Hey!
... Have you seen Dory?
Lost again?
You've got to be squidding me!
We just flounder yesterday.
I swear, she goes missing on porpoise.
This is turning into a turtle-disaster.
If she does show up, let minnow.
In the meantime, I'm sure you've been herring all about her new film, but rather than taking
salmon else's word on it, I'm going to be a bit shellfish and share my own biting review.
I manta discuss these Pixar films a lot schooner, but water you going to do?
Okay, I dolphinitely need to stop with the fish puns.
But just for the halibut, here's one more.
This is Movie Night!
Hello and welcome to Movie Night, I'm your host Jonathan Paula.
The work from Pixar Animation Studios has captured the imagination of millions, won
countless awards, and earned billions at the box office.
Last June, in part one of this series, we reviewed "Toy Story", "Finding Nemo", "The
Incredibles", Wall-E", and "Inside Out".
So, if you missed that episode, click the link in the description below, or this information
icon.
But they've released a couple new films since then, so tonight we'll take a look at five
more of their 17 features.
Beginning with MONSTERS, INC.
A creative mix of imagination and humor.
This 92-minute computer-animated comedy was a huge success, pulling in almost five-times
its $115 million dollar budget - when it was released in November of 2001.
The fourth feature from Pixar Animation Studios follows two quirky monsters, employed at the
titular factory, who have to scare children in order to power their city, Monstropolis.
Things take an exciting and unpredictable turn when one of the supposedly toxic human
kids sneaks into their colorful dimension.
Writer and director Peter Docter successfully extrapolates a familiar childhood fear into
a fully realized monster world - brimming with life and unique characters.
Before this G-rated plot even begins though, Pixar does more world-building and exposition
during a fun eight-minute opening sequence than some TV shows are able to accomplish
in an entire season.
They turn the mundane day-to-day operations of factory work into a new and vibrant experience,
effortlessly laying out information to establish consequences that come later.
A hilarious example of this is when a scarer unknowingly brings a sock back through a magical
door - and is quarantined and de-loused like a radioactive astronaut.
Perennial comedian Billy Crystal portrays a plucky, and somewhat over-confident green
cycloptic sphere with four skinny limbs with the amusingly pedestrian name of Mike Wazowski.
Alongside him his former Rosanne star, John Goodman as a giant horned monster with furry
blue and purple hair who is far more timid and gentle than his frightening appearance
suggests.
The two make an excellent pair, with contrasting chemistry and whip-smart banter that feels
like a years-old, lived-in friendship.
Steve Buscemi is perfectly cast as a slimy chameleon-like adversary, who plots against
our protagonists for personal gain.
John Ratzenberger makes his requisite appearance as the friendly Abominable Snowman, while
Jennifer Tilly is Crystal's tentacled receptionist girlfriend.
The visuals in "Monsters, Inc." are flawless - especially so in the 3D re-release.
While the factory-environment is somewhat drab, each monster is loaded with expressive
color, like Goodman's polkadot-hair, which reportedly took 11-hours to render, per frame.
After sixteen nominations, composer Randy Newman finally won his first Academy Award
for "Best Original Song".
His work on the score proper is fitting and playful, but not particularly noticeable.
The levity of the slapstick gags pair beautifully with the quieter moments of discovery; and
the end-result is a well-paced experience all ages can enjoy.
The themes of parenthood and friendship will likely resonate with older audiences, while
the multitude of unique creatures will spark interest in the younger crowd.
Although it's missing a certain je ne sais quoi that keeps it from reaching the heights
of Pixar's, "Monsters, Inc." is a winsome adventure with memorable characters.
But now, let's check out the YouTube comments from last week's episode to see what you had
to say about it.
Praising the more mature, heartfelt story, you thought "Monsters, Inc." was an AWESOME
film.
Whereas I will score it an EIGHT out of ten.
Next up tonight, "Cars".
Often seen as the 'black sheep' of the Pixar franchise, there's still plenty to enjoy here.
At the time of its summer 2006 release, this $120 million dollar sports-comedy was the
worst-reviewed film in the Pixar catalog.
In addition to its modest worldwide cume of $462 million though, "Cars" is estimated to
have scored a staggering $10 billion in merchandising sales - just in its first five years.
The original, G-rated story was written and directed by Pixar's chief creative officer,
John Lasseter.
The gingerly paced one-hour and 57-minute narrative follows a rookie race-car who gets
waylaid in a small forgotten town off Route 66, where he begrudgingly learns the true
meaning of friendship.
In a world populated entirely by anthropomorphic vehicles, Owen Wilson stars as this hot-shot
racer whose impatience and arrogance leaves him stranded and alone, both emotionally and
physically.
Bonnie Hunt is a Porsche love-interest, Larry the Cable Guy; a rusted out tow-truck, Tony
Shalhoub; an over-eager Italian Fiat.
While George Carlin, Cheech Marin, Richard Petty, Paul Dooley, and Michael Keaton round
out the rest of the all-star cast.
The group fit their auto-personas quite well, but Larry and Shalhoub are especially great
- just as long as they remain in smaller doses.
