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Hazel (1853 KP) rated Jane Steele in Books
May 24, 2017
Classic Retelling
This eBook was provided by the author in exchange for an honest review
“Reader, I murdered him.” Jane Steele is a gothic retelling of the renowned Jane Eyre written by the celebrated Charlotte Bronte. Crime writer, Lyndsay Faye, creates an entirely new story, whilst appropriating the skeletal structure of the original classic. However, Jane Steele is nothing like the Miss Eyre everyone is familiar with. She is far more headstrong and independent, and also a murderer.
Before readers are discouraged to hear that their beloved Jane is portrayed as a criminal, the murders that occur are more of a homicidal or self-defense nature, as opposed to premeditated serial killing. In fact the first death, occurring when she is a nine year old orphan, is not her fault at all, however it prompts Jane’s wealthy aunt to pack her off to boarding school, and thus the similarities with Jane Eyre commence.
Written in an autobiographical manner, Jane describes her years at the virulent school, where she and the other girls experience abuse at the hands of the ignoble schoolmaster. As readers will recall, Eyre’s life improves in her later school years, however Jane Steele’s education comes to a premature end, resulting in her fending for herself in 19th century London.
As the blurb indicates, Jane returns to the house she grew up in after the death of her aunt, affecting to be a governess for the current owner’s ward. Mr. Charles Thornfield, a bachelor, is Jane Steele’s version of Rochester, minus the wife in the attic. The contents of the cellar, on the other hand, are a different matter…
From a romantic point of view, all happens in a similar manner to Jane Eyre, however this is where the comparisons end. With concealed crimes and secrets, as well as an unsolved murder, the story becomes the thriller it initially proposed to be. The incisive Jane Steele takes matters into her own hands – figuratively and literally – as she determines to resolve the unanswered questions.
Although not written with the intent to be comical, the stark contrasts between original and retelling create humorous scenarios. The nature of the main character in comparison with the time frame, a period where women had very little rights, makes the narrative far more exciting and amusing than the earlier novel – although not necessarily better.
Lyndsay Faye maintains the atmosphere of the 1800s with her affinity for eloquent turns of phrase and choice of words. She is a prolific author full of wonderful ideas; her ability to create a new story out of a well-known classic is a formidable skill. What is admirable is they way in which Faye has made Jane Steele a novel in its own right, and not merely a rip-off of Bronte’s work.
The skillful composition and wording will likely be loved by all, its only downfall being the reaction of hardcore Jane Eyre fans. Those who wish for the classics to be left alone and not pulled apart by contemporary authors or film directors may adopt a negative attitude towards to publication of Jane Steele. On the other hand, many will absolutely love this gothic retelling, appreciate the similarities and enjoy the new twist to the storyline. Personally, I am with the latter group.
“Reader, I murdered him.” Jane Steele is a gothic retelling of the renowned Jane Eyre written by the celebrated Charlotte Bronte. Crime writer, Lyndsay Faye, creates an entirely new story, whilst appropriating the skeletal structure of the original classic. However, Jane Steele is nothing like the Miss Eyre everyone is familiar with. She is far more headstrong and independent, and also a murderer.
Before readers are discouraged to hear that their beloved Jane is portrayed as a criminal, the murders that occur are more of a homicidal or self-defense nature, as opposed to premeditated serial killing. In fact the first death, occurring when she is a nine year old orphan, is not her fault at all, however it prompts Jane’s wealthy aunt to pack her off to boarding school, and thus the similarities with Jane Eyre commence.
Written in an autobiographical manner, Jane describes her years at the virulent school, where she and the other girls experience abuse at the hands of the ignoble schoolmaster. As readers will recall, Eyre’s life improves in her later school years, however Jane Steele’s education comes to a premature end, resulting in her fending for herself in 19th century London.
