Pixar in Retrospective · 7:17pm Jun 17th, 2020
(Originally posted this on my DA account. Didn't attract much comment there, thought I'd try here)
Over the past several days, about a week now, The AV Club has been doing a feature once a day where a rotating group of writers cover a Pixar movie - going in chronological order from the original Toy Story - and discuss a different aspect of them. (I.e. in the Toy Story 1 article, the writer there talks about the strength of Woody's characterization as a jealous and flawed hero, but one who ultimately comes through as a good guy. Toy Story 2, the writer there highlights Jessie's past and the "When She Loved Me" song as the linchpin of the movie. And so on and so forth.)
It's been an interesting series to read through, and as a sort-of tribute to it, I thought I'd sit down and write out some of my thoughts on the Pixar movies... or at least, the ones that I *have* seen, because I have missed a couple of them in more recent years.
So without further delay, let us begin!
Toy Story:
The one that started it all. Can you guys believe that it's been nearly twenty-five years since we were first introduced to Woody, Buzz and the gang?
I haven't seen this movie since I was a kid, aside from a few clips on YouTube here and there, but it still has a good following in my house. "You're mocking me, aren't you?" is a favorite of my parents, and my mother *loves* the quote "I don't believe that man has ever been to medical school" as well, never fails to make her smile. And it definitely *is* a good film, as it's a movie that juggles a ton of different emotions throughout its story and doesn't really drop the ball on any of them. Woody and Buzz have a great dynamic as their rivalry gradually turns to fire-forged friendship, the other toys are all memorable (Rex the neurotic dinosaur never fails to amuse me), and the whole climactic sequence is pitch-perfect.
That being said, I dunno, I've never *really* thought of this movie as THE greatest of the bunch, or as a personal favorite. It's very well-done and deserves its place in history, don't get me wrong, but I've never been an uber-fan of it. Perhaps because some stuff from it still makes me wince a bit years later; Sid's mutant toys *really* creeped me out when I first saw them. (Also, as an aside, it seriously disturbs me that there exist as many Sid apologists / defenders out on the Internet. Dude's *really* twisted in the head in my opinion.)
A Bug's Life:
Eh... this one's the real dud of the bunch for me. The story doesn't work for me, it's like they tried to do a comedic take on The Seven Samurai and it just feels kind of jarring and wrong to me; the main characters aren't very memorable (and really, the ants as a whole are such assholes to Flik that I can't really care about most of them), and I can barely remember any particular gags from the movie itself...
When the best and most funny material from your movie is the blooper reel over the credits, there's a definite problem to be had, I think.
Toy Story 2:
Boy, what a step up this one was. I'll be honest, this one might actually be my personal favorite of the Toy Story movies. It's got a great plot, memorable new characters in Jessie and Bullseye and some truly inspired gags in it (I love everything to do with the two Buzz Lightyears and Emperor Zurg too 
) as well as a surprisingly effective "twist villain" too. This is also the movie where some key themes or questions from the series first really come to light, in particular the idea of children growing up, losing interest in their toys and what it means for those toys and how they deal with that.
Monsters, Inc.
It's probably bad of me to say that I forget about this one a lot, but when I remember it I always look back on it with fondness. It's a film with a great comedic duo in Mike and Sully, a lot of inspired visual design for its world... the AV Club article on this movie said it's the most Muppet-like you could get without actual Muppets and I think it kind of is a fair comparison. There's a lot of heart and humor, and also serious emotion too in it. (Remember Sulley scaring Boo, and him realizing after that just what his job actually *means* doing? Damn...)
It's also interesting to look back on this movie years later in a number of ways. This is a movie that has another "twist villain" in it, but like the example from Toy Story 2 it's done skillfully and makes sense on a rewatch; it doesn't come out of nowhere or anything. Another thing I find thought-provoking about this movie is the way you can really look at its story and see a lot about corporate and environmental responsibility (Randall and Waternoose's plan for harvesting screams is essentially a mix of strip-mining and child slavery if you stop to think about it) among others. It's definitely a movie that holds up quite well on several levels and I have to applaud it for that. 
Finding Nemo:
Boy, do I remember this one. It was a real fixture of my childhood for a while after we got the DVD. "Nemo" is an interesting movie to think about given that the core of it, I'd argue, is quite different from what we think of with most animated movies because the majority of the story is more about the parent's perspective rather than the child's. Death in animated movies is nothing new, but usually it's the child losing one or both of their parents - Finding Nemo flips that around at the very start with Marlin losing his wife and all but one of their eggs, and the repercussions of that are what shape and drive the entire story of the movie.
