Between Books - The Magic is in You

Cash or prizes, which do you prefer? What do you like to give for graduations or other turning point celebrations?

The Magic is in You by Colin Hosten and Brooke Vitale illustrated by Grace Lee is an inspirational children’s book, which reminds us of a core message, the magic is in you! The book follows a basic pattern. A crisis is presented by the writers using images from Disney or Pixar animated films. The moment is illustrated in soft original art. The next page resolves the issue by pointing out the magic and strength in each of us. The book is simple and repetitive and repetitive as the situations are demonstrated in the worlds of Tangled, Toy Story, and more.

The book as I mentioned is simple. The pattern is easy for a child to grasp and predict, especially after a few readings. It is one of those reads that I expect a child would start saying the resolution line as the page is turned. I would not read it at bedtime. While I love the message of internal strengths and magic, it does present a series of crisis moments that could create anxiety. And at bedtime, no parent really wants to set up an obstacle blocking sweet dreams.

This is a nice hardcover book with an attractive book cover. And it reminds me of when Dr. Suess’ books meant to inspire young adults were often gifted at high school graduations. I can see doing the same with this edition especially if they are a Disney family. Young adults will face challenges. Hosten, Vitale, and Lee inspire for those moments. But I think if you are not close to the graduate and don’t know their Disney Young Adult Status, I would go with cash. If they are not Disney film fans, the book may seem too brief and not connect.

Cash or prizes? I lean toward cash in most circumstances. Young people transitioning into the next stage really need a nest egg for computers, pens, and late-night pizzas. But The Magic is in You by Colin Hosten and Brooke Vitale illustrated by Grace Lee provides a delightful option for transitioning young people who are also Disney fans. It also is a book that can remind kids of the magic within themselves as they grow using Disney’s fanciful and beloved characters.

Maybe the question is really cash, prizes, or magic? Two out of three ain’t bad. Three out of three is better!

 

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Between Books - Creativity, Inc.

Creativity Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration by Ed Catmull with Amy Wallace provides Catmull's insights into management and animation history.  Many readers may assume that Creativity Inc. is either an autobiography or a personal history of Pixar.  And while there are elements of both, the text is really Catmull's reflections on both innovation and management.  Catmull uses history and personal narrative to provide other managers and innovators insight into his own career.  The episodes reflected on include his own early education and steps into animation, the establishment and then sale of Pixar, success under the ownership of Steve Jobs and later its purchase by Disney including expanded roles at Disney.  His review of history includes his relationship with the at times mercurial Jobs, the Pixar Brain Trust and it's function, and how Catmull and John Lasseter transitioned from Pixar to Disney leadership.

Creativity Inc. is a really good book!  Honestly it is something that managers and innovates need on their bookshelf not just Disney fans.  Catmull is largely honest about his mistakes and missteps that Pixar took under his direction.  Not everything Catmull attempted was a success, including attempts to revolutionize production.  And he shows us how a company losing its vision and edge can at falter after early overwhelming success.  

One of the chief themes in Catmull's leadership is candor.  Catmull and John Lasseter require it.  They make it clear what candor is and is not.  And how candor can be squashed by a inappropriate tone.  One of the examples used throughout the book is the famed Pixar Brain Trust.  Catmull describes its rules including that Pixar directors can and do ignore its advice.  And he explains that everyone is able to provide guidance.  These sessions are meant to hone the director's vision and improve the story.  And largely they do help Pixar to make some of the best animated features in the world.  If I was to criticize Catmull for anything it would be that he does not address claims that the candor of these meetings is not as described, with some not always feeling like they are able to share.  Also, I would say that Catmull does ignore some negative elements of Pixar history like the removal of Alvy Ray Smith, a Pixar co-founder.  In short he is not always candid.    

One of the things that I found fascinating is that Catmull made sure with his transition to Disney leadership that he kept the two animation units separate with clear separate structures.  The two would not mix or help each other.  That way they each could retain separate and clear identities, goals and projects.  Additionally, they chose to retain the one Disney animation executive everyone thought Catmull and Lasseter would remove, Andrew Millstein the head of Circle 7 Productions which produced sequels.  An early goal for the new leaders was no more cheap sequels.  Instead they made him general manager of the studio as he caught their vision.  Still there missteps as Catmull and Lasseter worked to overcome Pixar concerns they had lessened their attention on Pixar.  