And last, but certainly not least - "Cars" features the late, great Paul Newman in his
final major film role, as a crotchety old 1951 Hudson Hornet - who serves as a sort
of father figure to the small town.
After a decades-long career as handsome actor and salad dressing pitchman, it's honestly
a bit depressing to learn that some weird talking car was the last character he ever
played.
Personally, NASCAR has never been my thing, but for those who are a fan of America's second-most-popular
sport, that's plenty of great references and imagery scattered throughout, including a
few great celebrity cameos like Dale Earnhardt, Jr., Mario Andretti and Michael Schumacher.
Even car enthusiast Jay Leno voices an automobile-version of himself.
The most appropriate description of the humor found in "Cars" is subtle bemusement.
Seeing cars perform human tasks is a novel curiosity for maybe the first 10 minutes,
but there's rarely a gag worth laughing at.
With the notable exception of John Ratzenberger's fourth-breaking observation during the credits
that he voices a character in every Pixar film.
But that's about it.
This film doesn't have any unique twist or inventive worldview like Pixar's other films.
We're not seeing the world through the eyes of an automobile, we're just seeing our world
filled with automobiles.
Remarking on Route 66's pre-interstate heyday, Hunt shares, "Cars didn't drive on it to make
great time.
They drove on it to have a great time."
This single line of dialogue might be the film's most effective moment.
A poignant reflection on this country's loss of community when small towns were bypassed
by bigger and more efficient roadways.
Although Pixar had the notable advantage of rendering characters without faces, the animation
here looks beautiful, especially during the races, or a stunning nighttime sequence lit
by neon signs.
Music by Randy Newman, including an Oscar-nominated original create a laid back and nostalgic
atmosphere; that unfortunately is lost on the film's younger demo.
I hesitate to call it "disappointing", as "Cars" is still a pretty good movie - it just
isn't a good Pixar movie.
Now let's read some of your reviews.
Certainly not a fan favorite, you were critical of this film's many flaws, scoring it a SIX
out of ten.
And I agree, like I said, it's a GOOD film.
Next up, RATATOUILLE.
An unlikely hero makes for a delightful experience.
This computer-animated family comedy from the magicians at Pixar was released worldwide
in June of 2007, where it earned nearly half-a-billion more than its $150 million dollar budget.
The G-rated story follows a plucky rat who makes an unusual alliance with a young kitchen
worker at a famous restaurant to pursue his unorthodox goal of becoming a master-chef.
The talented Brad Bird directs the 111-minute feature with delicate precision, letting his
wide-eyed characters' enthusiasm carry the slower-paced narrative.
Comedian Patton Oswalt is brilliantly cast as the resourceful little rodent, who chases
his ambitious dreams with steadfast resolve.
Oswalt brings an infectious charisma and hopefulness to a critter we usually associate with disease
and pests.
Lou Romano, Janeane Garofalo, Ian Holm, Brian Dennehey, Brad Garrett, and of course, John
Ratzenberger round out the supporting cast with excellent performances, and over-the-top
French accents.
Of particular mention though is Peter O'Toole as a staunch food critic, who gives a truthful
and honest monologue about what it means to be a critic.
Perfectly encapsulating the film's moral lesson by stating, "Not everyone can become a great
artist; but a great artist *can* come from *anywhere*."
Nominated for five awards, including Michael Giacchino's jazzy score - this film deservingly
won the Oscar for Best Animated Feature.
Once again, Pixar astounds with its realistic, yet playful animation - rendering the furry
protagonist with energy and patience.
Watching him scamper through the human-sized surroundings has a lyrical beauty to it - especially
in an extended tracking shot that ends with a stunning reveal of the beautiful Parisian
skyline.
Cutting between Oswalt's perspective inside Romano's chef's hat to wider shots of the
cooks themselves, the lighting, color and shadows all look fantastic, even if the majority
of the film takes place inside the busy kitchen.
Besides this mild sense of claustrophobia, the unlikely accomplices at the center of
our story share a less-than-convincing bond.
Neither one can prepare food without the other, but it doesn't feel like there's a real relationship
or trust between them.
Whether you're a foodie, a kid-at-heart, or just longing for a visit to Paris, this film
delivers enjoyment to older audiences, able to appreciate the subtly and nuance of its
subject matter.
Without much comedy though, kids will likely check out before the check arrives.
"Ratatouille" is a wonderful story about determination that's exquisitely prepared.
And here's what you had to say about it.
Surprisingly divisive opinions on this one, some felt it was slow and predictable, while
other felt it was amazingly crafted.
Your scores averaged to a SEVEN.
I think Ratatouille is GREAT, myself.
Our fourth review tonight is for "The Good Dinosaur".
Not every feature can be a hit.
In 2015, for the first time in their company's history, Pixar released two films within the
same year, "Inside Out" in June, and this comedy-adventure on November 25th.
And unfortunately, this double-release strategy didn't work out - as this $200 million dollar
production only earned $332 million, making it the animation studio's lowest-grossing
film.
The original concept, devised by Bob Petersen, sets our story on a fictional Earth in which
dinosaurs never became extinct.
