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Madagascar Preschool Surf n Slide Free
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***** #1 Ranked Educational Game in 55 Countries ***** “…it is worth purchasing. It’s one of...
Movie Metropolis (309 KP) rated The Girl on the Train (2016) in Movies
Jun 10, 2019
A Victim of its marketing
It’s always refreshing to see a film released primarily for the adult market. We all loved The Hunger Games, but imagine what the series could’ve been like had the franchise been given a 15 or even an 18 certification.
And Fifty Shades of Grey may have its critics (me being one of them) but at least it appealed to those of us not interested in sharing cinema screens with rambling tweens. The finest of the adult genre? Well, that has to be Gone Girl. But now there’s a new kid on the block, ready to steal its crown. Is The Girl on the Train a worthy adversary?
Alcoholic Rachel Watson (Emily Blunt) catches daily glimpses of a seemingly perfect couple, Scott (Luke Evans) and Megan (Haley Bennett), from the window of her train. One day, Watson witnesses something shocking unfold in the garden of the strangers’ home. Rachel tells the authorities what she thinks she saw after learning Megan is missing. Unable to trust her memory, the troubled woman begins her own investigation, while police suspect that Rachel may have crossed a dangerous line.
Emily Blunt has become one of Hollywood’s finest actors, constantly adding new genres to her resume. From The Devil Wears Prada to Sicario and beyond, there is nothing she won’t try and The Girl on the Train is bolstered by a career-best performance by the actress. It’s never easy to play a drunk convincingly; you can look to some UK soap operas for proof of that, but she manages to pull it off exceptionally well.
Of the supporting cast, only Justin Theroux makes a lasting impact as Rachel’s ex-husband Tom, now living with his new wife Anna – a lacklustre Rebecca Ferguson. It would be unfair to sling too much mud at a very talented group of actors, but up against Blunt, there really is no comparison.
Elsewhere, the complex narrative of Paula Hawkins’ book translates to a rather messy filming style when viewed on the big screen. Continuous flashbacks from within Rachel’s mind are handled reasonably well by director Tate Taylor (The Help) and he manages to wrench everything together to stop the plot from becoming incoherent.
Unfortunately, The Girl on the Train is a victim of its own intense marketing campaign. The trailers have given away far too much for those who haven’t read the book and whilst the twists and turns aren’t immediately obvious, some of the Cluedo-esque fun has been removed. It’s clear Dreamworks wanted the film to resemble Gone Girl as much as possible, aiming to attract a similar audience, but this may have backfired slightly.
Overall, The Girl on the Train is a particularly faithful adaptation of the novel of the same name, held up by an intense and frankly incredible performance by Emily Blunt. Unfortunately, some of the film’s suspense has been lost by a poorly executed marketing campaign and as such it becomes a passable addition to the adult thriller genre. This year’s Gone Girl it is not.
https://moviemetropolis.net/2016/10/06/a-victim-of-its-marketing-the-girl-on-the-train-review/
And Fifty Shades of Grey may have its critics (me being one of them) but at least it appealed to those of us not interested in sharing cinema screens with rambling tweens. The finest of the adult genre? Well, that has to be Gone Girl. But now there’s a new kid on the block, ready to steal its crown. Is The Girl on the Train a worthy adversary?
Alcoholic Rachel Watson (Emily Blunt) catches daily glimpses of a seemingly perfect couple, Scott (Luke Evans) and Megan (Haley Bennett), from the window of her train. One day, Watson witnesses something shocking unfold in the garden of the strangers’ home. Rachel tells the authorities what she thinks she saw after learning Megan is missing. Unable to trust her memory, the troubled woman begins her own investigation, while police suspect that Rachel may have crossed a dangerous line.
Emily Blunt has become one of Hollywood’s finest actors, constantly adding new genres to her resume. From The Devil Wears Prada to Sicario and beyond, there is nothing she won’t try and The Girl on the Train is bolstered by a career-best performance by the actress. It’s never easy to play a drunk convincingly; you can look to some UK soap operas for proof of that, but she manages to pull it off exceptionally well.