As the blurb indicates, Jane returns to the house she grew up in after the death of her aunt, affecting to be a governess for the current owner’s ward. Mr. Charles Thornfield, a bachelor, is Jane Steele’s version of Rochester, minus the wife in the attic. The contents of the cellar, on the other hand, are a different matter…
From a romantic point of view, all happens in a similar manner to Jane Eyre, however this is where the comparisons end. With concealed crimes and secrets, as well as an unsolved murder, the story becomes the thriller it initially proposed to be. The incisive Jane Steele takes matters into her own hands – figuratively and literally – as she determines to resolve the unanswered questions.
Although not written with the intent to be comical, the stark contrasts between original and retelling create humorous scenarios. The nature of the main character in comparison with the time frame, a period where women had very little rights, makes the narrative far more exciting and amusing than the earlier novel – although not necessarily better.
Lyndsay Faye maintains the atmosphere of the 1800s with her affinity for eloquent turns of phrase and choice of words. She is a prolific author full of wonderful ideas; her ability to create a new story out of a well-known classic is a formidable skill. What is admirable is they way in which Faye has made Jane Steele a novel in its own right, and not merely a rip-off of Bronte’s work.
The skillful composition and wording will likely be loved by all, its only downfall being the reaction of hardcore Jane Eyre fans. Those who wish for the classics to be left alone and not pulled apart by contemporary authors or film directors may adopt a negative attitude towards to publication of Jane Steele. On the other hand, many will absolutely love this gothic retelling, appreciate the similarities and enjoy the new twist to the storyline. Personally, I am with the latter group.
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Kristy H (1252 KP) rated Plain Bad Heroines in Books
Dec 17, 2020
Plain Bad Heroines was one of my most anticipated reads of the year. I am a sucker for a lesbian tale. Add in a Gothic New England boarding school for girls? Sold.
The story centers around two time periods. The first, 1902, at the Brookhants School for Girls, run by Libbie Brookhants. A book by a young writer, Mary MacLane has come out--one that's incredibly scandalous for the times. Two Brookhants girls, Flo and Clara, are obsessed with it and establish The Plain Bad Heroine Society. The two are in love, meeting in secret--until they are attacked by yellow jackets at their hiding spot, a copy of the book found with them. A few years later the school closes, but not until after more scandal and death. Now, our second period, over a hundred years later, where Merritt Emmons, a young writer, publishes a book about Flo and Clara's story. It inspires a horror film starring Harper Harper, a famous lesbian actress. Harper will be playing Flo and B-list actress Audrey Wells, Clara. Filming on-site at the abandoned Brookhants site, the three women converge. But soon, weird things start happening, and the curse of Brookhants seems back to haunt the set--and our three modern-day heroines.
This book is absolutely enthralling at times. I flew through these 619 pages, that's for sure. My notes state "very lesbian," which is, of course, a major plus for me. Believe me, we don't get a lot of books starring ourselves. And you know, where we are killed off by swarms of yellow jackets. I honestly found both storylines compelling. It's hard not to fall a bit in love with Harper Harper, the charismatic celebrity (out!) lesbian. And 1902 isn't just about Clara and Flo, but Libbie Brookhants and her life trying to run a cursed school in the early 1900s. Honestly, the pages really flew by most of the time. Though, there are certainly moments where I felt some of the story could have been cut.
And yes, the narrative style is different, though it really adds to the uniqueness of the book. It's basically told by an omnipresent narrator, talking directly to the reader. There are footnotes, often humorous ones, and the end result is something you don't often find. For the most part, I felt like Danforth pulled it off, too. I do think Libbie was a little more fully developed than Merritt, Harper, and Audrey, but that also may have been because that trio could come across as a bit spoiled at times.
Probably my two biggest issues with this book (regretfully): for a Gothic horror novel, it's not really that scary. There are a few creepy and eerie moments, especially in the beginning, but it never really builds up to that terrifying moment that you're expecting. And, somewhat related, the ending. We read and stick with our various tales for the entire time and then... poof! Everything just fizzles out. I was so bummed. The ending was such a disappointment after all I'd read and kept this from being a full-fledged 4 or 4.5-star read. I couldn't believe it after what we'd been through. It was like even the author was tired.