Creativity Inc. is a great management and innovation book.  I could easily see reading it on a regular basis with using it for occasional innovation advice.  The book helps reinforce, in his own words, Catmull as a leadership and innovation leader.

Mousey Movie Preview - Inside Out's First Trailer

Disney/Pixar's Inside Out recently got it's first trailer so we can start getting ready for my birthday 2015 weekend plans!

Here are my first thoughts?

• It very much seems like Tron in your brain!
• Like most Disney trailers recently, we are being reminded of past hits instead of giving us a ton of insight into this film.
• I like the poster, it reminds me of Epcot!
• I do enjoy Aerosmith's  "Sweet Emotion"!

 What do you think?  Are you excited Betweenland?

Between Books - The CG Story: Computer Generated Animation and Special Effects

The CG Story: Computer Generated Animation and Special Effects by animation historian Christopher Finch is a comprehensive history of computer generated animation that presents the history of this now common application of computer technology from it's origins to its maturity today.  Finch documents early attempts by computer pioneers to use their computing power to create images.  He then outlines how these early images lead to very early computer animation by pioneers like Ed Catmull which would eventually lead to a dream to create an entire animated feature with computing power.  The author outlines the evolution of that dream within Pixar which eventually lead to the creation of Toy Story.  This is followed by a discussion of computer animated features and how they evolved the art and the growing use of computer generated special effects in live action films.  Finch's words are illustrated by 350 images, primarily showing the results that programmers and artists generated.

The CG Story is a big big book.  It is over-sized, and though I tried, it is not really a book you snuggle to in bed.  The size allows the illustrations to be gorgeously displayed.  There is no squinting for a reader in reviewing and appreciating the images.  My only real complaint of the book is some images are turned on their side, and the size and weight of the book really does not allow a quick orientation change.  But honestly that is a very small complaint.

Finch's text is well researched and has clarity.  Especially in the early portions of the book there are a lot of technical concepts and words that could intimidate a non-specialist if handled incorrectly.  However, I was able to keep pace with the text and never felt like I was missing out on content.  If asked for a history of computer generated animation, that went beyond Pixar, I could see myself recommending this text in a heartbeat.

For me the real star of The CG Story was the discussions of character animation.  And Finch gave me much to think about.  His comparison of Toy Story to Snow White and the Seven Dwarfs helped me see Pixar's new film in a new way.  Finch notes how for both the Disney and Pixar animators working on their first full-length project they were pioneers into a unknown world.  And I enjoyed the use of Glen Keane's comparison between Disney (Once upon a time) and Pixar (Wouldn't it be cool if) story approaches.  That small included quote really made me see the two studios in a different way, and I wonder how those approaches will continue to bleed into each other with movies like Brave and Wreck-It-Ralph.  Finch's discussion of animated features includes nearly every important feature including key international releases.  Though Mars Needs Moms did not make the cut.  Of course that is really not a bad thing!

As a fan of the Marvel Cinematic Universe, I was excited to see the inclusion of special effects.  Though I was shocked to find out that Hellicarriers were not real, I loved a peak into these computer generated specials effects along with an understanding of their costs.  I did not fully grasp the complicated system of computer generated special effects, with most movies contracting to numerous houses and even having competitors work on effects for the same frame.  And I appreciated Finch's discussion between directors who rely heavily on computer generated effects and those that prefer the "weight" of a practical effect. 

The CG Story by Christopher Finch details the evolution of the idea of using computer generated images in theatrical releases.  The text outlines key moments, like the growth of Pixar, in both character animation and live action special effects.  And that history is punctuated by the gorgeous color images used extensively in the book!



