Whether or not shows like Aqua Teen Hunger Force or The Simpsons succeeded in translating their television dynamics to the big screen depends on your point of view, but the release of Speed Racerthis weekend raises a more specific question about the viability of turning an animated series into a live action spectacle on the big screen. The Adventures of Rocky and Bullwinkleand Underdog both suggest how this goal can go wrong -- namely, by imploding on its absurd conceits. You may disagree with the inclusion of some of the following titles, all of which culled their material from animation, but it's fair to say that each of them takes its subject matter at face value, allowing the natural ingredients of the original sources to remain intact. Well, maybe not Super Mario Bros., but that one is a special case (fire away, if you must). Until somebody makes an Animaniacs movie with real actors, I'm sticking to this list.
Robert Altman's offbeat ode to the famous Fleisher cartoon starring the spinach-eating strongman and his darling Olive Oil is the great misunderstood work of the director's career. Robin Williams and Shelley Duvall manage to bring utterly ridiculous characters into a realm of believability that you could never imagine when watching the show. Suddenly, Popeye made sense -- goofy, almost surreal sense, but sense nonetheless -- in the real world. Thanks to veteran adult cartoonist Jules Feiffer's screenplay and a soundtrack so catchy Paul Thomas Anderson borrowed from it twenty years later in Punch-Drunk Love, the classic status of Popeye can't be denied.
Let me just say first that, I consider Bo Welch's The Cat in the Hat (2003) the worst movie I've seen in my more than ten years of reviewing movies, and Ron Howard's How the Grinch Stole Christmas (2000) is not far behind, and would no doubt rank somewhere in the bottom fifty. Jim Carrey returns from the title role in The Grinch as the voice of the title role in Horton Hears a Who! so I was skeptical at best about the quality of the new film. Not to mention that most CGI animated films not produced by Pixar tend to range from forgettable to awful. What a happy surprise, then, to see one of those rare animated films -- and an even rarer family film -- which ventures into that elusive middle ground, providing wholesome entertainment for kids as well as a few belly laughs for adults.
Directed by Jimmy Hayward and Steve Martino, both making their feature debut, Horton begins by effortlessly rendering in 3D space that familiar 2D world of Theodor Geisel (a.k.a. Dr. Seuss), with its curvy trees and oval-shaped hills and dales. We meet our hero, Horton (voiced by Jim Carrey), a pachyderm whose personality teeters between dutiful and lazy, helpless and self-reliant, goofy and dedicated. He teaches a class of young animals about various forms of jungle life, but not without a bit of inadvertent, entertaining slapstick. One day, a speck of fluff floats past his sizable ears and he hears a voice emanating from it. He rescues the speck, deposits it on top of a clover and learns that, living upon the speck, is an entire miniature society called Whoville (not to be confused with the Whoville in The Grinch) and run, more or less, by the Mayor (voiced by Steve Carell).
I am almost totally caught up on the films of 2007. The only major awards contender I haven't seen yet is Pixar's Ratatouille. Damn you Netflix and your "Very Long Wait" status! I've heard great things though, and now I've got an added reason to check out the DVD. Over at JimHillmedia, a Disney-focused news site, a reader wrote in: "Can you please help me win a bet at work? A co-worker of mine says that WALL-E makes a brief cameo appearance in Ratatouille. More importantly, this guy has bet me $100 that I'll never ever be able to find that robot in this movie." (WALL-E is the title character of Pixar's next film -- WALL-E.) The post answers that question and adds a really neat compilation of lots of the "cameos," in-jokes, and easter eggs in Pixar shorts and features.
It seems there are all kinds of callbacks and interconnections in the Pixar universe, and you fans of the films should definitely check out the site. It will help you watch the movies with fresh eyes. Some of the crossovers are very fast and will require a pause button. For example, the birds from the Pixar short "For the Birds" appear in Cars...for a tenth of a second. Others are much easier to spot. Look carefully at those toys in Monsters, Inc. and you'll see some old friends. A boy at the dentist in Finding Nemo is reading an Incredibles comic. And did you know that a "Pizza Planet" truck drives through each and every Pixar feature? Oh, and by the way, it sounds like that guy who wrote in to the site was duped. if you want to find WALL-E, he's not in Ratatouille, just the disc's special features. Rats!
No, it's not another sequel to the Neve Campbell/Denise Richards classic! The extremely likable Lauren Ambrose (Claire on Six Feet Under, Denise Fleming in Can't Hardly Wait) will voice a character in the upcoming adaptation of Maurice Sendak's beloved childrens' book -- Where the Wild Things Are. According to The Hollywood Reporter, Ambrose is playing KW -- "one of the giant characters in the land of the Wild Things. When a young boy named Max visits their strange world, KW and company turn him into their king."