The PG-rated plot by director Peter Sohn follows an Apatosaurs who becomes friend with a Cro-Magnon
human child.
Despite the unique container, this is a fairly conventional pet/owner relationship we've
seen many times before.
The young Raymond Ochoa portrays the clumsy title character, who has reservations about
killing the small human pest that later becomes his friend.
His mix of trepidation and bravery make for a worthwhile protagonist.
Jack Bright speaks mostly in grunts as the small human boy, Sam Elliot is a T-rex ranch
owner, Anna Paquin as Tyrannosaurs daughter, and Steve Zahn as a goofy pterodactyl.
Ochoa is eager to help Zahn save a small critter trapped under a fallen tree, but is absolutely
horrified when the flying dino immediately devours it.
The film's strongest moments are during the first act, as we're introduced to Ochoa's
family - in particular, his father played by Jeffrey Wright.
While teaching his son that fireflies are completely harmless he advises, "Sometimes
you got to get through your fear to see the beauty on the other side."
It's a meaningful life-lesson punctuated by a beautiful sequence where they scamper through
a field, with hundreds of green fireflies swirling around them.
Pixar's first non-sequel not to be nominated for any Academy Awards, "The Good Dinosaur"
just doesn't deliver anything new or interesting.
The animation however is phenomenally well-realized.
The scenery in particular is filled with gorgeous shots of the western-American landscape.
Even with its short 93-minute runtime, this picture still develops rather slowly, as it
attempts to illustrate why you should never judge a book by its cover.
There's no major missteps here - but there's also no real emotional connection to any of
the characters or events, either.
"The Good Dinosaur" is a perfectly inoffensive experience without much staying power.
Now let's hear some of your thoughts.
A bit of a swing-and-a-miss for Pixar, the Movie Night audience gave this a SIX.
Neither good nor bad, personally, I felt this picture was just ALRIGHT.
Last but not least, my review of "FINDING DORY".
Thirteen years may have passed since the first installment, but this follow-up taps into
the same emotional well that made 2003's "Finding Nemo" a timeless, family-friendly classic.
The $200 million dollar aquatic-based comedy by co-directors Andrew Stanton and Angus MacLane
was released nationwide on June 17, 2016 - and broke opening records for an animated film.
Set a year after part one, the PG-rated story shifts the focus to the forgetful sidekick.
Propelled by a sudden flashback of her loving family, amnesiac Dory, along with her fishy
friends, travel to Morro Bay, California to track down her long-lost parents inside a
fictional Marine Institute.
As the spunky regal blue tang with short-term memory loss, comedian Ellen DeGeneres returns
from talk-show retirement to deliver the performance of her career.
Lost without her family or memories, there are moments of true heartbreak here, yet she
retains a joyful, sympathetic hopefulness that makes it impossible not to root for her
journey every step of the way.
The versatile Albert Brooks is back as well, alongside Hayden Rolence, replacing Alexander
Gould who had aged out of the role between installments.
Gould however appears in a small cameo as one of the human characters, which I thought
was a nice touch.
While many minor characters make return appearances as well - including several in a bonus, post-credits
scene, it's the addition of new creatures that really add life to this franchise.
Diane Keaton and Eugene Levy are wonderful portraying Dory's nurturing and cautious parents
during the films adorable flashback sequences, while Kaitlin Olson is a near-sighted shark,
and Idris Elba a territorial sea lion.
Modern Family cast-mates Ed O'Neill and Ty Burrell do the best work however; the former
as a grumpy and reluctant septopus, and the latter as an easily-excited beluga whale.
When two of our heroes suddenly find themselves trapped in a kid-friendly "touch zone pool",
the resulting war-like chaos is hilarious.
Seen from the fish's perspective, the grubby hands from each child comes smashing into
the water like violent drone strikes.
The recurring use of Sigourney Weaver, playing herself as the disembodied narrator heard
over the park's loud-speakers - delivers some great laughs as well.
Although the 103-minute journey seems to tread water for its middle-hour, there's plenty
of exciting action sequences scattered throughout, including a particularly unbelievable climax
that requires a heavy suspension of disbelief.
As expected, the animation from Pixar is inventive and photorealistic.
The way the light shines through the water and bounces off the seashells is nothing short
of beautiful.
But the detail that went into creating the aquarium environment shouldn't be overlooked
either.
If I didn't just visit the Pacific Coast a few months ago - I'd have thought it was a
real place.
DeGeneres remarks early-on during their quest that "this feels familiar" - which is perhaps
the highest compliment I can pay to this picture.
A rare sequel that simultaneously captures the spirit of the original while maintaining
its own originality, "Finding Dory" is a worthy successor and a sweet adventure with hilarious
characters.
A must-see for all Pixar fans, especially those of the first film, I thought it was
GREAT.
Unfortunately, that does it for tonight's episode, but later this week we'll take an
overdue look at the western genre, so leave your reviews below if you'd like to be involved.
In the meantime, you can click this information-icon to watch some related reviews.
Once again, my name is Jonathan Paula, thanks for watching and have a good Movie Night!