That's not to say that this is movie is all gloom and doom though. There's still plenty of hilarious moments in this story, whether it be in that swarm of fish voiced by John Ratzenberger, or those seagulls. Though in terms of humor, I think my personal favorite is what I'd call the "Sharks Anonymous" meeting, because it's just so quotable.
(Though I must admit, Bruce going nuts on blood quite scared me on the first watch. To say nothing of the anglerfish sequence, jeez...)
The Incredibles:
This one might be the very best of the lot in my personal opinion. It's a brilliant superhero story, feeling both familiar and yet brand-new as well. It's packed with great and memorable characters, stylish design, outstanding action sequences, a unique retro-futuristic world, a magnificent James Bond-esque score, legitimately effective emotional moments, and one of the most brilliantly realized supervillain characters ever in the form of Syndrome.
I could go on for a while about all the great things in this movie. It's just superbly constructed all the way through, I can't think of a single "off note" or major criticism to find with it. Brad Bird and the Pixar crew, plus the cast of performers, knocked it out of the park here.
(Also, The Incredibles is the best damn Fantastic Four movie we're likely to ever get too.)
Cars:
This one just kind of "exists" for me. I don't have a problem with it, per se, like say with A Bug's Life, but it's not anything to write home about either. It's a perfectly serviceable movie in a number of ways, but really, I think of this one as the "kids' movie" or even "the one made for the toys" rather than anything more substantial.
Really, there's just not too much I remember from this one. Mostly some of the gags with Lightning and Mater (like them going "tractor tipping") or the final race. It still amazes me to realize that Paul Newman of all actors was in this movie as Doc Hudson. Wow...
Ratatouille:
I remember hearing about some people getting weird or worked up by the idea of Pixar making a movie where the main character is a *rat*. That just seems very funny to me in hindsight, given that their very next movie involved the main character having a cockroach for a friend. :XD:
While I've only seen Ratatouille a few times, it's a movie that I feel gets better and better with age - and I mean that in the sense of it's a movie you can see further layers in as you grow older and look at it as an adult. I really love the lesson that this movie has to give us about cooking, the art and the science of it, and how a good chef can come from the most humble (or surprising) of backgrounds. And also, that moment with Anton Ego flashing back to his childhood? That's a veritable master-class in character and emotion right there; not a single word spoken and yet it manages to completely flesh out and make us understand so much more about this character.
And speaking of character... I still can't get over that this movie got Peter O'Toole as the voice of Ego. Damn! But of course, he does a superb job with the performance, in particular through the monologue of his review of Gusteau's. Simply outstanding. :)
Just as surprising too, is Patton Oswalt as Remy in some ways, given Oswalt's reputation as a comedian with some pretty obscure (and foul-mouthed XD) comedy prior to his casting. But he really makes it work, bringing a lot of heart and emotion to the character of the little rat who wants to be a chef. Remy's a funny character in a lot of ways (especially when he plays off of his brother Emile) but he also has a lot of insecurity too, which Oswalt really manages to convey through some of his conversations with the imaginary/ghost Gusteau… which makes it all the more effective when he finally is able to step up and run the kitchen when it counts.
If Ratatouille isn't a *favorite* of mine from Pixar, it's really damn close.
WALL-E:
This one is a movie I have an odd relationship with. On the one hand I do love the title character and the way that the movie is able to establish so much personality through WALL-E and EVE. I mean, this is a movie where the two main characters only talk by stating their names for crying out loud! (In fact, in many ways I'd almost consider "WALL-E" to be the unofficial R2-D2 movie, especially given Ben Burtt's prominence in the production of this one.)
But on the other hand... its story is only just "serviceable" to me. Props to the movie for having an environmental theme that's not obnoxious, but at the same time... well, the praise for this movie kind of annoys me in some ways. Especially when they talk about that opening - which to me is basically a more kid-friendly version of Fallout's opening cutscenes. Cheery old-time music playing as the camera pans over a desolate wasteland? It's been done before, why does Pixar doing it get everyone so up in arms?
This movie isn't "bad" by any means to me, but I'd simply rank it as "enjoyable" rather than anything "great" or "thought-provoking."
UP:
The best thing I can say about this movie is also the most damning thing too. In that the first five minutes are the best part of it.
Seriously, has anyone ever noticed that when discussion turns to "UP" the only thing that ever seems to be said is "oh my God how beautiful and heartbreaking that opening is!" And don't get me wrong, it *is* really well-done and emotional... but all the same, what else can be said about the rest of the movie after that opening montage of Carl and Ellie's life?
I mean, the talking dog is funny (I still get a chuckle out of "Squirrel!") but to me, I just feel like this movie kind of coasts along on the goodwill from that opening. Again, I don't think it's *bad* by any means, but I almost never think about this movie, unless it's like, "Oh yeah, UP was a thing."
