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Gareth von Kallenbach (971 KP) rated Toy Story 4 (2019) in Movies
Jun 28, 2019
A Touching And Winning Triumph
Toy Story 4 was a heartwarming story filled with exciting plot twists, lots of laughs, and even a few heart wrenching moments. The movie is easy to follow while still being very exciting. Made by Disney Pixar they uphold their hold on wholesome, funny, and exciting entertainment. I’ll admit I was a bit skeptical at first as this was the fourth movie in the saga and I was convinced that there wasn’t much for the writers to go off on since the 3rd movie comes to such a happy conclusion. I am happy to say that I was pleasantly surprised! I walked into the theatre feeling a little unsure, to being moved to tears by the conclusion of the film, and then leaving the theatre feeling like a small part of my childhood was complete since I was raised on this Disney/Disney-Pixar movies!
The original cast is back at it again with Tom Hanks voicing Woody and Tim Allen as Buzz Lightyear. This of course only added to the charm of the movie as I can’t imagine anyone better. It was also awesome to have the Voice actors from Toy Story 3 back and In the movie. I was also very pleased to have Bo Peep back in the saga! One of the best things about the film is the new lovable characters. One of my absolute favorites was Forky voiced by Tony Hale. Forky is a toy that was made by bonnie while she was feeling lonely at kindergarten orientation, Forky is made out of craft supplies (pipe cleaners, googly eyes, etc.) and a spork.
Forky doesn’t want to be Bonnie’s toy at first and is constantly trying to go be in the trash because that is where he feels like he belongs. Woody dedicates himself to keeping forky available to Bonnie because she has become attached to him. Finally, Woody is able to help forky to see why his role in Bonnie’s life is important.
There are plenty of other lovable characters and a wonderful plot. It was a charming movie that I would recommend to all ages! I was very pleased with the movie and would happily go see it again in a heartbeat! I would proudly give the movie 5 stars, It was brilliantly done.
http://sknr.net/2019/06/14/toy-story-4/
The original cast is back at it again with Tom Hanks voicing Woody and Tim Allen as Buzz Lightyear. This of course only added to the charm of the movie as I can’t imagine anyone better. It was also awesome to have the Voice actors from Toy Story 3 back and In the movie. I was also very pleased to have Bo Peep back in the saga! One of the best things about the film is the new lovable characters. One of my absolute favorites was Forky voiced by Tony Hale. Forky is a toy that was made by bonnie while she was feeling lonely at kindergarten orientation, Forky is made out of craft supplies (pipe cleaners, googly eyes, etc.) and a spork.
Forky doesn’t want to be Bonnie’s toy at first and is constantly trying to go be in the trash because that is where he feels like he belongs. Woody dedicates himself to keeping forky available to Bonnie because she has become attached to him. Finally, Woody is able to help forky to see why his role in Bonnie’s life is important.
There are plenty of other lovable characters and a wonderful plot. It was a charming movie that I would recommend to all ages! I was very pleased with the movie and would happily go see it again in a heartbeat! I would proudly give the movie 5 stars, It was brilliantly done.
http://sknr.net/2019/06/14/toy-story-4/
RəX Regent (349 KP) rated Saving Private Ryan (1998) in Movies
Feb 25, 2019 (Updated Feb 25, 2019)
Groundbreaker mired in slop
Contains spoilers, click to show
Regarded as one of the best war films ever made, it certainly qualifies. The opening twenty minutes are still as breathtaking, shocking and disturbing realistic as they were back in 1998. It is hard to imagine that it has now been over twelve years since Saving Private Ryan broke the mold of World War II film making.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
Gareth von Kallenbach (971 KP) rated The Da Vinci Code (2006) in Movies
Aug 14, 2019
No film since “The Last Temptation of Christ” has invoked as much controversy as The Da Vinci Code based on the book of the same name by Dan Brown. Prior to the film even being screened for the press, cries ran out to ban the film and its message that some find blasphemous. Fortunately calmer heads have prevailed and the film by Director Ron Howard has arrived in a wash of media frenzy not seen since Mel Gibson’s The Passion of the Christ.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
Gareth von Kallenbach (971 KP) rated Saving Mr. Banks (2013) in Movies
Jun 19, 2019
One of the greatest Disney classics, “Mary Poppins” has a unique history on its long journey from the page to the silver screen. In “Saving Mr. Banks”, the twenty year battle between Walt Disney and the notoriously difficult author is told in a touching and gripping tale.