Of the supporting cast, only Justin Theroux makes a lasting impact as Rachel’s ex-husband Tom, now living with his new wife Anna – a lacklustre Rebecca Ferguson. It would be unfair to sling too much mud at a very talented group of actors, but up against Blunt, there really is no comparison.
Elsewhere, the complex narrative of Paula Hawkins’ book translates to a rather messy filming style when viewed on the big screen. Continuous flashbacks from within Rachel’s mind are handled reasonably well by director Tate Taylor (The Help) and he manages to wrench everything together to stop the plot from becoming incoherent.
Unfortunately, The Girl on the Train is a victim of its own intense marketing campaign. The trailers have given away far too much for those who haven’t read the book and whilst the twists and turns aren’t immediately obvious, some of the Cluedo-esque fun has been removed. It’s clear Dreamworks wanted the film to resemble Gone Girl as much as possible, aiming to attract a similar audience, but this may have backfired slightly.
Overall, The Girl on the Train is a particularly faithful adaptation of the novel of the same name, held up by an intense and frankly incredible performance by Emily Blunt. Unfortunately, some of the film’s suspense has been lost by a poorly executed marketing campaign and as such it becomes a passable addition to the adult thriller genre. This year’s Gone Girl it is not.
https://moviemetropolis.net/2016/10/06/a-victim-of-its-marketing-the-girl-on-the-train-review/
Movie Metropolis (309 KP) rated Sing (2016) in Movies
Jun 11, 2019
Fun for all the family
Talking animated animals are big business over in Hollywood. After all, Disney’s Zootopia was one of only a handful of films to gross over $1billion last year. Its competitor, The Secret Life of Pets performed well but wasn’t critically successful.
Here, the company behind that second film, Illumination Entertainment, try to get the genre right with Sing. But are we looking at the next superstar of the animated genre?
Koala Buster Moon (Matthew McConaughey) presides over a once-grand theatre that has recently fallen on hard times. An eternal optimist, he loves his work enormously and will do anything to preserve it. Facing the crumbling of his life’s ambition, he takes one final chance to restore his fading jewel to its former glory by producing a singing competition, with eternal glory facing the winner.
There’s an impressive roster of talent on offer in Sing, something that parents will no doubt enjoy slightly more than the offspring they no doubt have to bring with them. With Matthew McConaughey taking the lead role, Taron Egerton, Reese Witherspoon, Scarlett Johansson and Seth McFarlane to name a few all lend their voices. There’s even a role for Brit-favourite Jennifer Saunders as a grumpy old sheep, it’s not ground-breaking, but it’s immensely likeable stuff.
Illumination Entertainment has brought us the brilliant Despicable Me franchise as well as its ridiculously successful spin-off Minions, but they’ve been criticised heavily for relying too much on the funny yellow critters to cash their paycheques. Thankfully, bar the now infamous company logo, the tic-tac shaped creatures are nowhere to be found and Sing is a vastly entertaining movie, in spite of their absence.
Whilst it’s true that the animation lacks the depth or fluidity of offerings from Pixar, Disney, and Dreamworks, there is a certain charm to its simplistic colour palate that children will find endearing. The plot is woefully unoriginal but director Garth Jennings, in his first animated feature, utilises that well, cleverly referencing the many talent shows that feature on our television screens – including those we are sick of.
There are some moral lessons in here too. Tori Kelly’s stage-shy elephant Meena has a great story arc that sees her face her fears and embrace her talents, whilst Taron Egerton’s gorilla Johnny stands up to his criminal father and learns that a life of crime doesn’t always pay.
In fact, only Seth MacFarlane’s obnoxious mouse Mike fails to make an impact on the plot, with his berating of an asthmatic sheep in the cleverly produced opening sequence coming across a little crude in comparison to the rest of the script.