(Side note - this movie really struck a raw nerve with my father when we saw it. He found the plot twist with Muntz and the ending to be saying something like "Dreaming big is foolish and wrong," and it's the only Pixar movie he's seen that I think he truly dislikes.)
Toy Story 3:
Heretical statement incoming... I didn't cry at all watching this one. Not during the famous incinerator sequence, and not at the ending either. Don't get me wrong, they were fantastically done, but when I look at the legions of people online who talk about how hard they cried watching this movie, I kind of worry about them... or alternately, worry that there's something wrong with ME instead :XD:
There's a lot to like in this movie, for sure. It's got a lot of emotion and heft to its story - Lotso is probably one of Pixar's best villains after Syndrome, just in terms of how *nasty* he proves to be - and there are some brilliant gags over the course of the story too (I love the first scene with Spanish Mode Buzz! "We gotta switch him back" XD), but all the same, I think the hype it gets is a bit too much.
I still had a lot of fun with this one though. Just to reiterate. :)
Inside Out:
Talk about a return to form for Pixar with this one. I was *really* impressed with this one on a number of levels - this is a movie that was colorful and clever, insightful and funny and also (appropriately) very emotional too.
One of the things I adore about this movie is its very intelligent handling of the nature of Riley's emotions and how all of them are necessary to function properly. This is also a movie that does a brilliant job demonstrating, at least in my opinion, the nature of depression. Serious props to the writers and director for crafting a moving and effective story with such an effective and powerful lesson to it.
And also, not gonna lie, seeing Bing-Bong's sacrifice did really stir some emotion in me. I knew what was going to happen, where it was going to go, but still, that was a moment that hit me unexpectedly hard. "Take her to the moon for me, okay?" Damn... 
Incredibles 2:
I don't care what the critics say, I had fun with this one. Is it as good or revolutionary as the first one? No. Definitely not. But is it still a great and stylish superhero story, and is it a ton of fun to see the Parrs and Frozone again after so many years? Hell yes it is! :D
Honestly, I'll be blunt - the first Incredibles was lightning in a bottle. It came out at just the right time (2004, before superhero movies really came to dominate the market), was unique in so many ways (familiar archetypal characters, retro-future design, story that commented on the medium and engaged with it), and most importantly, so much time passed between it and the sequel that I think people had built up their expectations or love for the original so high that really, nothing was ever *really* going to meet them when the movie finally actually came out. (Hmm, sound at all familiar?)
There's a lot I enjoy about this one. This is still proof that Pixar can be funny and not just "serious" or "dramatic". I love everything to do with Jack-Jack's powers - that fight with the raccoon is just gold - and I like the struggle that Bob faces in dealing with being the homemaker of the family. (As funny as the "New Math" gag is, it's also really sweet that Bob stays up to figure it out and then explain it to Dash the next morning.) I also love the action sequences in this one, particularly with Elastigirl's powers - that train chase sequence was jawdropping, and that fight with the "Screenslaver" was really intense!
...Ah yes, the Screenslaver. Now admittedly, this is a criticism I do get. I'll be blunt, yeah, they're nowhere near as fun as Syndrome. But on the other hand, I'm honestly not too bothered either. I really do like the concept I see behind the character, as a condemnation of this kind of cynicism and bitterness at the world, how rather than doing anything to *add* to the world, they're just interested in *taking* from the world by forcing Supers underground and criminalizing them. Considering all the negativity and bitterness that can (and sadly, does) proliferate throughout the world, I think it's an important thing to consider.
Toy Story 4:
The most recent Pixar movie that I've seen, and honestly I was really surprised by how much I enjoyed it. I'm sure lots of people when they first heard the news were like "Why? The third one ended perfectly!" or "Disney gonna milk this cow until it's dry and dead" but I must admit, any skepticism I had about this film vanished in very short order.
This movie, more than anything, is Tom Hanks' swansong as Woody. And it really made for an interesting look at the character as he struggles with trying to find a place for himself after leaving Andy. Hanks' performance is superb, bringing all the trademark warmth, humanity, and charm for our cowboy hero's last roundup. (In some ways I really do wish we could have gotten more with Jessie or Buzz in this movie, but I can let it slide - I really do think that this one is Woody's story more than anything else.)
It also helps that a lot of the new characters in this movie are quite memorable. Be they funny (dear God, I still laugh my ass off at the memory of Ducky and Bunny's plan for getting that key from the old lady!), or serious (Gabby Gabby really surprised me as an antagonist, and dear God is Benson creepy XD). I really got a kick out of seeing the return of Bo Peep in this one, and I also got a kick out of Duke Caboom too. And the animation in this movie is just jaw-dropping!