So, overall, this is an original and fascinating read. I'm certainly still advising you to read it (especially if you're queer or enjoy reading queer fiction). Just be prepared that the ending may not have that big scary moment you're expecting. 3.5 stars.
The story centers around two time periods. The first, 1902, at the Brookhants School for Girls, run by Libbie Brookhants. A book by a young writer, Mary MacLane has come out--one that's incredibly scandalous for the times. Two Brookhants girls, Flo and Clara, are obsessed with it and establish The Plain Bad Heroine Society. The two are in love, meeting in secret--until they are attacked by yellow jackets at their hiding spot, a copy of the book found with them. A few years later the school closes, but not until after more scandal and death. Now, our second period, over a hundred years later, where Merritt Emmons, a young writer, publishes a book about Flo and Clara's story. It inspires a horror film starring Harper Harper, a famous lesbian actress. Harper will be playing Flo and B-list actress Audrey Wells, Clara. Filming on-site at the abandoned Brookhants site, the three women converge. But soon, weird things start happening, and the curse of Brookhants seems back to haunt the set--and our three modern-day heroines.
This book is absolutely enthralling at times. I flew through these 619 pages, that's for sure. My notes state "very lesbian," which is, of course, a major plus for me. Believe me, we don't get a lot of books starring ourselves. And you know, where we are killed off by swarms of yellow jackets. I honestly found both storylines compelling. It's hard not to fall a bit in love with Harper Harper, the charismatic celebrity (out!) lesbian. And 1902 isn't just about Clara and Flo, but Libbie Brookhants and her life trying to run a cursed school in the early 1900s. Honestly, the pages really flew by most of the time. Though, there are certainly moments where I felt some of the story could have been cut.
And yes, the narrative style is different, though it really adds to the uniqueness of the book. It's basically told by an omnipresent narrator, talking directly to the reader. There are footnotes, often humorous ones, and the end result is something you don't often find. For the most part, I felt like Danforth pulled it off, too. I do think Libbie was a little more fully developed than Merritt, Harper, and Audrey, but that also may have been because that trio could come across as a bit spoiled at times.
Probably my two biggest issues with this book (regretfully): for a Gothic horror novel, it's not really that scary. There are a few creepy and eerie moments, especially in the beginning, but it never really builds up to that terrifying moment that you're expecting. And, somewhat related, the ending. We read and stick with our various tales for the entire time and then... poof! Everything just fizzles out. I was so bummed. The ending was such a disappointment after all I'd read and kept this from being a full-fledged 4 or 4.5-star read. I couldn't believe it after what we'd been through. It was like even the author was tired.
So, overall, this is an original and fascinating read. I'm certainly still advising you to read it (especially if you're queer or enjoy reading queer fiction). Just be prepared that the ending may not have that big scary moment you're expecting. 3.5 stars.
Gareth von Kallenbach (977 KP) rated Downsizing (2017) in Movies
Jul 11, 2019
Overpopulation is a growing problem in the world and two Doctors, Dr. Jorgen Asbjornsen (Rolf Lassgard) and Dr. Andreas Jacobsen (Soren Pilmark) have found what they believe is the answer. The have discovered how to shrink all kinds of living matter, including humans. Asbjornsen and a group of volunteers are shrunk and live for years before showing the world. They believe that they can help solve the worlds hunger crisis as well as overpopulation. When occupational therapist Paul Safranek (Matt Damon) first hears of this he is fascinated with the idea of doing something grand to help save the world. But it isn’t until years later when he and his wife, Audrey Safranek (Kristen Wiig), run into an old college friend, Dave Johnson (Jason Sudeikis), who has been shrunk that he realizes he might be able to have a better life at four inches tall. Because of how cheap everything is to build for new tiny people there is an opportunity to live lavishly on meager means. The Safrankek’s have been struggling to get by and really be able enjoy life. When they hear that their hundreds of thousands could be millions they see this as their chance to live the luxury life. The head out to Leisureland Estates, a tiny community, to see what the small world has to offer. After the visit they are convinced and decide to go through with the procedure and begin the irreversible process of becoming “small.” On the operation date they go to separate areas to get completely shaved and prepped. When Paul wakes up he is surprised that Audrey is not with him and she has decided she cannot go through the irreversible process. After his divorce he is left alone trying to find himself and where he fits in a whole new world, at a whole new size.