Review Copy Provided by Publisher

Mouse Movies Review - Planes

Who has jumped onto the Planes’ bandwagon? Anyone, anyone, Bueller? You better get on now, because before it even hit the theater, opening at $22.5 million (though the empty theater I watched it in makes me want to demand a recount, the sequel was pre-approved just like those credit cards they send you in the mail! If anything can be gleaned from last weekend, finishing third in front of the newest Percy Jackson movie probably sounds the closing bell for the demigod.

Here are my thoughts on this Disney offering of a Pixar universe:

• If You Liked: Cars you might like Planes. Can we just break this down.  Cars has a red racecar with issues as its main character. Planes has an orange “race” plane with issues. That’s right kids, orange! I like orange. It reminds me of Aquaman. And it is not red! The main female character of Cars is a strong no nonsense blue Porsche. In Planes we have the strong, independent blue forklift named Dottie. The names do start with completely different letters! Both Lightening McQueen and Dusty Crophopper have an older mentor with a secret! It is not the same secret, so it is clearly different. And just to show there is no trend here. Lightening McQueen’s best friend is Mater, a larger vehicle who marches to the beat of his own drum. He sounds funny! Dusty does not have a plane best friend, instead he has Chug a larger vehicle, a fuel truck, who follows his own drum and sounds a little funny. But he is not really rusty so it is very different. I am now ready to write Boats, please call me. I’ve got this!

• Cliff: Planes is not a Pixar film, it is based on the World of Cars but is a Walt Disney Pictures release. It is specifically a DisneyToon Studios production, the people who brought you every Disney straight to home video sequel. And quality wise it stands beside the DisneyToon Studios better films, such as the Tinker Bell line. .....Wait, sorry I got distracted. So every Pixar movie has John Ratzenberger providing a voice. It is not hard to find Ratzenbergers’s audio cameo in this movie. I have had a lot of friends ask about Pixar’s Planes and how was it. I have to remind you that this is not a Pixar film, but it is easy to be confused with DisneyToon Studios pulling in this Pixar staple for a minor role. There is plenty of confusion out there about where this film came from.

• Product Placement: Well Synergy lives! Michael Eisner would be proud. American Airlines shows off its new plane design with Tripp, a Boeing 777. I cannot remember many animated product placements, but this one is very obvious thanks to the American Airlines commercial attached to the print of the film I saw. Disney is brilliant. American Airlines struck an exclusive deal to show Planes on their flights a month early. And for that they will always be in the movie. You cannot accuse Disney for not knowing how to make money. In fact, I am still convinced that they made a profit on John Carter.

• Second Team: I am sorry, Planes in many ways does feel like a direct to video production to me, regardless of how much money they have put into marketing the film. And here is just one example of why, where is the short? There is no short paired with Planes. All Pixar films get a short. Wreck-It-Ralph got a short. Where’s the short? You have trained me Disney. If you want me to take your film seriously, I need a short! It also does not help that Pixar did not produce this film. And knowing the history of DisneyToon’s studios past releases, it really does feel to me as a direct to video, the original plan. I like that Disney is trying to push their abilities to produce theatrical quality animated films. But I really do worry that many will see this as a 90 minute toy commercial that will soon be forgotten. Of course, that is me talking about the release and not the actual movie. 

• Baa Baa Black Sheep: The Between Kid loves planes. So it was nice to see a variety of planes, many of which I will be able to buy for pretend play. As someone who has studied World War II I did get a little thrill with the introduction of Skipper a World War II era Corsair. I really enjoyed the story of Pappy Boyington on Baa Baa Black Sheep as a kid and I really enjoy seeing an animated Corsair. Hey, did you catch that World War II happened in the World of Cars. Now that is a movie I want to see as Fords battle Toyotas in the Pacific Theater.  Speaking of the military, I did really enjoy the Top Gun cameos. Val Kilmer and Anthony Edwards voice a pair of F/A-18E Super Hornets. Now that is a great tribute to a non-Disney yet classic film.

For me, and from other reviews I have seen Planes fell flat for me and those like me, adults. But unlike Up, or cough cough Pixar films, I do not feel like Planes was written for an all ages audience. It was produced for kids and both of the Between Family minors really enjoyed the film. And I will be purchasing it when it finally arrives in its intended home release.