Overall, Sing is a great film to hold the kid’s attention as we approach the half-term holidays. It would be easy to criticise it for lacking an original story, but there’s more to offer here than a half-baked plot. It’s beautifully voiced and reasonably well animated. Illumination Entertainment may not have topped Zootopia, but this is their best offering outside of Despicable Me by a country mile.
https://moviemetropolis.net/2017/01/28/fun-for-all-the-family-sing-review/
Here, the company behind that second film, Illumination Entertainment, try to get the genre right with Sing. But are we looking at the next superstar of the animated genre?
Koala Buster Moon (Matthew McConaughey) presides over a once-grand theatre that has recently fallen on hard times. An eternal optimist, he loves his work enormously and will do anything to preserve it. Facing the crumbling of his life’s ambition, he takes one final chance to restore his fading jewel to its former glory by producing a singing competition, with eternal glory facing the winner.
There’s an impressive roster of talent on offer in Sing, something that parents will no doubt enjoy slightly more than the offspring they no doubt have to bring with them. With Matthew McConaughey taking the lead role, Taron Egerton, Reese Witherspoon, Scarlett Johansson and Seth McFarlane to name a few all lend their voices. There’s even a role for Brit-favourite Jennifer Saunders as a grumpy old sheep, it’s not ground-breaking, but it’s immensely likeable stuff.
Illumination Entertainment has brought us the brilliant Despicable Me franchise as well as its ridiculously successful spin-off Minions, but they’ve been criticised heavily for relying too much on the funny yellow critters to cash their paycheques. Thankfully, bar the now infamous company logo, the tic-tac shaped creatures are nowhere to be found and Sing is a vastly entertaining movie, in spite of their absence.
Whilst it’s true that the animation lacks the depth or fluidity of offerings from Pixar, Disney, and Dreamworks, there is a certain charm to its simplistic colour palate that children will find endearing. The plot is woefully unoriginal but director Garth Jennings, in his first animated feature, utilises that well, cleverly referencing the many talent shows that feature on our television screens – including those we are sick of.
There are some moral lessons in here too. Tori Kelly’s stage-shy elephant Meena has a great story arc that sees her face her fears and embrace her talents, whilst Taron Egerton’s gorilla Johnny stands up to his criminal father and learns that a life of crime doesn’t always pay.
In fact, only Seth MacFarlane’s obnoxious mouse Mike fails to make an impact on the plot, with his berating of an asthmatic sheep in the cleverly produced opening sequence coming across a little crude in comparison to the rest of the script.
Overall, Sing is a great film to hold the kid’s attention as we approach the half-term holidays. It would be easy to criticise it for lacking an original story, but there’s more to offer here than a half-baked plot. It’s beautifully voiced and reasonably well animated. Illumination Entertainment may not have topped Zootopia, but this is their best offering outside of Despicable Me by a country mile.
https://moviemetropolis.net/2017/01/28/fun-for-all-the-family-sing-review/
Gareth von Kallenbach (980 KP) rated Monsters vs. Aliens (2009) in Movies
Aug 14, 2019
Ushering in what they hope will be a bold new era in 3D movie making, Dreamworks has set a very high standard with “Monsters Vs Aliens”. By combining science fiction and monster films, pop culture references, a strong cast, and cutting edge 3D technology, the film is likely to score big with audiences of all ages.
The story involves a bride to be named Susan (Reese Witherspoon), who is struck by a meteor shortly before her nuptials to local anchorman Derek (Paul Rudd). Before she can say “I do” Susan has an amazing growth spurt that soon has her towering over the church and eventually captured and subdued by a cadre of soldiers.
Susan is targeted as a monster by the government and awakens in a strange cell with fellow detainees B.O.B. (Seth Rogan), The Missing Link (Will Arnett), Dr. Cockroach PHD (Hugh Laurie), and Insectasaurus. While shocked and horrified to be in the company of monsters, Susan remains focused on getting back to normal and marrying Derek.