Ambrose is taking over the role from Michelle Williams. Apparently Williams got along well with the filmmakers, but "her voice didn't match their original vision of how the Wild Things should sound." Where the Wild Things Are mixes flesh-and-blood actors, computer animation, and live-action puppetry. I can't wait to see it, I adored the book as a kid and I love pretty much everyone involved with the film. Spike Jonze (Being John Malkovich, Adaptation -- a couple of my favorite flicks) will direct, and wrote the screenplay with Dave Eggers (A Heartbreaking Work of Staggering Genius, one of my favorite books). You can go into the Wild in Fall 2008.
It's not like I think Hillary Duff is a bad actress (although I think the NYT might have something to say about that particular statement), it's just that she's hasn't had the chance yet to break out of the 'Lizzie McGuire mode' -- unless you consider the mountains of gossip surrounding her over the last two years...very "un-Disney". Duff will get her first shot at a slightly more serious role in Greta. The Hollywood Reporterannounced that Duff will star in Nancy Bardawil's drama about "a waitress who falls for an ambitious cook at the restaurant where they work. But as their summer romance heats up, she has to overcome the concerns of her grandparents about her boyfriend's criminal past". Joining Duff are Ellen Burstyn and Michael Murphy as Duff's overprotective grandparents and ATL star Evan Ross will play the cook with a shady past.
The film was written by Michael Gilvary, who is making his feature debut along with director Nancy Bardawil. A music video director by trade, Bardawil has made videos for The Goo Goo Dolls, Dixie Chicks, and Hole -- but no Duff appears on the list, so at least Bardawil wasn't playing favorites when choosing her lead. Duff is still working on being one of the voice talents in the CGI family flick Foodfight! But, along with her debut in War Inc. (a sequel of sorts to Grosse Point Blank with John Cusack) she has already signed to star in Safety Glass, yet another drama that surrounds the Challenger disaster. Aww, our little starlet is finally growing up.
With Ratatouille set to hit theaters on June 29, the latest issue of Time Magazine provides some info on the next three Pixar films for you fanatics who aren't in the mood to wait to see what the animation studio has in store for us down the line. Dark Horizons managed to get a hold of the vague plot descriptions, but the most interesting part came in the announcement of a brand new Pixar flick for 2009; one we hadn't heard anything about until now. First up for Pixar will be Wall * E (to be released on June 27, 2008) and, according to DH, it's being described "as a space-set remake of a 1931 Charlie Chaplin film about a blind girl wooed by a tramp she mistakenly believes is a rich man." However, this film will be set in the year 2700 and, instead of humans, the main characters will be a robot named Wall * E and a female robot named Eve. Andrew Stanton (Finding Nemo) will write and direct, with Star Wars sound designer Ben Burtt voicing the main roles electronically.
On June 12, 2009, Pixar will shovel out a film called Up. I'm not quite sure I follow the plot description, but here's what DH gives us: "A 'coming-of-old-age' story which follows an elderly man who befriends a clueless young Wilderness Ranger and gets into lots of globe-hopping, ass-kicking adventures with villains and beasts whilst still eating dinner in the early afternoon." Make of that what you will; I'll be curious to see how well this one does with an elderly man in the main role. Following Up, Toy Story 3 will hit theaters at some point during the summer of 2010. Lee Unkrich (co-director of Toy Story 2 and Finding Nemo) is currently writing the story, so there's no word on what type of adventure Woody (Tom Hanks) and Buzz (Tim Allen) will find themselves on this time, but I have to imagine folks will anticipate this one the most. Here's hoping the geniuses at Pixar take a real close look at the failures of some of this summer's threequels so that Toy Story 3 doesn't disappoint. Fingers crossed.
Despite the similar sounding title, the new film Escape From Planet Earth has no relation to the John Carpenter classic Escape From New York and its not so classic sequel Escape From L.A., and it's definitely not the proposed remake of the former that got Kurt Russell so hot under the collar not long ago. According to a report in The Hollywood Reporter, this film is a feature-length animated comedy about an alien prison break from Area 51, a concept that I think sounds pretty cool. The film is being produced by Rainmaker animation and financed by The Weinstein company who will also handle distribution. Ed Jones, who was an executive producer on Happy Feet, will be producing. Steve Nichols, who has served as an animator on such CGI-intense films as all three Star Wars prequels and the two most recent Harry Potter films, has joined the project as animation director.
Tony Leech, who directed 2005's Hoodwinked, will helm from a script he co-wrote with Cory Edwards. Harvey Weinstein expressed his enthusiasm for the project: "We are really excited about the team we've assembled and are absolutely thrilled to be working with Ed and Steve, whose experience and expertise is second to none, and with the fantastic team at Rainmaker." Producing with Jones are Preston Stutzman of Blue Yonder Films, Jonathan Shestack of Jon Shestack Productions, Brian Inerfeld of Protocol and Gregory R. Little of Rainmaker Animation. Rick Mischel is executive producer, and Jeremy Stein will co-produce. Weinstein Co. co-president of production Michael Cole and vice president of production and development Eric Robinson are overseeing the project on behalf of the company.
