Pixar’s next big sequel, the Finding Nemo follow-up Finding Dory, will offer a starring role to Ellen Degeneres, who provided the voice of the fish Dory in the 2003 original.
On her show today, Ellen announced the film (just after the press release went out from Disney) and you can watch her fun little spiel for the project — complete with a history of her hope for the sequel — below. Read More »
Posted on Monday, September 10th, 2012 by Angie Han
A mostly lighthearted Sequel Bits covers everything from fish- and family-friendly animated adventures to R-rated wolf pack shenanigans. After the jump:
Posted on Friday, August 17th, 2012 by Angie Han
You can’t fault studios for wanting to give audiences a peek at the goods, if that’s what it takes to get dollars to the ticket counter. But with some overhyped pictures, it seems like they’re not bothering to leave anything at all for the actual theatergoing experience. In the worst cases, not even the ending is kept under wraps.
Now theatergoers’ complaints about too-revealing trailers have finally gotten loud enough that marketers are doing something about it. Movie lovers in France have recently noticed placards before some trailers that promise not to spoil the films they’re advertising. You can see one such card above — for those who don’t understand French, it translates to “In order to ensure that its various plot elements and surprises remain unrevealed, this trailer is only based on the first half of the film.”
Sadly, those placards have only popped up in France so far. But keep airing your grievances, and with some luck maybe they’ll catch on in the U.S. soon. [FSR]
After the jump, check out two cute anti-cell phone PSAs featuring the characters of Frankenweenie and Finding Nemo 3D.
How is it that a movie studio that produces kid’s films can be responsible for so many of the best films in cinema?
Twenty years ago, that question would be directed at Disney. Now it’s more likely to refer to Pixar, Studio Ghibli, or even Dreamworks of late. What is it about children’s entertainment that has, time and time again, managed to capture the hearts and minds of adults as much as it has their offspring?
Perhaps it’s a result of these films rekindling our lost sense of childlike wonder and naively adventurous spirit. Perhaps it’s their universally accessible narrative simplicity, always ready to charm away our worries with the awe-inspiring visual splendor through which these tales are so often told.
Whatever the case may be, with thirteen films under their belt, the Pixar formula is one that’s proven itself to leave a lasting impression, transporting us to spectacular, gorgeously rendered and thoughtfully defined worlds — second only to the passionately heartfelt and funny stories of family and friendship embedded within.
What’s more, Pixar is able to achieve this mixture while emboldening children to think for themselves; to challenge the status quo; to recognize their true potential, as well as their limitations. As fun and charming and pretty as Pixar’s films are, it’s the complex ideas and emotions they explore that makes them truly special, affording youths the opportunity to confront the realities of the world around them in a way they can understand and cope with. While everyone else is content to pander to kids, Pixar knows that the best way to communicate with children is to treat them as equals.
But equality is not a trait shared by the current roster of Pixar films. Despite the technical virtuosity on full display with every production, it takes a lot more than stunning animation to make a film great, and that’s not a balance that Pixar always strikes — at least not recently. At one point it may have seemed like the studio could do no wrong, but that was a short-lived romantic notion, and hardly one that merits much deliberation. No, far more instructive would be to scrutinize their missteps in conjunction with their successes, and try to determine what exactly it is that makes any one of their works richer than the other. After all, what better way to understand what makes a story great than to study the best? Read More »
Posted on Monday, June 25th, 2012 by Laremy Legel
This weekend saw the release of Pixar’s latest film, Brave, a movie that easily won the weekend, garnering an overall “A” CinemaScore from appreciative audiences. Still, at only 74 percent on RottenTomatoes (Pixar’s second worst), and a 7 out of 10 from Germain Lussier, it is clear there is a bit of room for dissent.
Out there in audience-land, did you notice something a little “off” about Brave? Perhaps there are lessons that can be learned, or conversations to engage in?
To provide some context, and on the off chance we have completely different taste, here are my top five Pixar efforts:
1. WALL-E
2. Up
3. Toy Story
4. Finding Nemo
5. Monsters, Inc.
Until now, the only Pixar film I flat out didn’t enjoy was Ratatouille, though I admit to only having seen it once, and folks say I’d like it much more if I were to re-visit. Even Cars 2 had redeeming qualities. I can truly say I’ve never found a Pixar film entirely lacking, and that statement includes Brave. There’s no question the film had amazing visuals, setting a new standard for excellence within the animation genre. Unfortunately, the story lacked a bit of … what’s the word I’m looking for? Ooomph. As such, I’m compelled to break down where I feel the problems were, if only to restore everyone’s favorite animation house to the glory they so richly deserve.
One final note, just to head off the obligatory “comparing Brave to the rest of Pixar’s work isn’t entirely fair” argument, we’re in complete agreement there. It’s not fair, and in many ways Pixar’s own ambition and commitment to excellence have raised the bar for all movies. So no, Brave isn’t a bad movie on merit, it’s merely an average one, which animation houses make all the time without compelling anyone to write a 3,000 word article on the subject. But within the greater context of Pixar’s previous work, Brave does come up short, and I think we’ve got a bead on the reasons why.
Note: Massive SPOILERS follow, naturally.
Posted on Thursday, June 21st, 2012 by Peter Sciretta
In the Summer of 1994, while deep in production on their first feature film Toy Story, the key Pixar creatives (including John Lasseter, Andrew Stanton, Pete Docter and Joe Ranft) had a now famous lunch in a diner called Hidden City Cafe in Point Richmond. During this lunch meeting they ended up brainstorming the ideas that eventually became the films A Bug’s Life, Monsters Inc, Finding Nemo and WALL-E. The story has become mythical, a part of film animation legend and a cornerstone moment in Pixar’s history. It was even featured in the teaser trailer for Andrew Stanton‘s WALL-E.
Sadly, the cafe has closed its doors after over 20 years of service, with unconfirmed reports that it was shut down for rats (Ratatouille anyone?).
Read More »
Posted on Tuesday, May 22nd, 2012 by Angie Han
Selling a 3D movie through 2D technology (like our computer screens) always presents a bit of a challenge, but even more so when it’s a 3D converted movie of a 2D film that first came out nine years ago. After all, there’s no new dialogue or footage to pick over, and little insight to be gained by watching a new cut of the trailer.
Fortunately, in the case of Pixar’s re-release of Finding Nemo, the tale is already so charming in any number of dimensions that it’s still a treat to watch Marlin (Albert Brooks) and Dory (Ellen DeGeneres) navigating the wild waters, even if we’ve seen it all before. Watch the trailer after the jump.
Posted on Tuesday, March 6th, 2012 by Germain Lussier
Andrew Stanton‘s new film, John Carter, is bound to cause a lot of dissension among film fans. Some will love its epic action and incredible visuals, others might be put off by its dense, plot heavy structure. No matter which group you fall into, though, there’s no denying that Stanton has a true talent as a story teller. Case in point: Finding Nemo, Wall-E, Toy Story 1-3, Monsters Inc. and more.
Stanton put that reputation to the test recently, taking the stage at TED to give a talk about “The Clues to a Great Story.” Unlike his Pixar films, his talk does get into some NSFW language. Like the films, it’s enlightening and incredibly watchable. Read More »