At the same time, an alien probe has arrived on earth and after a first contact effort by President Hathaway (Stephen Colbert), goes very wrong, the military soon realizes they are overmatched, requiring drastic efforts to save the planet.Enter General W.R. Monger, (Kiefer Sutherland), who reveals his captive monsters to the President and his staff with the idea that the only way to save the earth is to turn the monsters loose on the alien threat.
With a promise of freedom, the monsters and Susan (now dubbed Ginormica) seek to save San Francisco from the aliens. However, a greater threat is facing the earth from the alien Gallaxhar (Rainn Wilson), who has designs on Earth and the power Susan possesses, and will stop at nothing to get it. What ensues is a funny adventure that thanks to the stunning 3D visuals is one of the more enjoyable family films in years.
The amazing 3D effects truly allow for the audience to become immersed in the film rather than just occasionally entertained with a few simple gimmicks. The film has plenty to offer children, but parents should note that the film is PG rated due to some clever quips designed for older viewers.The nearly two hour film moves at a brisk pace, ensuring the monsters do not outstay their welcome, but it may still be a bit long for very young viewers. There are dimensions of the characters that I hope get expanded upon in future films, but I do understand that with such lavish visuals, action, not so much character development, takes centerstage, and the film certainly delivers adventure in spades.
The animation is first rate, as is the great ensemble cast, all of which combine to make “Monsters Vs Aliens” a fun viewing experience for the entire family, and a grand new direction for animation.While viewers wishing to see the film in 3D can expect to pay a higher ticket price, I strongly recommend the 3D version to truly enjoy the film and the breathtaking achievements in animation..
The story involves a bride to be named Susan (Reese Witherspoon), who is struck by a meteor shortly before her nuptials to local anchorman Derek (Paul Rudd). Before she can say “I do” Susan has an amazing growth spurt that soon has her towering over the church and eventually captured and subdued by a cadre of soldiers.
Susan is targeted as a monster by the government and awakens in a strange cell with fellow detainees B.O.B. (Seth Rogan), The Missing Link (Will Arnett), Dr. Cockroach PHD (Hugh Laurie), and Insectasaurus. While shocked and horrified to be in the company of monsters, Susan remains focused on getting back to normal and marrying Derek.
At the same time, an alien probe has arrived on earth and after a first contact effort by President Hathaway (Stephen Colbert), goes very wrong, the military soon realizes they are overmatched, requiring drastic efforts to save the planet.Enter General W.R. Monger, (Kiefer Sutherland), who reveals his captive monsters to the President and his staff with the idea that the only way to save the earth is to turn the monsters loose on the alien threat.
With a promise of freedom, the monsters and Susan (now dubbed Ginormica) seek to save San Francisco from the aliens. However, a greater threat is facing the earth from the alien Gallaxhar (Rainn Wilson), who has designs on Earth and the power Susan possesses, and will stop at nothing to get it. What ensues is a funny adventure that thanks to the stunning 3D visuals is one of the more enjoyable family films in years.
The amazing 3D effects truly allow for the audience to become immersed in the film rather than just occasionally entertained with a few simple gimmicks. The film has plenty to offer children, but parents should note that the film is PG rated due to some clever quips designed for older viewers.The nearly two hour film moves at a brisk pace, ensuring the monsters do not outstay their welcome, but it may still be a bit long for very young viewers. There are dimensions of the characters that I hope get expanded upon in future films, but I do understand that with such lavish visuals, action, not so much character development, takes centerstage, and the film certainly delivers adventure in spades.
The animation is first rate, as is the great ensemble cast, all of which combine to make “Monsters Vs Aliens” a fun viewing experience for the entire family, and a grand new direction for animation.While viewers wishing to see the film in 3D can expect to pay a higher ticket price, I strongly recommend the 3D version to truly enjoy the film and the breathtaking achievements in animation..