If you want your animated movie to thrill the kiddies, be sure it contains the following things: time machines, dinosaurs, robots and baseball. If you want your animated movie to appeal to the grown-ups that are required to get the kiddies into the theater, be sure it contains the following things: a clever sense of humor, some really impressive animation, a bunch of solid voice performances and a few life lessons that are sweet but not over-sappy. Then throw in a great score by Danny Elfman, an admirably speedy pace and more colorful characters that you'll know what to do with ... and voila: Disney's Meet the Robinsons, which is just about as good a CG feature as you can get without the words "Pixar Animation Studios" emblazoned across the opening credits. (Matter of fact, I had a lot more fun with the non-Pixar Meet the Robinsons than I did with last summer's Pixar flick Cars!)
Based on the book by William Joyce, Meet the Robinsons is about a sweet-natured prodigy who is also an orphan. Young Lewis is a true-blue genius to be sure, but his technological obsessions always manage to scare potential parents away. Lewis has precisely one caring guardian and one loyal pal, yet of course he dreams of fitting in with a traditional family all his own. But when a devious mishap at a local science fair introduces Lewis to Wilbur Robinson (a crazy kid who claims to own a time machine), our little hero is in for a whole lot of craziness. Suffice to say he finally meets up with a loving family ... but "traditional" doesn't even come close to describing this futuristic clan.
Song of the South has always been something of a blemish on the Disney name, due to its racist undertones. However, it can't be denied that the film is a piece of film history. It's got a reputation not unlike TheBirth of a Nation, the 1915 film school staple that is widely hailed as one of the most important films of all time on one hand...but could be taken as a recruiting film for the Ku Klux Klan on the other. Song has taken a lot of flack over the years, due to its portrayal of Southern plantation blacks. The film has never been released on video in the United States, and this is from a company that releases, and re-releases, and re-re-releases everything. That may soon change, though. Disney President Bob Iger recently announced that the company has been giving some serious thought to making it available.
Iger states "We've decided to take a look at it again because we've had numerous requests about bringing it out. Our concern was that a film that was made so many decades ago being brought out today perhaps could be either misinterpreted or that it would be somewhat challenging in terms of providing the appropriate context." Song of the South was originally released in 1946. If you're not familiar with its characters, you've surely heard its most famous song, "Zip-A-Dee-Doo-Dah." Splash Mountain at the Disney parks is based on the film. A mix of animated content and live-action, Song tells the story of a young white boy, Johnny, who goes to live on a Georgia plantation. A black servant entertains Johnny with the stories of Brer Rabbit, Brer Bear and Brer Fox, which are actual black folk tales. Remus' stories include the saga of the "Tar Baby," a phrase which today is considered a derogatory term for African-Americans.
The film doesn't refer to the characters as slaves, and it isn't as offensive as a lot of the controversial material from America's unfortunate past. Many don't see how it's any more upsetting than, say, Gone With the Wind. But the fact that Song is a children's film surely adds to the concern. The demand for the film can't be denied -- nearly 115,000 people have signed an online petition asking Disney to make the movie available to the public. Buena Vista Home Entertainment, which distributes Disney films for home viewing, cites it only as a possibility, stating: "Song of the South is one of a handful of titles that has not seen a home distribution window. To this point, we have not discounted nor committed to any distribution window concerning this title."
Believe it or not, there was a time when Pixar was all alone atop the current animation craze. Once Toy Story hit, it seemed Disney's hand-drawn stuff was pushed aside and replaced by a new look and a new generation of kids who wanted a bit more out of their big-screen cartoons. Once Shrek came along and proved that other studios (in this case, Dreamworks) could share a piece of the pie, that opened up the door for every other major studio to start up their own animation wing. Now, we're bombarded with a host of animated films each year, and it almost feels as if Pixar's reign has come to an end.
This summer, there's a pretty good chance Shrek the Third will take in more money at the box office than Ratatouille. While it won't be a major surprise (Shrek already has a massive built-in audience, while Pixar's product is brand new), it's still a clear indication that the playing field has leveled off a bit. Nothing against Pixar (I've always loved their films), but I miss those days when the new Pixar flick was all anyone could talk about. Now, with so many animated films to choose from, it's becoming harder to pick their product out of a photo line-up. Granted, the Pixar buzz still remains, albeit a little more watered-down than it used to be -- and their films will continue to finish right up towards the top when it comes time to tally up the box office figures for the year. But for how long?