Tom Hanks stars as Walt Disney who after making a promise to his daughters to bring their beloved Mary Poppins books to life embarks on a frustrating battle with author P.L. Travers (Emma Thompson), that lasts twenty years.
Faced with financial need following a lack of published materials, Travers reluctantly agrees to travel from her home in London to meet with Disney to discuss signing over the rights to her beloved character. Travers is a very abrupt individual who has no problem speaking her mind and is not one to spare feelings with her cutting and direct barbs.
Travers has little love for animation, Disneyland, or the whimsy that accompanies all things Disney and is terrified that her beloved Mary Poppins will be turned into some silly and childish film, hence her reluctance to sign over the theatrical rights.
Over the two weeks of her visit to California, Walt, and the talented Sherman Brothers (B.J. Novak and Jason Schwartzman) endure her icy behavior, harsh criticisms and intolerance for their work and efforts. Travers is horrified with everything from their casting choices to the inclusion of music and many aspects of the script and look of the characters.
Undaunted, Walt and company press on in the face of overwhelming adversity and unending opposition from Travers and slowly but surely make progress in appeasing Travers as they bring the film closer and closer to fruition.
What follows is a very moving, funny and enjoyable tale that is powered by outstanding performances by the two leads and the very strong supporting cast, especially that of Paul Giamatti who plays a driver named Ralph who has to endure the venom of Travers has he drives her around during her stay.
The film does a good job of showing what Travers endured as a child thanks to her alcoholic father (Colin Farrell), and how her experiences with his struggles helped form the woman she was to become.
While aspects of the true story have been softened somewhat in the final act from what happened in reality, the film is very honest and effective.
Many of the memorable classic songs from the movie appear in the film but are done in a very natural way as they are introduced to viewers as they are being introduced to the characters in the film.
While some aspects of the film may be a little darker than people would come to expect from a Disney movie, the film is a very enjoyable experience that is not to be missed.
http://sknr.net/2013/12/13/saving-mr-banks/
Tom Hanks stars as Walt Disney who after making a promise to his daughters to bring their beloved Mary Poppins books to life embarks on a frustrating battle with author P.L. Travers (Emma Thompson), that lasts twenty years.
Faced with financial need following a lack of published materials, Travers reluctantly agrees to travel from her home in London to meet with Disney to discuss signing over the rights to her beloved character. Travers is a very abrupt individual who has no problem speaking her mind and is not one to spare feelings with her cutting and direct barbs.
Travers has little love for animation, Disneyland, or the whimsy that accompanies all things Disney and is terrified that her beloved Mary Poppins will be turned into some silly and childish film, hence her reluctance to sign over the theatrical rights.
Over the two weeks of her visit to California, Walt, and the talented Sherman Brothers (B.J. Novak and Jason Schwartzman) endure her icy behavior, harsh criticisms and intolerance for their work and efforts. Travers is horrified with everything from their casting choices to the inclusion of music and many aspects of the script and look of the characters.
Undaunted, Walt and company press on in the face of overwhelming adversity and unending opposition from Travers and slowly but surely make progress in appeasing Travers as they bring the film closer and closer to fruition.
What follows is a very moving, funny and enjoyable tale that is powered by outstanding performances by the two leads and the very strong supporting cast, especially that of Paul Giamatti who plays a driver named Ralph who has to endure the venom of Travers has he drives her around during her stay.
The film does a good job of showing what Travers endured as a child thanks to her alcoholic father (Colin Farrell), and how her experiences with his struggles helped form the woman she was to become.
While aspects of the true story have been softened somewhat in the final act from what happened in reality, the film is very honest and effective.
Many of the memorable classic songs from the movie appear in the film but are done in a very natural way as they are introduced to viewers as they are being introduced to the characters in the film.
While some aspects of the film may be a little darker than people would come to expect from a Disney movie, the film is a very enjoyable experience that is not to be missed.
http://sknr.net/2013/12/13/saving-mr-banks/
BankofMarquis (1832 KP) rated All of Me (1984) in Movies
Jul 28, 2020
Wonderful physical comedy performance by Martin
Over the history of cinema, there are certain Director/Lead Actor pairings that are perfect for each other. John Ford/John Wayne, Alfred Hitchcock/Jimmy Stewart, Martin Scorcese/Robert DeNiro, Steven Spielberg/Tom Hanks all come to mind. Add to that the inspired comedic pairing of Director Carl Reiner and the great Steve Martin.