This Alexander Payne (The Descendants, Nebraska, Sideways) written (co-written by Jim Taylor) and directed film is interesting and fun. If you look at this movie as a satire and don’t get too caught up in is this actually plausible you will be fine. For instance they make mention to how the people who are shrunk are pretty much left alone by things like mosquitoes and other insects but never mention things like rodents or other predators that would be difficult to fend off. I also was surprised by how in depth they get into social issues as the trailer I saw made it look more comedic than the film turned out to be. Not saying that there are not funny moments but the emphasis was really on issues like global overpopulation, exploitation of the poor, etc. and how one man decides to tackle these issues as the present themselves. I was taken by surprise at first but by the end of the film it really put everything into perspective.
Hong Chau, as Ngoc Lan Tran in the film, stood out and was really funny at times. The rest of the cast was good and fit the story well. The story did tend to drift between comedy and drama and not always as smoothly as intended. The film comes in at 2 hours and 15 minutes which is a little long but really if it was shorter the story would be even more all over the place. The plausibility of most of the film was in question for me and that was definitely distracting. But looking back if I spent less time on that I would have enjoyed the film more. Visually nothing really stand out like I thought it would and there was potential. The novelty of everyday things being bigger did get over done a little.
This Alexander Payne (The Descendants, Nebraska, Sideways) written (co-written by Jim Taylor) and directed film is interesting and fun. If you look at this movie as a satire and don’t get too caught up in is this actually plausible you will be fine. For instance they make mention to how the people who are shrunk are pretty much left alone by things like mosquitoes and other insects but never mention things like rodents or other predators that would be difficult to fend off. I also was surprised by how in depth they get into social issues as the trailer I saw made it look more comedic than the film turned out to be. Not saying that there are not funny moments but the emphasis was really on issues like global overpopulation, exploitation of the poor, etc. and how one man decides to tackle these issues as the present themselves. I was taken by surprise at first but by the end of the film it really put everything into perspective.
Hong Chau, as Ngoc Lan Tran in the film, stood out and was really funny at times. The rest of the cast was good and fit the story well. The story did tend to drift between comedy and drama and not always as smoothly as intended. The film comes in at 2 hours and 15 minutes which is a little long but really if it was shorter the story would be even more all over the place. The plausibility of most of the film was in question for me and that was definitely distracting. But looking back if I spent less time on that I would have enjoyed the film more. Visually nothing really stand out like I thought it would and there was potential. The novelty of everyday things being bigger did get over done a little.
Lee (2222 KP) rated Alita: Battle Angel (2019) in Movies
Feb 8, 2019 (Updated Feb 8, 2019)
The Visuals (1 more)
Alita
A lot of big names, overqualified and underutilised (1 more)
Clunky dialogue and pacing issues
All style, not much substance
James Cameron has spent more than a decade trying to bring Alita: Battle Angel to the big screen. Based on a popular cyberpunk manga series by Yukito Kishiro, published between 1990-1995, he has spent that time refining the script and developing the world that Alita inhabits. And that’s pretty much what he now spends most of his time taking care of with the Avatar movies and the world of Pandora. Hence the reason why he eventually decided to step back into producer duties for this movie, letting Robert Rodriguez pick up the directing reins in order to finally get it finished. Rodriguez uses much of the script that Cameron wrote, but brings a little bit of his trademark style to the table too.