So 2014, Planes: Fire & Rescue kids. I wonder how they will turn the three minute “Rescue Squad Mater” into a 90 minute film!

Between Books - The Art of Pixar Short Films

The Art of Pixar Short Films by Amid Amidi outlines the history of Pixar's shorts up until 2009, providing both history and concept art and stills.  The "Introduction" provides a brief history of each short's development with few images.  This is followed by over 100 pages of art without much narration.  The images include sculptures, concept art, storyboards and stills.  The following shorts are all covered by the book:

• The Adventures of Andre & Wally B.
• Luxo Jr.
• Red's Dream
• Tin Toy
• Knick Knack
• Geri's Game
• For the Birds
• Boundin'
• One Man Band
• Lifted
• Mike's New Car
• Jack-Jack Attack
• Mater and the Ghostlight.      

The Art of Pixar Short Films is well researched and really provides a short history of Pixar.  Amidi shows how the shorts were a platform to build both the technology and artistic skills needed to elevate Pixar to feature films.  Then with entry into full length movies, Pixar continued to see shorts as both a training ground for future big screen artists and a bonus for film audiences, a bonus that had historic precedents in the history of cinema.  It cannot be a called a complete history of Pixar however, with ownership changes for example not being mentioned.  But Amidi does provide a nice history of the shorts that he actually discusses.  There are a number of facts that I found enjoyable including that Ed Catmull was recruited by Disney at one point to design Space Mountain.  The featured art is fun, informative and displays the skill of Pixar's artists.

I am just now getting into the Art of books, so I am a novice in this genre still.  I did find the format different than volumes I have read in the past.  But the large blocks of narration helped keep a cohesive history.  Overall for me the history of The Art of Pixar Short Films is what has led me to consider this a necessary volume for those interested in Pixar history.

Between Books - The Art of Cars

The Art of Cars by Michael Wallis with Suzanne Fitzgerald Wallis explores the artistic development of Disney/Pixar's 2006 Cars.  The Wallises put into the readers hands readers the production images, paintings and sculptures used to develop the rich world of Cars.  The authors explore both the background of American highways and Pixar's, especially John Lasseter's, love of the American automobile.  They discuss the extensive research completed by the Pixar staff including visits to NASCAR races, shutter Detroit automobile plants and down the real Route 66.  The books discusses how these influences came to influence Radiator Springs and the Cars' characters.

The Art of Cars is a very handsome book.  And as disappointed as I was by The Art of Meet the Robinsons, my expectations were met with this volume.  The text provides interesting background, but not so much to overwhelm the reader.  And as it should be the images are the star of the book, and there are numerous images of various types and styles to help satisfy the Cars fan.  Additionally they are arranged in a very pleasing way.

Michael Wallis has a special connection to the Cars universe.  He wrote Route 66: The Mother Road used by Pixar as a research tool.  Additionally, he lead Pixar's two Route 66 research trips.  Pixar was so impressed by Mr. Wallis that they designed Sheriff after his distinctive features, and he voices the character in both Cars and Cars 2.  It gives a very pleasing feeling knowing the author has such a special connection to the film.

Author and Voice Actor Michael Wallis

What I liked most about The Art of Cars is seeing how these designs have Disney connections.  As one flips through the pages and sees the planned details around the map of Radiator Springs, the proposed early origins and the town's buildings,  one who has visited Carsland cannot but help but feel like they are reading about a place that they have been.  Then seeing the design of the flowers and other landscaping used both in the movie and the land further impresses the feeling that the theme park land was far from thrown together.  A highlight for me was a presentation of cone gags, all puns that I felt like Marc Davis would have enjoyed.

For fans of both Disney animated films and the Disney parks The Art of Cars is sure to be delight.  The images and designs found throughout the book are sure to give both a familiar feeling!  And for me it has helped to redeem the Art of style books.     