Starting with THE JERK (1979), Martin and Reiner would make 4 films together the last of which was the 1984 comedy ALL OF ME starring Martin and Lilly Tomlin. And like all Reiner/Martin comedies this one is smartly written with heart and a physically comedic performance by Martin that must be seen to believed.
Martin stars as Lawyer Martin Cobb, an aspiring musician who views his lawyer job as a means to support his dream of becoming a musician. Lilly Tomlin co-stars as one of Martin's clients - a dour, serious millionaire who's dying wish is to have her soul transferred into the body of a younger woman. When the transfer goes wrong, Tomlin finds herself inside Martin's body and the two polar opposites spar each other whilst inside the same body.
A pretty ridiculous premise that is executed wonderfully under the watchful Direction of Reiner. He pushes the premise far - but not too far - focusing (wisely) most of the attention of this movie on Martin and his body's maniacal behavior as both Martin and Tomlin wrestle for control of his body.
Martin, of course, is perfectly cast in a role that was tailor made for him. His physical comedy skills are well used by Reiner and the scene of Martin walking down the street in control of the left side of his body while Tomlin is in control of the right side of his body is worth the price of admission right there. But Martin brings a heart and warmth to his character as well as his well known personae of a person who thinks he is the only sane one in the room - where, in fact, he is the INSANE one.
Tomlin fares less well in her role - being trapped (literally) inside Martin's body and is only seen as reflections in a mirror. Here character is the polar opposite of Martin's, so while Martin is "wild and crazy", she is dour and buttoned up - and this doesn't do her any favors.
Special notice needs to be made of Richard Libertini's turn as Prahka Lasa, the well-meaning "yogi" who is the conduit of the body switching soul. His limited English, earnest and well meaning almost steals the film from Martin.
All in all, an enjoyable evening at the movies which showcases Reiner's ability as a Director and Martin's ability as a gifted, physical comedian very well.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Starting with THE JERK (1979), Martin and Reiner would make 4 films together the last of which was the 1984 comedy ALL OF ME starring Martin and Lilly Tomlin. And like all Reiner/Martin comedies this one is smartly written with heart and a physically comedic performance by Martin that must be seen to believed.
Martin stars as Lawyer Martin Cobb, an aspiring musician who views his lawyer job as a means to support his dream of becoming a musician. Lilly Tomlin co-stars as one of Martin's clients - a dour, serious millionaire who's dying wish is to have her soul transferred into the body of a younger woman. When the transfer goes wrong, Tomlin finds herself inside Martin's body and the two polar opposites spar each other whilst inside the same body.
A pretty ridiculous premise that is executed wonderfully under the watchful Direction of Reiner. He pushes the premise far - but not too far - focusing (wisely) most of the attention of this movie on Martin and his body's maniacal behavior as both Martin and Tomlin wrestle for control of his body.
Martin, of course, is perfectly cast in a role that was tailor made for him. His physical comedy skills are well used by Reiner and the scene of Martin walking down the street in control of the left side of his body while Tomlin is in control of the right side of his body is worth the price of admission right there. But Martin brings a heart and warmth to his character as well as his well known personae of a person who thinks he is the only sane one in the room - where, in fact, he is the INSANE one.
Tomlin fares less well in her role - being trapped (literally) inside Martin's body and is only seen as reflections in a mirror. Here character is the polar opposite of Martin's, so while Martin is "wild and crazy", she is dour and buttoned up - and this doesn't do her any favors.
Special notice needs to be made of Richard Libertini's turn as Prahka Lasa, the well-meaning "yogi" who is the conduit of the body switching soul. His limited English, earnest and well meaning almost steals the film from Martin.
All in all, an enjoyable evening at the movies which showcases Reiner's ability as a Director and Martin's ability as a gifted, physical comedian very well.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Spielberg (2017) in Movies
Sep 29, 2021
On making Drew Barrymore cry.
“Spielberg” is an HBO-produced documentary by documentarian Susan Lacy. You’ll never guess who the subject is?!
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Phillip McSween (751 KP) rated Toy Story 4 (2019) in Movies
Jul 29, 2019
About Life and Letting Go...
In yet another crazy adventure, Toy Story 4 sees Woody and the gang protecting Forky, Bonnie’s new toy she created from a spork in Kindergarten class.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Bob Mann (459 KP) rated The Circle (2017) in Movies
Sep 29, 2021
Social Media involvement in political manipulation? Don’t be ridiculous!