It’s 2563, and we’re in Iron City. Dr Dyson Ido (Christoph Waltz) is scavenging among a huge scrapyard, looking for cyborg spare parts that he can make use of, while fresh metal and rubbish rains down from Zalem – a man-made, floating city sitting in the sky above Iron City. 300 years ago there were many of these floating cities but following a brutal war all of them except for Zalem perished. During that time though, the elevator leading up to Zalem was destroyed, and these days only the ‘pure’ inhabitants of Zalem are permitted there. Nobody from Earth is allowed to visit and if anyone comes down from Zalem, they’re not allowed back. It’s to try and avoid any contamination from entering Zalem. If you’ve seen the Matt Damon movie Elysium… well, then it’s a bit like that really.
Among the usual items, such as robotic hands and eyeballs, Dr Ido discovers Alita, or rather the core of Alita – lying lifeless and broken, with only a battered hairless head and upper torso remaining. He takes her back to his laboratory/home, where he works as a cybernetics expert, repairing and upgrading the inhabitants of Iron City who are either cyborgs or humans with cyborg body parts. Along with his assisting nurse, and using a robotic body that had been previously built for his now deceased daughter (this gets briefly explained later), they rebuild her, giving her the name Alita (also his daughters name). Alita awakens later in a nice comfortable bed, in what was presumably Dr Ido’s daughters room. She has no memory of her previous existence and sets about experiencing all the sights, sensations and tastes that human life and Iron City has to offer, exploring and striking up a friendship with local boy Hugo and his group of friends. But, as the name of the movie implies, this cyborg was built for battle, and it’s not long before Alita begins to remember who exactly she used to be and just how good at kicking ass she is.
A quick word about the visuals, as they are by far the best thing about this movie. Iron City, despite clearly being a futuristic world, is certainly not dark or bleak looking in the way we’re used to with similar movies of this genre. Many of the early scenes take place during daylight hours and the city is a vibrant, bright, bustling home to thousand of humans and cyborgs. We get to go beyond the limits of Iron City – the city walls, out to the badlands beyond, and as you’d expect from Cameron a lot of thought and detail has gone into mapping out and building this world. The cyborgs and the other robots we meet are all pretty standard for a movie of this kind, but it’s Alita that is the most impressive. Much of this is down to the incredible CGI involved in making her look as realistic as she does, but a lot of what makes her so enjoyable and believable is down to Rosa Salazar, whose motion captured performance helps bring her to life. The visuals are obviously at their most impressive during the battle scenes involving Alita – where so many movies with heavy CGI battles end up as just a messy whirlpool of characters and action, that’s certainly not the case here. Slick, inventive and exhilarating choreography allowing you to actually track and follow every single character and action in crisp detail. It’s refreshing and impressive, even more so when watched in 3D and particularly so during the fast paced Motorball scenes featured towards the end of the movie.
Outside of the visuals though, other characters and plot lines don’t seem to stick so well, which is disappointing considering the rich source material available to the film makers. Alita: Battle Angel suffers from inconsistent pacing, dialogue that is clunky and exposition-heavy and there are many times when the accompanying soundtrack just felt distracting to me, out of place with whatever is currently happening. Christoph Waltz, Mahershala Ali and Jennifer Connolly all seem overqualified and underutilised, and the romance between Alita and Hugo is unnecessary, and at times annoying. It feels like it’s trying to cram too much story into its two hour run time, resulting in plot holes and frustrations later on. And there is even a cliffhanger ending – frustrating in that it feels as though we haven’t even properly concluded this part of the story and we’re now being left to wait should a sequel ever be given the go ahead.
I found much to enjoy with Alita: Battle Angel, and would gladly go see a sequel or two, should they get made. It’s enjoyable at times, and dazzling to look at, but overall it did leave me feeling a little bit frustrated and disappointed.