Between Books - John Carter and the Gods of Hollywood

I have been a fairly outspoken supporter of Andrew Stantons’ 2012 John Carter. The marketing campaign stole some of my excitement before I saw the film, but the finished product pushed itself into my top five movies of 2012. I am someone who would love a sequel and further exploration of Barsoom. And it is because of the movie that I picked up the original A Princess of Mars by Edgar Rice Burroughs and found myself entranced by a really well developed world in the midst of romantic adventure. I would say due to the film, I am a new convert to Barsoom, and I think there are others like me.

Michael D. Sellers however is part of the pre-movie fan base. For Sellers, awaiting John Carter, was a dream come true where his beloved franchise would finally get its proper due on the big screen. Sellers may have found the final product on the screen satisfactory, but the support given it by Disney was a clear disappointment. For a movie that was budgeted to be a tentpole movie for Disney, the movie was never given the support its $250 million budget should have warranted. The fact that this blockbuster in waiting became either invisible or misunderstood by the potential audience largely led to the label as Disney’s Ishtar.

Sellers in John Carter and the Gods of Hollywood examines the historical development of the film from the Edgar Rice Boroughs decision to write his first short story to the home video release of John Carter. He examines the multiple attempts to bring Barsoom, or Mars, to the big screen including failed efforts by Disney and Paramount. With the Pixar acquisition of Disney just finalized and the John Carter rights being released from Paramount, Carter fan and director Andrew Stanton suggested that Disney studio head Dick Cook pursue the franchise. Cook wishing to please a key member of the Pixar team and a proven director agreed to purchase the rights, despite an earlier Disney failed attempt to develop a Carter film. Stanton, who became a John Carter fan through the 1970s Marvel comics, diligently worked with fellow Carter fans and a supportive producing staff to bring the century old story to a modern audience while staying under the enormous budget. But with the replacement of Cook by Rich Ross, the corporate enthusiasm for Stanton’s first live action release ended. Ross would never give his full support to this project green lighted under the old regime. Ross’ newly hired marketing head, MT Carney, a new voice in movie marketing, was focused on a backlog of projects releasing before John Carter and departmental reorganization. These priorities were placed before the marketing of the potential tentpole film. Additionally, Carney’s research led Disney to remove the phrase “of Mars”, a change that generally meant much of the potential audience was not aware the film was a science-fiction offering. And Disney CEO Bob Iger, while not actively sabotaging the film was interested in acquiring LucasFilm, a desire which could have been hindered by a successful film. The lack of enthusiasm, and marketing, lead the movie to underperformed and be labeled a failure by Disney within ten days of release and before entering the world’s two largest film markets (China and Japan). Sellers finishes his story by discussing a real win for John Carter, being ranked number one in DVD sales upon release. He closes by discussing the possibility of future Carter movies and the circumstances under which a sequel could be made. And Sellers reviews the various personalities in the real life story of John Carter’s failure and identifies their role in the movie’s bust label.

John Carter and the Gods of Hollywood is probably one of the best corporate history titles I have read since Disney War. Sellers does an excellent of job of trying to understand the politics of Disney and why decisions were made. And I think it is fair. For example, as a hardcore Burroughs fan it would be easy for him to paint a picture of Carney that is, well, evil. Many have lambasted her efforts in marketing the film including the decision to remove “of Mars”. Instead Sellers attempts to paint a picture where readers can understand what Carney had to overcome and the competing priorities of her short lived Disney posting. One can understand the pressures and blind spots that Carney was not able to overcome. Still he is honest in showing how the social media campaign failed, and was lacking, for this expert in new media. Additionally, he could have painted Iger as a villain killing the Carter film. Instead, Sellers explains Iger’s acquisition strategy, making it clear why he may have lacked excitement for a film that could have hindered his ability to bring Star Wars fully into the Disney family. Additionally, Sellers deeply analyses the Disney marketing strategy for the film including its poor poor results, especially when compared to The Avengers and The Hunger Games.