Set in the near future “The Circle” tells a horror story of the social media age involving an omnipotent American corporate, pitched somewhere between being Facebook-like and Google-like (note, lawyers, I just said “like”!) Emma Watson (“Beauty and the Beast“) plays young intern Mae who, partly through the aid of family friend Annie (Karen Gillan, “Guardians of the Galaxy“, “Doctor Who”) but mostly through her own aptitude, lands a foothold job in customer services for the company. With the lush corporate campus fast becoming home, Mae is quickly singled out as having “executive potential” by the charismatic CEO Bailey (Tom Hanks, “Bridge of Spies“) and his more taciturn sidekick Stenton (US comedian Patton Oswalt).
Progressively brainwashed into believing the company’s intrusive snooping (a favourite motto is “Secrets are Lies”) is all for ‘the greater good’, Mae champions the cause until a tragedy rocks her world and her company beliefs to the core.
Whenever I watch a film I tend to form my own opinion first before checking out what the ‘general public’ on IMDB think. In this case, I must confess to being a bit surprised at our divergence of views: a lot of people clearly hated this movie whereas I confess that I found it very entertaining. Certainly with the alleged role of Russia in influencing elections around the world via social media, the film is most certainly topical! Many reviewers seemed quite upset that Watson’s character is such a ‘doormat’, in that her views are so easily manipulated by the corporate machine. But not every woman – as indeed every man – can or should be a Joan of Arc style role model in every film: why should they be?
I actually found her indoctrination into “the Circle way” as quite convincing, especially a creepy scene where two corporate lackies (Cho Smith and Amir Talai) say that they’re not checking up on Mae’s social life, but…. Watson enjoys extending her post-Potter repertoire well, but the talented John Boyega (“Star Wars: The Force Awakens“) is completely wasted in his role as Ty; the Wozniak-like genious behind The Circle’s technology. The script gives him very little to do other than stand around and look grumpy.
A wasted John Boyega with Emma Watson.
The film is sad in being the last movie appearance of the great Bill Paxton (“Apollo 13”) who plays Mae’s sick father and who died of complications following heart surgery two months before the film’s release (the film is dedicated “For Bill”). Tragically, Mae’s mother in the film, actress Glenn Headly (“Dirty Rotten Scoundrels”) also died suddenly at the age of 62, also due to heart problems, a couple of months after the film’s release. It’s surprising the film doesn’t have a “curse of The Circle” tag on it.
The film was directed by James Ponsoldt, who also wrote the screenplay with novel-writer Dave Eggers (“Away We Go”). I particularly liked the on-screen use of captioning (posts) which was reminiscent to me of last year’s “Nerve“, a B-movie film I rated highly that also had a string social media theme.
While the ending of the film is a bit twee – a movie definition of “being hoisted by your own petard” – it’s overall a thought provoking piece sufficiently close to the truth as to where society is going to raise the hairs on your neck.
Progressively brainwashed into believing the company’s intrusive snooping (a favourite motto is “Secrets are Lies”) is all for ‘the greater good’, Mae champions the cause until a tragedy rocks her world and her company beliefs to the core.
Whenever I watch a film I tend to form my own opinion first before checking out what the ‘general public’ on IMDB think. In this case, I must confess to being a bit surprised at our divergence of views: a lot of people clearly hated this movie whereas I confess that I found it very entertaining. Certainly with the alleged role of Russia in influencing elections around the world via social media, the film is most certainly topical! Many reviewers seemed quite upset that Watson’s character is such a ‘doormat’, in that her views are so easily manipulated by the corporate machine. But not every woman – as indeed every man – can or should be a Joan of Arc style role model in every film: why should they be?
I actually found her indoctrination into “the Circle way” as quite convincing, especially a creepy scene where two corporate lackies (Cho Smith and Amir Talai) say that they’re not checking up on Mae’s social life, but…. Watson enjoys extending her post-Potter repertoire well, but the talented John Boyega (“Star Wars: The Force Awakens“) is completely wasted in his role as Ty; the Wozniak-like genious behind The Circle’s technology. The script gives him very little to do other than stand around and look grumpy.
A wasted John Boyega with Emma Watson.
