’s already hit the Internet, so most of you have probably already seen it. I’m waiting till it actually hits theaters, though, because I’d prefer to see the completed effects, thank you very much. Although I don’t understand the fascination with Schreiber (overrated in my book), the real reason for me to see Wolverine is that it’ll be cool to see Jackman as the title character once again. Fanboys and fangirls who vowed to boycott this Fox film due to the studio’s lawsuit brought against Warner Bros. for partial rights to Watchmen profits will more than likely shut the hell up and see it regardless; it could very well be one of the biggest actioners at the box office this year despite its illegal release on the Web. I’m borderline on the story and characters, but I’m looking forward to Jackman’s Wolvie taking a long list of names while he kicks ass.

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Dw. Dunphy On… “WALL-E”

wall-eNo, it wasn’t a nightmare. I was surrounded by jive-ass talking cartoon animals, and so were you.

The dictum of great animation is that it gives us something a straightforward film cannot. It can show us visions that would be impossible in reality, if not just ridiculous looking. Animation affords an instant degree of suspension of reality, that magical bit of stuff that allows us to empathize with photos projected in succession. It’s an unwritten pact between the maker of those images and the person who spent $10+ for the ticket — take me out of reality for an hour and a half. For many years that pact has been, if not broken, arguably fudged and cheated. It’s the only way I can explain 2005’s Madagascar, 2006’s The Wild and Over the Hedge, this summer’s Kung Fu Panda, and even the upcoming CG-tweaked horror of Beverly Hills Chihuahua. It’s as if the studios all gave up writing and just agreed to make animals yammer and yap for a couple decades.

Pixar, the little CG studio that could, wasn’t immune either. In their defense they were able to work the worlds of insects (1998’s A Bug’s Life), fish (2003’s Finding Nemo), and culinary rats (2007’s Ratatouille) with a lot more finesse and intelligence than their competitors, in both the visual sense and the sheer commitment to story. Fortunately I didn’t get railroaded by hippos, rhinos, roaches, cats, dogs, and amoeba spouting the latest catchphrase in pop culture, rapping, or other such unforgivable acts, and I didn’t have bovine herds congratulating one of their own with “You go, cow girl!” Pixar always seemed intent to keep the fauna among themselves. Regardless, there were still talking animals.

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