Sellers as an author is not just analyzing this story but is also part of it. Sellers was a proactive member of the Burroughs fan community who attempted to move the needle in support of the film. He discusses how he built the fan site www.thejohncarterfiles.com and edited his own fan trailer, one that Andrew Stanton declared was the only trailer that got the movie. Sellers is realistic about the obstacles that a John Carter film had to overcome and looked to the fan community to help Disney overcome them. For example, the number of Burroughs fans had declined severally and the Barsoom stories were a century old. So it did not have an active fan base as vocal as more recent The Hunger Games to bolster the film and other films such as Star Wars and Avatar had strip-mined the film of key story elements. Sellers as a character in the book had sought to convince Disney and the fan base that the fan community should be actively seeking new members and explaining that John Carter was the inspiration for many popular movies, not a cheap carbon copy of them. Sellers’ attempts were not supported on many sides. While Stanton may have supported his fan trailer, Disney was not interested in seeking inroads with fans. And even the fan community spoke with negative voices expressing concerns about Stanton’s movie and story changes. Some did not see as Sellers predicted that the movie could bring new fans to the Burroughs’ library, like myself.

John Carter and the Gods of Hollywood is a fair, factual and enlightening assessment of what went wrong with the development, marketing and release of John Carter. The book is well written and clear, and has a personal touch as Sellers enters the story describing his own efforts to support a movie sight unseen. Sellers closes with the belief that there could still be life in the Carter franchise, just not with Disney, and for fellow Carter fans I hope he is right. John Carter and the Gods of Hollywood is a tragedy, showing us the blockbuster that could have been and how the efforts, or lack of, made it one of the most ridiculed movies of 2012.

Review Copy Provided by Author

Mousey Movie Review - Wreck-It-Ralph

Headline: I like Wreck-It-Ralph.  I really like it a lot.  And I think you will like it too.  Go see it.   

As you can pick up from the trailers, Wreck-It-Ralph is a very traditional Disney story of belonging and identity.  Ralph, voiced by John C. Reilly, is a video game villain and after 30 years finds himself struggling with the fact that he is not “nice” and is generally an outsider even in his own game.  He is constantly overshadowed by the hero and namesake of his game Fix-It-Felix Jr., a hero loved by the citizens of his game the Nicelanders.  Ralph goes on a quest to prove himself, a quest which requires that he leave his game.  On this journey of discovery he meets characters from other games including want to be racer Vanellope von Schweetz and Sergeant Calhoun the tough squad leader from a first person shooter game.  Will Ralph find his identity or will his actions cause mortal harm to the inhabitants of one or more of the games in the arcade?    

Here are my thoughts on this great movie, other than the fact that I love it:

·         A man of character:  In many ways Tron, which I dislike, and Wreck-It-Ralph share the same basic concept with “programs” playing out their lives inside computers.  But the important difference for me is that Wreck-It-Ralph very quickly establishes characters that I care for and understand.  Many have seen segments of the villain group therapy sessions in the trailers.  Yes, this scene is funny.  But in the trailer you see only parts of the segment, one that effectively and quickly makes us understand Ralph’s problem, Ralph’s character, and Ralph’s pain.  I really credit the writers by helping us understand and come to care for Ralph at this quick pace, it becomes easy for the audience to enter into the story and cheer for Ralph in his struggles.  We care about the story because we care about Ralph! 

Wreck-It-Ralph and Vanellope, Two Great Characters

   

·        Retro:  Let us be honest.  A big reason a lot of adults will be seeing Wreck-It-Ralph is the cameos of video game characters we grew up on.  There are a ton of cameos, though not everyone you may hope for.  I am not going to even pretend to be able to provide an exhaustive list of cameos, there are just too many.  But if you are coming through the door for the retro experience, be warned this movie almost entirely takes place in three environments created for the movie; Fix-It-Felix Jr., Hero’s Duty, and Sugar Rush.  And honestly, I am okay with it.  Since the animators and writers were not chained to the expectations the audience has about their favorite childhood video games they can focus instead on character, story and having fun with their backgrounds and scenery without angering fan boys.  And they do play; watch for the stylized movements of the Nicelanders.  So be warned, you will not be viewing a movie that is in Frogger or Super Mario Brothers.  But I believe using fictional video games was a better choice.   