The film is sad in being the last movie appearance of the great Bill Paxton (“Apollo 13”) who plays Mae’s sick father and who died of complications following heart surgery two months before the film’s release (the film is dedicated “For Bill”). Tragically, Mae’s mother in the film, actress Glenn Headly (“Dirty Rotten Scoundrels”) also died suddenly at the age of 62, also due to heart problems, a couple of months after the film’s release. It’s surprising the film doesn’t have a “curse of The Circle” tag on it.
The film was directed by James Ponsoldt, who also wrote the screenplay with novel-writer Dave Eggers (“Away We Go”). I particularly liked the on-screen use of captioning (posts) which was reminiscent to me of last year’s “Nerve“, a B-movie film I rated highly that also had a string social media theme.
While the ending of the film is a bit twee – a movie definition of “being hoisted by your own petard” – it’s overall a thought provoking piece sufficiently close to the truth as to where society is going to raise the hairs on your neck.
Emma @ The Movies (1786 KP) rated Shazam! (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
This was a massive turn out for an Unlimited Screening, the last time it was this busy was when we had the secret screening for The Incredibles 2. I guess everyone loves a bit of action, I know I do, so thank you very much, Cineworld.
Captain Sparkle Fingers amused and entertained, and it produced some of those goosebump moments you get from the anticipation. This is going to be a winner of the East period with the schools being out, I think that means I'll be avoiding the cinema for a bit.
I was concerned early on as it was a rather slow start and the tone was nothing like what we'd been seeing in the promotional material, but once that stumbling block was out of the way we started down a very fun path.
Billy Batson's search for his birth mother lands him with a new foster situation after his antics are no longer tolerated by his previous home. There he meets his new family who have a spectacular amount of alliterative name. Freddy Freeman, Darla Dudley, Victor Vasquez, Pedro Peña, (I really do think that alliteration should be mandatory in super movies) and the rather less rhythmic Rosa Vasquez, Mary Bromfield and Eugene Choi.
Billy is set on not being part of the family until two bullies set upon Freddy outside school, his instincts kick in and he wades in to protect him. This act catches the attention of The Wizard, Shazam, and knowing that the world needs a saviour he bestows his power on Billy.
The fact that Billy probably would have failed to be worthy of the power, or declined it, does sit a little heavy when you see it in the film. But we know that it eventually comes good so I let it slide.
Shazam is a massive departure for DC, it's very Marvel meets Teen Titans GO! To The Movies. It feels a little like the film is fighting with the brand's roots though, there's obviously a darkness around our villain but when you compare it to the goofy nature of the hero side it begins to feel like two different films. Had either of those films been made on their own I don't think we'd have been in for something quite so entertaining.
By far the most entertaining bits of Shazam are when we see Billy and Freddy exploring what superpowers Captain Sparkle Fingers has. Keep an eye out for the teleportation test, that was my favourite. I could quite happily have watched an entire film of these scenes.
I don't think there are many people out there that could have played this role, Zachary Levi is certainly the right fit. The childlike glee is so good that I can't help but think he was channelling Chuck Bartowski. I think there's something even more appealing about characters when the character gets to be a little wacky and act outside the expected. Jack Black in Jumanji, Tom Hanks in Big, Paul Rudd briefly in Ant-Man And The Wasp, they all produced some really amusing moments.
Mark Strong is brilliant, in general as well as in this film. I love him being menacing. He does a superb job with what he's given but I would have loved him to have had a few humorous moments in the whole lolfest. Being the serious thing in a film with so much humour wasn't a great situation to be in.
The family aspect in the movie is a strong theme throughout and our band of actors all work well as a team. I'm sad to say that individually I'm not a real fan of any of the characters apart from perhaps Eugene and his video games, but when they're together it's a great dynamic.
Shazam manages to be both brilliant and terrible all at the same time. Despite its identity crisis it is still a great film, I came out feeling happy and entertained, and that's all you really ask for in a movie.
What you should do
If you love superhero movies then definitely fit it into your schedule, you'll definitely be entertained.
Movie thing you wish you could take home
I've said Shazam a lot over the last week and I've been hoping for some superpowers but nothing is happening... yet... SHAZAM!
Captain Sparkle Fingers amused and entertained, and it produced some of those goosebump moments you get from the anticipation. This is going to be a winner of the East period with the schools being out, I think that means I'll be avoiding the cinema for a bit.
I was concerned early on as it was a rather slow start and the tone was nothing like what we'd been seeing in the promotional material, but once that stumbling block was out of the way we started down a very fun path.