It’s 2563, and we’re in Iron City. Dr Dyson Ido (Christoph Waltz) is scavenging among a huge scrapyard, looking for cyborg spare parts that he can make use of, while fresh metal and rubbish rains down from Zalem – a man-made, floating city sitting in the sky above Iron City. 300 years ago there were many of these floating cities but following a brutal war all of them except for Zalem perished. During that time though, the elevator leading up to Zalem was destroyed, and these days only the ‘pure’ inhabitants of Zalem are permitted there. Nobody from Earth is allowed to visit and if anyone comes down from Zalem, they’re not allowed back. It’s to try and avoid any contamination from entering Zalem. If you’ve seen the Matt Damon movie Elysium… well, then it’s a bit like that really.
Among the usual items, such as robotic hands and eyeballs, Dr Ido discovers Alita, or rather the core of Alita – lying lifeless and broken, with only a battered hairless head and upper torso remaining. He takes her back to his laboratory/home, where he works as a cybernetics expert, repairing and upgrading the inhabitants of Iron City who are either cyborgs or humans with cyborg body parts. Along with his assisting nurse, and using a robotic body that had been previously built for his now deceased daughter (this gets briefly explained later), they rebuild her, giving her the name Alita (also his daughters name). Alita awakens later in a nice comfortable bed, in what was presumably Dr Ido’s daughters room. She has no memory of her previous existence and sets about experiencing all the sights, sensations and tastes that human life and Iron City has to offer, exploring and striking up a friendship with local boy Hugo and his group of friends. But, as the name of the movie implies, this cyborg was built for battle, and it’s not long before Alita begins to remember who exactly she used to be and just how good at kicking ass she is.
A quick word about the visuals, as they are by far the best thing about this movie. Iron City, despite clearly being a futuristic world, is certainly not dark or bleak looking in the way we’re used to with similar movies of this genre. Many of the early scenes take place during daylight hours and the city is a vibrant, bright, bustling home to thousand of humans and cyborgs. We get to go beyond the limits of Iron City – the city walls, out to the badlands beyond, and as you’d expect from Cameron a lot of thought and detail has gone into mapping out and building this world. The cyborgs and the other robots we meet are all pretty standard for a movie of this kind, but it’s Alita that is the most impressive. Much of this is down to the incredible CGI involved in making her look as realistic as she does, but a lot of what makes her so enjoyable and believable is down to Rosa Salazar, whose motion captured performance helps bring her to life. The visuals are obviously at their most impressive during the battle scenes involving Alita – where so many movies with heavy CGI battles end up as just a messy whirlpool of characters and action, that’s certainly not the case here. Slick, inventive and exhilarating choreography allowing you to actually track and follow every single character and action in crisp detail. It’s refreshing and impressive, even more so when watched in 3D and particularly so during the fast paced Motorball scenes featured towards the end of the movie.
Outside of the visuals though, other characters and plot lines don’t seem to stick so well, which is disappointing considering the rich source material available to the film makers. Alita: Battle Angel suffers from inconsistent pacing, dialogue that is clunky and exposition-heavy and there are many times when the accompanying soundtrack just felt distracting to me, out of place with whatever is currently happening. Christoph Waltz, Mahershala Ali and Jennifer Connolly all seem overqualified and underutilised, and the romance between Alita and Hugo is unnecessary, and at times annoying. It feels like it’s trying to cram too much story into its two hour run time, resulting in plot holes and frustrations later on. And there is even a cliffhanger ending – frustrating in that it feels as though we haven’t even properly concluded this part of the story and we’re now being left to wait should a sequel ever be given the go ahead.
I found much to enjoy with Alita: Battle Angel, and would gladly go see a sequel or two, should they get made. It’s enjoyable at times, and dazzling to look at, but overall it did leave me feeling a little bit frustrated and disappointed.