·         I want to go there!:  Let me admit I am not a serious gamer, despite my attempts at casual game reviews from the Disney fan perspective.  I have played a iOS version of Fix-It-Felix Jr.  It passed some time, but honestly it is repetitive and I lost interest in a few days.  I would probably never play Hero’s Duty on a consistent basis.  I do not think I would be good at it.  For me the original game found in Wreck-It-Ralph that I want to play is Sugar Rush.  This racing game seems super fun with bonuses that are candy and ice cream.  I want to play this game so bad.  One can play on the Wreck-It-Ralph website.  But I want to play it on a device so I do not have to be chained to a computer.  I would not think it would be that hard to adapt games like MarioKart for this purpose.  Please someone put Sugar Rush on a game console or mobile device! 

·        Cartoon Violence:  Parents beware, there is some violence in this offering.  This violence is typically character fist fights.  However, some of these confrontations seem really severe.  I was taken aback by this, but as I thought about it the fights are really no more violent than the climatic fight at the end of Lion King.  However, the key difference is in Wreck-it-Ralph, the characters in these fights are human looking, where in Lion King we can explain the violence off as a part of the circle of life.  This is also a heavy story that may be too much for young viewers.  Death is a topic discussed in depth, well the video game version of death.  There are action violence sequences especially in Hero’s Duty that will remind you of action movies.  And there is one act of violence, yes I use a strong word for this, that got the intended desire of an emotional reaction from me.  Yes, Wreck-it-Ralph made my eyes sweat!

Along with violence there is a lot of bathroom humor.  It is humorous bathroom humor, but it is potty talk.  If you have a kid that is copier and tends to model bad behavior, you might want to pass for a few years. 

 

·        Pixarization: With Pixar and Disney Animation operating separately it is easy to compare the two units.  Both have their successes, but today many who view the two production units would not be afraid to state that Pixar is currently in the lead.  In many ways Wreck-it-Ralph is an outcome of this unofficial competition.  The story is good, Pixar good.  It uses computer generated animation, the style that Pixar for all intents and purposes invented.  This film is so very very far from the look of Cinderella and The Little Mermaid and looks stylistically more like a Toy Story (honestly the story somewhat mimics replacing toys with video games).  One of the reasons that Pixar has had so many story homeruns is the use of the Pixar Brain Trust, some of Pixar’s best and most experienced minds.  If you watch the credits carefully you will notice that the Brain Trust was consulted.  But so was a Disney Story Trust, which I assume is Disney Animation’s response to this highly successful consultative tool.  Yes, Disney Animation is learning from its sibling Pixar.  And we are benefiting as an audience for this mimicing.  

·         Who Knew, Ralph Did!:  Listen carefully, because I heard a Darth Vader breathing homage.  And to think Wreck-it-Ralph was released the same week that Disney purchased Lucasfilm!  If you look closely you may find another shout out to Disney’s newest business unit. 

·         End Cards:  The end credits are really fun.  So sit down for a bit when the movie ends.  The credits include the characters in a number of situations, including funny ones.  Additionally the music played over the credits include theme songs for the games found within the movie, and these got a few giggles out of me.  In fact, I like it enough the Between Wife purchased me the soundtrack.  There is a post credit scene, which those of us familiar with the Avengers Initiative are familiar with.  However, this scene is only seconds long, cannot really be called a scene, and really adds nothing to your experience. 

Okay, I have already spilled the beans.  I love Wreck-It-Ralph and I think it will appeal to both male and female, young and old viewers.  I have kind of forgotten about Brave.  And while I raved about the animation in Brave, I always knew I was watching a cartoon.  In Wreck-It-Ralph I forgot I was watching a cartoon as the production team had me focused on the story not on the animation.  Come for the nostalgia, but stay for the story.    

Mousey Movie Review - Brave

I admit it, I doubted.  I thought that families would flock to the opening of Disney Pixar’s Brave, but I still did not think that it would beat out the patriotic vampire slaying crowd.  Could I have been more wrong?  Yeah, 13 consecutive number one openings for Pixar!  And domestically and internationally Brave earned $80 million in box office.  Meanwhile Vampire Moments with Mr. Lincoln crawled to $16.5 million, coming in behind two family films.  Pixar, why do I doubt?