Billy Batson's search for his birth mother lands him with a new foster situation after his antics are no longer tolerated by his previous home. There he meets his new family who have a spectacular amount of alliterative name. Freddy Freeman, Darla Dudley, Victor Vasquez, Pedro Peña, (I really do think that alliteration should be mandatory in super movies) and the rather less rhythmic Rosa Vasquez, Mary Bromfield and Eugene Choi.
Billy is set on not being part of the family until two bullies set upon Freddy outside school, his instincts kick in and he wades in to protect him. This act catches the attention of The Wizard, Shazam, and knowing that the world needs a saviour he bestows his power on Billy.
The fact that Billy probably would have failed to be worthy of the power, or declined it, does sit a little heavy when you see it in the film. But we know that it eventually comes good so I let it slide.
Shazam is a massive departure for DC, it's very Marvel meets Teen Titans GO! To The Movies. It feels a little like the film is fighting with the brand's roots though, there's obviously a darkness around our villain but when you compare it to the goofy nature of the hero side it begins to feel like two different films. Had either of those films been made on their own I don't think we'd have been in for something quite so entertaining.
By far the most entertaining bits of Shazam are when we see Billy and Freddy exploring what superpowers Captain Sparkle Fingers has. Keep an eye out for the teleportation test, that was my favourite. I could quite happily have watched an entire film of these scenes.
I don't think there are many people out there that could have played this role, Zachary Levi is certainly the right fit. The childlike glee is so good that I can't help but think he was channelling Chuck Bartowski. I think there's something even more appealing about characters when the character gets to be a little wacky and act outside the expected. Jack Black in Jumanji, Tom Hanks in Big, Paul Rudd briefly in Ant-Man And The Wasp, they all produced some really amusing moments.
Mark Strong is brilliant, in general as well as in this film. I love him being menacing. He does a superb job with what he's given but I would have loved him to have had a few humorous moments in the whole lolfest. Being the serious thing in a film with so much humour wasn't a great situation to be in.
The family aspect in the movie is a strong theme throughout and our band of actors all work well as a team. I'm sad to say that individually I'm not a real fan of any of the characters apart from perhaps Eugene and his video games, but when they're together it's a great dynamic.
Shazam manages to be both brilliant and terrible all at the same time. Despite its identity crisis it is still a great film, I came out feeling happy and entertained, and that's all you really ask for in a movie.
What you should do
If you love superhero movies then definitely fit it into your schedule, you'll definitely be entertained.
Movie thing you wish you could take home
I've said Shazam a lot over the last week and I've been hoping for some superpowers but nothing is happening... yet... SHAZAM!
Phillip McSween (751 KP) rated Toy Story 3 (2010) in Movies
Jul 25, 2019
Character-Driven Masterpiece
There aren’t a lot of movie series’ that get better with each movie, but the Toy Story franchise has definitely accomplished that. Toy Story 3 is not just the best movie of the franchise to date, but it’s also one of the greatest movies ever made. Also, before I go any further: DAMN, it feels good to be posting another review. To quote John Wick: “Yeah, I’m thinking I’m back!” But I digress…In this third installment, Andy is all grown up and the gang sets their sights on a preschool where they hope to get played with everyday for eternity.
Acting: 10
It’s almost unfair when you think about the amazing cast of the Toy Story franchise. Tom Hanks and Tim Allen as Woody ad Buzz really have a way of putting you dead in the moment. These are toys, yet, somehow, the phenomenal acting jobs truly brings them to life as sentient beings. Their pain as well as their triumphs are felt throughout.
Beginning: 10
Yet another thing this franchise has gotten down to a science. The first five minutes of the movie puts you in a grand adventure where all the toys are facing off against each other. Then the next five minutes are heartbreaking. It’s a pleasant rollercoaster that sets the story up perfectly.
Characters: 10
The gang’s all here, including Cowgirl Jessie from the last movie and her horse Bullseye. In addition to having their own flavor and personality, I can really appreciate how Buzz and Woody continue to develop as characters. Buzz continues to try and be the voice of reason while Woody relies mainly on his emotion. I really enjoyed Lotso (Ned Beatty) as well, a purple teddy who smells like strawberries and walks with a cane. If those were his only interesting quirks that would be enough, but there is so much more to appreciate about his character that I won’t give away.