Gareth von Kallenbach (980 KP) rated Madagascar 3: Europe's Most Wanted (2012) in Movies
Aug 7, 2019
After being shipped from New York to Madagascar and then leaving Madagascar only to end up stranded in Africa, our four favorite zoo animals are back and causing a ruckus once again, but this time in Europe.
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Kung Fu Panda 2 Storybook
Book and Education
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★ #1 in Books (iPhone) - May 2011 ★ #2 in Books (iPad) - May 2011 ★ Featured in What's Hot...
Movie Metropolis (309 KP) rated Finding Dory (2016) in Movies
Jun 11, 2019
Is it a return to form for Pixar/
For years, Pixar was an unstoppable force. The studio combined stunning animation with thought-provoking stories that adults and children could enjoy. From Toy Story to Wall.E, everyone, at some point will have watched a Pixar film.
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
Then a few things caused the bubble to burst. Firstly, other companies upped their game, big time, with Dreamworks in particular being hot on the heels of their rival. Secondly, Pixar’s own partner, Disney started churning out great animated films with Zootropolis and Wreck-it Ralph worth a mention.
Finally, Pixar lost its way. Cars and its dreadful sequel, followed by an underwhelming prequel to Monsters Inc and the marketing disaster that was The Good Dinosaur all culminated in a studio damaged by its own high standards. Now, in 2016, we have a sequel to arguably Pixar’s best film, Finding Nemo, but does Finding Dory build on its predecessor or sink faster than a stone?
Dory (Ellen DeGeneres) is a wide-eyed, blue tang fish who suffers from memory loss. The one thing she can remember is she somehow became separated from her parents as a child. With help from Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a rehabilitation centre for diverse ocean species and from there; she tries to reunite with her long-lost relatives.
Finding Dory opens with a neatly packaged throwback to its predecessor, providing an easy way of getting the audience up to speed with what came before it – after all, it’s been 13 years since the release of the first film. From then on, it’s full steam ahead with a story that lacks the subtlety of Finding Nemo, but is engaging nonetheless.
The animation is you guessed it, exceptional. Nemo was one of the best films to showcase Pixar’s talents and its sequel continues that trend. The vibrancy of the colour palette is breath-taking and each shimmering wave makes you feel part of the watery depths. The blacks feel endless and the diversity of marine life just adds to the sparkle.
For adults, there are some cracking references to other films. Would you believe me if I told you Pixar managed to shoehorn an Alien homage in there? Well, they did, and it works beautifully. Couple that with a surprise turn from Sigourney Weaver as a park announcer and it’s a recipe for laughs all around.
Ellen DeGeneres takes centre stage this time around and rightly so. Dory is a loveable character, especially in her wide-eyed youth, and a very well-written one, despite her constant forgetfulness. Elsewhere, Idris Elba provides some laughs as a lazy sea lion and Ed O’Neill steals the show as a grumpy octopus.
Unfortunately, the final act of the film delves into unnecessarily and uncharacteristically silly territory. The joy of Pixar’s other works is that, despite their often out-of-this-world themes, they still feel grounded in reality. Dory’s finale is so ridiculous that it spoils the effect of the plot.
Nevertheless, you’ll be reaching for your tissues more than once as director and scriptwriter Andrew Stanton combines that heart-warming story with some lovely dialogue that will resonate with all generations.
Overall, Finding Dory isn’t the outright success it could’ve been, but it doesn’t continue the slip in Pixar’s quality either. The animation is truly wonderful and some of the references to more adult films are worked in very cleverly – but that final act; it’s just awful.
https://moviemetropolis.net/2016/08/01/is-it-a-return-to-form-for-pixar-finding-dory-review/
School of Dragons: How to Train Your Dragon
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FEATURES • Visit with familiar friends like Hiccup, Toothless and others from the “How To Train...