So, I ask you: Has Pixar's reign come to an end? Is there anything they can do to keep things fresh and somehow separate themselves from the rest of the pack?
If you're a fan of Pixar movies, you know the buzz has been building for the studio's next film, Ratatouille, which is about a rat of the rarest kind: He loves gourmet food. And he lives in a fancy Paris restaurant, so he's surrounded by all the foie gras and Coq au Vin his little heart could desire. The problem? He's ... well, a rat, so it's not as if chefs are welcoming into their kitchens with open arms. The film's directed by Brad Bird, the man behind The Incredibles -- so to say I'm pumped for this movie is a little bit of an understatement. It opens on June 29, 2007.
Right now we've got an exclusive picture from Ratatouille, which we humbly offer up for our Insert Caption game -- though unfortunately we can't offer a prize this time. But who needs swag when you've got a rat, an omelette and a hot plate? First, pay homage to the winning caption for last week's (prizeless) Shrek the Third contest, then feast your eyes on our exclusive Ratatouille photo and take your best shot. Foodie rats everywhere are counting on you.
"Pinocchio was the first to notice the masked man holding a chainsaw." -- jack390
A few months back we were treated to a rather strange teaser trailer for Jerry Seinfeld'sBee Movie. Why was the trailer strange? Because it was a live-action promo clip for a completely animated movie! But now with the arrival of this second teaser clip, the joke becomes clearer. Click here for the new clip, which features some rather amusing banter between Bee Movie's lead (voice) actor Jerry Seinfeld and executive producer Steven Spielberg.
As far as the plot synopsis goes, I'll borrow the one from the IMDb: "Barry B. Benson (Seinfeld), a bee who has just graduated from college, is disillusioned at his lone career choice: making honey. On a special trip outside the hive, Barry's life is saved by Vanessa (Zellweger), a florist in New York City. As their relationship blossoms, he discovers humans actually eat honey, and subsequently decides to sue us." Bee Movie hits theaters on November 2.
When MTV stopped airing Liquid Television many years ago, I lost an outlet that let me see groundbreaking animation that I'd rarely get to see anywhere else. With the rise of the internet, and the birth of networks like The Cartoon Network, animation finally has more places to be seen, but it's tough to find quality stuff that pushes the envelope. Like the different shorts programs, this is where Sundance steps in. I've made it a point to book tickets to the animation spotlight before anything else, and I've always enjoyed the different films they choose. This year was no different, and the program was chock full of different types of animation and genres. From serious to comedic, and CGI to paintings on glass, there was a little slice of everything.
Cartoons are a pixel's-length away from taking the Academy by storm. Animated films this year have a serious increase in competitors, giving award voters a lot to choose from. As the Oscar watch warmsup, studios are wooing Academy members for their animated films as much as they are for Dreamgirls or Babel. This year there are sixteen animated features that are contenders for Best Animated Feature nominations. A category once dominated by Pixar and DreamWorks, the pool has now grown to include Fox, Sony and Warner Brothers.
NPR talked about the onslaught of children's films at the box office lately on Day to Day last Friday and wondered about the quality control going on behind the scenes. They interviewed film historian Charles Solomon, who comments that the scarcity of animated and children's films used to make them an important part of a childhood experience, but things have changed. These days, the sheer amount of films pile on so quickly that before you blink, three different animated movies have been released at the box office. Suddenly you're buying everything from Flushed Awayaction figures to Over the Hedge video games, but your kids aren't getting the same messages and experience that you had when you saw The Rescuers for the first time.
It's no secret that kid's movies can rake in a ton of dough; the studios are busy falling all over themselves trying to make them. It seems like as more get churned out, fewer of them that have great stories and characters. They'll just market the hell out of them so that every box of cereal, kid's TV show, and billboard is plastered with images of the upcoming film and your children will refuse to eat anything green or brush their teeth until you take them to see it.
Now, I love animated films probably more than an adult should, but the problem is pretty rampant with the films aimed at children that are being released today, as we posted about previously on Cinematical. The trouble is that for every Spirited Away released, there comes a slew of films like Happy Feet, Barnyard, and The Ant Bully. These films took some critical hard hits, but they've made bags of cash (the seemingly unstoppable juggernaut of Happy Feet has almost cleared $200 million already). Studios are more concerned with cranking out a product in a timely manner, even if it's sub-par and relies on fart jokes and recycled plots. As a result, quality children's entertainment is getting harder and harder to find. Parents may appreciate the fact that they can now take their kids to see a movie aimed at children almost any weekend now, rather than having to wait ... but at what cost?
What do you think, parents? Is the onslaught of animation worth the decrease in quality kiddie fare? Or is it enough just to be able to plunk your tot down for 90 minutes with a kiddie-pack combo, even if what they're seeing isn't quite up to the standards you remember from your own childhood hours at the movies?