Cinematography/Visuals: 10
You know the visuals are at masterpiece levels when I’m marveling at a trash bag. A trash bag for God’s sake! But man the detail on this bag, the way it moved just so perfectly. I know, I’m a nutcase, but this trash bag! It’s the sheer attention to detail that blows my mind. There is another shot, and this one is probably my favorite, of Lotso stepping into the lights of a Tonka truck with his cronies to approach Buzz and the gang. The way the light hits perfectly casting shadows definitely tells me there are no shortages of geniuses at Pixar.
Conflict: 10
Entertainment Value: 10
Toy Story 3 is why I love movies. From bottom to top, it checks all the boxes. You will experience a wave of emotions and have fun the whole way.
Memorability: 10
The movie casts a memorable message about our ability to let go and move on. Watching this at different points in my life, every single time I could relate to Woody and his struggles with letting go. Oh yeah, and the film is super fun too. I can’t count the number of moments where I marveled at how this movie does things that creatively surpass the other two. Like Up, this is a movie that sticks with you long after you watch it.
Pace: 10
The longest of the three, yet it somehow feels like the shortest. There is always something exciting that’s happening. Its ebbs and flows move the story along with every single detail somehow feeling important.
Plot: 10
Watching this made me think, “Oh my goodness, they could do a hundred more of these and it would never get old.” This story stands alone and has actual plausibility…well, as toy stories go anyway. At one point, the movie moves from new adventure to crazy heist to prison break. And I’m here for all of it, every last piece.
Resolution: 10
Overall: 100
Watching a movie like this is like watching a talented gymnast perform an unforgettable routine. You know you want to give it a perfect score provided they stick the landing. Beginning, middle, and end Toy Story 3 establishes credibility as being epic and damn-near perfect. Landing stuck.
Acting: 10
It’s almost unfair when you think about the amazing cast of the Toy Story franchise. Tom Hanks and Tim Allen as Woody ad Buzz really have a way of putting you dead in the moment. These are toys, yet, somehow, the phenomenal acting jobs truly brings them to life as sentient beings. Their pain as well as their triumphs are felt throughout.
Beginning: 10
Yet another thing this franchise has gotten down to a science. The first five minutes of the movie puts you in a grand adventure where all the toys are facing off against each other. Then the next five minutes are heartbreaking. It’s a pleasant rollercoaster that sets the story up perfectly.
Characters: 10
The gang’s all here, including Cowgirl Jessie from the last movie and her horse Bullseye. In addition to having their own flavor and personality, I can really appreciate how Buzz and Woody continue to develop as characters. Buzz continues to try and be the voice of reason while Woody relies mainly on his emotion. I really enjoyed Lotso (Ned Beatty) as well, a purple teddy who smells like strawberries and walks with a cane. If those were his only interesting quirks that would be enough, but there is so much more to appreciate about his character that I won’t give away.
Cinematography/Visuals: 10
You know the visuals are at masterpiece levels when I’m marveling at a trash bag. A trash bag for God’s sake! But man the detail on this bag, the way it moved just so perfectly. I know, I’m a nutcase, but this trash bag! It’s the sheer attention to detail that blows my mind. There is another shot, and this one is probably my favorite, of Lotso stepping into the lights of a Tonka truck with his cronies to approach Buzz and the gang. The way the light hits perfectly casting shadows definitely tells me there are no shortages of geniuses at Pixar.
Conflict: 10
Entertainment Value: 10
Toy Story 3 is why I love movies. From bottom to top, it checks all the boxes. You will experience a wave of emotions and have fun the whole way.
Memorability: 10
The movie casts a memorable message about our ability to let go and move on. Watching this at different points in my life, every single time I could relate to Woody and his struggles with letting go. Oh yeah, and the film is super fun too. I can’t count the number of moments where I marveled at how this movie does things that creatively surpass the other two. Like Up, this is a movie that sticks with you long after you watch it.
Pace: 10
The longest of the three, yet it somehow feels like the shortest. There is always something exciting that’s happening. Its ebbs and flows move the story along with every single detail somehow feeling important.
Plot: 10
Watching this made me think, “Oh my goodness, they could do a hundred more of these and it would never get old.” This story stands alone and has actual plausibility…well, as toy stories go anyway. At one point, the movie moves from new adventure to crazy heist to prison break. And I’m here for all of it, every last piece.
Resolution: 10
Overall: 100
Watching a movie like this is like watching a talented gymnast perform an unforgettable routine. You know you want to give it a perfect score provided they stick the landing. Beginning, middle, and end Toy Story 3 establishes credibility as being epic and damn-near perfect. Landing stuck.