The movie itself is solid overall.  The story of Princess Merida and her search to keep her freedom will score high with the family crowd with its message of unifying family strife.  Personally, I enjoyed Brave, but I have to admit it did not crack my Pixar top five.  Of course that is a pretty big chore with Up, Monsters, Inc., and the Toy Story trilogy being pretty tough to unseat.  Visually the movie is impressive, but at this point we come to expect that from a Pixar production.  The Between Kids were divided.  The youngest did not see talking toys or cars and was pretty meh in reaction.  Maybe the movie was too real for his tastes.  The older Between Kid loved it.   But the older kiddo has more refined tastes.  Here are my overall hopefully non-spoiler thoughts on the Mousey Brave.

·    The Captain’s Seat:  Mark Andrews is the director who completed Brave.  For many Andrews may seem like an unknown but his Pixar resume is impressive.  He directed the highly enjoyable short “One Many Band”, was head of story for The Incredibles, story supervisor for Ratatouille, did some storyboarding for Cars and contributed (cough cough) to Pixar’s live action adventure John Carter earning screenplay and second unit director credits.  Andrews may be the next up and coming Pixar director and I am sure that executive producers John Lasseter, Peter Doctor, and Andrew Stanton felt very comfortable with him in the director’s chair.  And I think it’s a bet that paid off.

·    The Princess: Pixar has officially added their princess to the Disney Princess Pantheon.  And her strong willed attitude will probably help her fit in with Belle and Rapunzel.  But they may be shocked to find out that for Merida her solution to life’s problems is not something that can be solved with marriage, but something she is willing to fight for herself.

·     Skin Flick:  There is a ton of nakedness in Brave.  Okay, two scenes with a third hinting at it.  Luckily it is all good-natured innocent man flesh.  But I can remember when the debate around Beauty and the Beast was there too much cleavage!  I would say Pixar has jumped ahead of that debate.

·    The King: Billy Connolly voices Merida’s father King Fergus.  Connolly is perfect as this Scottish monarch and sometimes I forgot that the animated figure is not Connolly’s real image.  Connolly is not new to Disney animation having narrated the 2011 short “The Ballad of Nessie.” 

·     Clear Cool Water:  Pixar is really amazing.  For Finding Nemo they had to learn how to animate water and lots of it.  They did so good that they had to actually cartoon the water up so the audience would not believe it was real.  The water in Brave is so brilliant and realistic I was struck by it.  I felt like I could reach out, fill up a glass and have myself a cool refreshing drink.  Both Brave and Brother Bear have scenes in which a bear or bears fish in a river.  They cannot even be compared because the style in Brave could easily be part of our world.  Okay, I am weird and have heard others mock me when telling them this impression, so you may be ignoring the water in your viewing. 

·    Wooden Toys: In the witch’s shack you have to watch carefully because not every item is a bear amongst her wares.  Pixar fans will be pleased with one of the other items in her collection.  Likewise, listen carefully when the clan leaders arrive at King Fergus’ castle.  Though I did not catch an A113, Pixar has made at least two streaks extend to 13!  (If you found a A113, let us know in the comments.)

·     Magic: Merida wants to change her fate and the mind of her mother.  To do this she turns to magic.  Like my current favorite ABC show Once Upon a Time we get an important theme about magic, it comes with a price.  When Merida talks to the witch about the spell, the witch’s responses give hints that there are no shortcuts without penalty a fact all of us have learned faithfully on Sunday evenings.

Betweenlanders will surely be supporting Brave in the coming months.  Though, it has not broken into my Pixar top five, I am sure that it will be seen several times in the Between Family over the next few years on home video.  And I am sure if given the chance the Between Kid would love to meet Merida alongside her fellow Disney princesses.  But it does not come close to unseating Up in my heart.  But I hear plenty of love for Brave from the Disney community.     

Congratulations Pixar, you have a cowboy, an astronaut and now a princess. 

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