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Gareth von Kallenbach (977 KP) rated The Good Dinosaur (2015) in Movies
Jun 19, 2019
Over the years dinosaurs have often been portrayed as lumbering oafs, vicious killers, or cuddly playthings. With the reinvigorated “Jurassic” franchise interest in the creatures is at an all-time high. Disney/PIXAR are hoping this interest translates into box office gold with the release of their new film “The Good Dinosaur” which looks to continue the successful and award winning streak of their earlier efforts.
We first heard of the film almost 4 years ago at the D23 Expo when during the upcoming film showcase it was announced that they had a dinosaur themed project in the works but had little else to say about it at that time. The premise of the film is that the asteroid that is rumored to have led to the extinction of the dinosaurs actually missed the earth and millions of years later, dinosaurs continue to evolve.
We meet a family of peaceful dinosaurs who spend their days working in the fields as farmers preparing for the upcoming winter season and the birth of their three children. One of the children named Arlo (Raymond Ochoa) is rather diminutive and tentative and unlike his bigger brother and sister, struggles to master his fear and find a role in which he can excel.
When fate and disaster step in, Arlo finds himself alone and isolated in the strange and dangerous world, forced to make a journey home. Along the way he discover shimself and learn several life lessons in the process. Along the way he makes new friends and staves off threats, all with the help of a new companion, a feral human named Spot. As any fans of Disney/Pixar will tell you the sidekick is often heartwarming comic gold.
While the film follows a very tried-and-true plot line for Disney films with elements of several other Disney classics incorporated within its framework, it does boast some absolutely amazing animation which include some captivating and breathtaking landscapes.
My biggest issues with the film was that I felt I had seen this story several times before in other films by the studio and that while enjoyable and at times heartbreaking, it felt a little too formulaic and did not resonate with me the way that many of their past films had. Parents may want to be cautioned that the film does contain some scary moments and there were a couple of children during our screener who did seem to be a bit disturbed by elements the film although most of those in attendance were captivated and entertained throughout and left the theater howling like wolves.
While I’m not sure the film will be a true modern classic that we have come to expect from the studio, it is still a very enjoyable and entertaining film that will be more than welcome during the holiday season for those looking for some dependable Pixar magic.
http://sknr.net/2015/11/24/the-good-dinosaur/
We first heard of the film almost 4 years ago at the D23 Expo when during the upcoming film showcase it was announced that they had a dinosaur themed project in the works but had little else to say about it at that time. The premise of the film is that the asteroid that is rumored to have led to the extinction of the dinosaurs actually missed the earth and millions of years later, dinosaurs continue to evolve.
We meet a family of peaceful dinosaurs who spend their days working in the fields as farmers preparing for the upcoming winter season and the birth of their three children. One of the children named Arlo (Raymond Ochoa) is rather diminutive and tentative and unlike his bigger brother and sister, struggles to master his fear and find a role in which he can excel.
When fate and disaster step in, Arlo finds himself alone and isolated in the strange and dangerous world, forced to make a journey home. Along the way he discover shimself and learn several life lessons in the process. Along the way he makes new friends and staves off threats, all with the help of a new companion, a feral human named Spot. As any fans of Disney/Pixar will tell you the sidekick is often heartwarming comic gold.
While the film follows a very tried-and-true plot line for Disney films with elements of several other Disney classics incorporated within its framework, it does boast some absolutely amazing animation which include some captivating and breathtaking landscapes.
My biggest issues with the film was that I felt I had seen this story several times before in other films by the studio and that while enjoyable and at times heartbreaking, it felt a little too formulaic and did not resonate with me the way that many of their past films had. Parents may want to be cautioned that the film does contain some scary moments and there were a couple of children during our screener who did seem to be a bit disturbed by elements the film although most of those in attendance were captivated and entertained throughout and left the theater howling like wolves.
While I’m not sure the film will be a true modern classic that we have come to expect from the studio, it is still a very enjoyable and entertaining film that will be more than welcome during the holiday season for those looking for some dependable Pixar magic.
http://sknr.net/2015/11/24/the-good-dinosaur/