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Movie Metropolis (309 KP) rated Toy Story 4 (2019) in Movies
Jun 23, 2019
Animation (1 more)
Voicework
Fun for kids and adults alike
The animation is absolutely exquisite and probably the best to have ever graced the big screen. With this and How to Train Your Dragon: The Hidden World, animated films have never looked better and the bar has been set very high indeed. Everything from the glisten in Woody’s eyes to the rope-like fabric of Jessie’s hair is astounding and needs to be seen on the biggest screen possible. There are shots here that wouldn’t look out of place on your living room wall, they are breath-taking.
Of course, the main test of a good Pixar movie is how it makes you feel. And Toy Story 4 delivers heart and humour in spades with a witty script and beautiful send-off to these beloved characters. If Disney makes good on its promise that this IS the final part of a quadrilogy, then they’ve created something very special indeed. We may have lost two animated series’ in 2019, but boy did they go out with a bang.
Now pass me the tissues for god’s sake.
More at: https://moviemetropolis.net/2019/06/21/toy-story-4-review-this-is-the-end/
Of course, the main test of a good Pixar movie is how it makes you feel. And Toy Story 4 delivers heart and humour in spades with a witty script and beautiful send-off to these beloved characters. If Disney makes good on its promise that this IS the final part of a quadrilogy, then they’ve created something very special indeed. We may have lost two animated series’ in 2019, but boy did they go out with a bang.
Now pass me the tissues for god’s sake.
More at: https://moviemetropolis.net/2019/06/21/toy-story-4-review-this-is-the-end/
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Kirk Bage (1775 KP) rated Toy Story 4 (2019) in Movies
Feb 11, 2021
The rule of threes is a pretty solid philosophy. We find things repeated in triplicate satisfying and complete. There is no rule of four, it isn’t a thing. Four is usually one too many… and this was the fear for all Pixar and Toy Story fans when this project was announced, fairly unexpectedly, in 2018. Toy Story 3 was a beautiful and heart-rending end to the saga of Woody, Buzz and co. It was an end. Wasn’t it? Everything worth saying had been said, and it was all tied up in a plastic bow rather perfectly.
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Caitlin Ann Cherniak (85 KP) rated Moana (2016) in Movies
Oct 4, 2018
A real feminist Disney film (3 more)
LOVE THE SOUNDTRACK
The Rock actually makes an extremely good Maui
The animation is to DIE for!
David Bowie musical number ripoff, but that's a very minor issue (1 more)
WHERE'S PUA?
Letterboxd review: https://letterboxd.com/caitcher/film/moana-2016/
First Impressions:
I said it was one of the best movies I've ever seen two years ago. It's still one of the best movies I've ever seen. First, let me start by saying that the animation was definitely at its best with this film (And it's the best as far as the Disney animation studio is concerned; Pixar has nothing to do with this). It is very hard to animate water as real as Moana was made to be, but Disney did it. The film is also one of the most colorful that I have ever seen in years, and it was super appealing to all of the senses. I loved the casting because the majority, if not all, the characters are played either by those of Pacific Islander or New Zealand descent, and that's diversity without shoving it into everyone's faces. Also, remember when Frozen's commercials were saying that its soundtrack was the best since the Lion King. That's bull. Moana's soundtrack is one of the best since the Lion King. This movie beat Frozen by a landslide.
First Impressions:
I said it was one of the best movies I've ever seen two years ago. It's still one of the best movies I've ever seen. First, let me start by saying that the animation was definitely at its best with this film (And it's the best as far as the Disney animation studio is concerned; Pixar has nothing to do with this). It is very hard to animate water as real as Moana was made to be, but Disney did it. The film is also one of the most colorful that I have ever seen in years, and it was super appealing to all of the senses. I loved the casting because the majority, if not all, the characters are played either by those of Pacific Islander or New Zealand descent, and that's diversity without shoving it into everyone's faces. Also, remember when Frozen's commercials were saying that its soundtrack was the best since the Lion King. That's bull. Moana's soundtrack is one of the best since the Lion King. This movie beat Frozen by a landslide.
Often cited as one of the most influential comic-books/graphic novels, alongside the likes of [b:V for Vendetta|5805|V for Vendetta|Alan Moore|https://images.gr-assets.com/books/1343668985s/5805.jpg|392838]'V for Vendetta' and [b:Batman: The Dark Knight Returns|59960|Batman The Dark Knight Returns (The Dark Knight Saga, #1)|Frank Miller|https://images.gr-assets.com/books/1327892039s/59960.jpg|1104159]'The Dark Knight Returns', this was, if I'm honest, one such that I'd never even heard of until the 2009 movie of the same name.
Set in an alternate 1985 America in which costumed superhero's are (were) real but have since been outlawed, there's a definite argument to be made that this would inspire the Pixar film The Incredibles: family drama, costumed superheroes coming out of retirement, conspiracies afoot ... see what I mean?
But whereas The Incredibles is aimed at a family audience, this is anything but: violent throughout, slow (at times seemingly glacial) moving and even dealing with the effects of (and fallout from) rape, this is definitely not one for the younger reader!
On the plus side, it does have a stunningly realised world alongside a compelling backstory to several of the characters: like several other literary classics, this is one that I can now say that I've read but wouldn't really be rushing back to do so again anytime soon.
Set in an alternate 1985 America in which costumed superhero's are (were) real but have since been outlawed, there's a definite argument to be made that this would inspire the Pixar film The Incredibles: family drama, costumed superheroes coming out of retirement, conspiracies afoot ... see what I mean?
But whereas The Incredibles is aimed at a family audience, this is anything but: violent throughout, slow (at times seemingly glacial) moving and even dealing with the effects of (and fallout from) rape, this is definitely not one for the younger reader!
On the plus side, it does have a stunningly realised world alongside a compelling backstory to several of the characters: like several other literary classics, this is one that I can now say that I've read but wouldn't really be rushing back to do so again anytime soon.
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Bob Mann (459 KP) rated Coco (2017) in Movies
Sep 29, 2021
An animated masterpiece? I should Coco!
I had no great expectations of this film. In fact, I honestly went to see it solely because – with the lazy multiplex habit of milking films like Jedi, Jumanji and (God help us) Pitch Perfect 3 – this was the only film at my local cinemas that I hadn’t seen. But wow… just wow!
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
Gareth von Kallenbach (965 KP) rated Turning Red (2022) in Movies
Mar 7, 2022
The digital animation geniuses at Pixar are back with “Turning Red” and it marks a departure for the studio known for the “Toy Story” and “Cars”, franchises.
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th