Although, all that being said, would I consider this *necessary* viewing for Toy Story fans? Hmm... I honestly am not sure. I do think that it's a fine movie for sure, but really, if you want to leave your viewership at Toy Story 3, I would not be pressed to argue the matter. *shrugs*
...
Well, there you have it. My little overview of Pixar's filmography. Hope you all found it interesting, and if you have any thoughts (particularly about the ones that I missed out on!) let me know!
Out of all the Toy Story movies, 2 was definitely my favorite, with 1 being in a very close second (also, Sid apologists?). 3 was good, but I didn't cry over it either. My parents sure did, though. 4...I'll be honest, I have no interest in seeing 4. As far as I'm concerned, the Toy Story series ended with 3.
I definitely remember Finding Nemo, and I remember loving it as a kid. It's not my favorite movie, but I must confess that as I've gotten older and as I've become more aware of the challenges that Aspergers' Syndrome brings into my life, I've grown a bit more sympathetic of Dory in recent years–especially since I occasionally forget minor details in short-term from time to time. Not nearly as bad as her, but still.
I'll confess that I was really into Cars when I was younger. I'll also confess that 2 is kind of a guilty pleasure of mine. I know it gets a lot of flak for the whole spy plot, but that's kind of why I like it; it's just so bonkers and completely unfitting of a universe of sentient vehicles (seriously, how does that work?) that I can't help but love it.
As for Up...with all due respect and no offense intended, I think your dad is kinda missing the point behind Muntz. He's kind of a foil to Carl. I'm lazy, so I'm just gonna copy in this little blurb from TV Tropes to sum up my point in brief.
As for the others, I definitely remember Finding Nemo, and I remember loving it as a kid. I never cared much for Inside Out. The Incredibles is awesome (although I'll confess that the Omnidroid scared me half to death when I was a kid), and Ratatouille is pretty good (I can't help but chuckle a bit when I watch it, because I actually have a friend who vaguely reminds me of Chef Skinner. Far nicer, though).
Oh, and Monsters, Inc. Another good one.
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Ohh yes. That first article I mentioned on the AV club had a good amount of people in the comments talking about how they think Sid gets a raw deal from watchers - he doesn't know that the toys are alive and that he's torturing them, he's just being creative! (Y'know, ignoring that he bullies his sister for kicks and steals her toys to mutilate too...
)
Fair. No complaint from me there. *shrug*
Yeeeeah… I can't really get ya on that one. Speaking *as* someone who loves bonkers plots, I just found the very concept too ridiculous from the start and never had any desire to see if it was worth anything.
Yeah... this one is just one of those movies that hit a specific combination of buttons for him. Not to go into detail into it, but he came from a *very* unhappy home and basically I think the only thing that kept him going through it was being able to imagine and dream for the future - so sometimes he can take a completely different response to a story or movie, especially if its story or themes have to do with childhood, family, or imagination.
(That, and also, as a big history buff, he found it offensive and insulting that Muntz, who is very clearly based on real-life aviator Charles Lindbergh, is depicted as an obsessive psychopath. Whole other can of worms there though.)
Thanks for the comment, all in all.
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Oh, speaking of Sid...
i.redd.it/lftesrzxhwh31.jpg
"Coincidence? I think NOT!"
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Yes, I am familiar with that. I don't know (or honestly, really care) if it's Sid grown up, but it's a nice visual reference all the same.
I think Inside Out is always going to be my favorite for me for personal reasons. Oddly not because it struck the depression chord for me, I'm thankful that I've never had to suffer from it, but it struck the anger chord. I won't go into details, but a combination of various factors in my life have resulted in my being a person who gets very angry very quickly, but Inside Out helped me with that. I'd rather snap at someone and then cool off five minutes later than bottle it all up, letting it stew until I explode.
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I think I can kind of get that. I have a bit of a tendency to either flare up quickly or stew in silence when my temper ignites. Last summer was a very stressful and trying time of my life, and I remember one thing that really helped me put a lot of the darker feelings from it into a new perspective was getting God of War (2018) as a birthday present. Kratos' words about being able to use anger, *if* you control it, really resonated with me and prompted a lot of thought about anger in my life and in that of others around me too. I shan't go further into the details but it was something of an eye-opener.
To get back to the mention of Inside Out, one thing that I really liked about it was that it showed the upsides of all the different emotions. Especially the ones that we often stereotype as being negative. Fear is anxiety, but it can be caution and preparedness. Disgust can be a restraint (snobbery or prejudice) but it can also protect you (i.e. keeping away from hazards, or avoiding something you find wrong or dangerous). Anger can be directionless lashing out, but also passion and ambition. And Sadness can be, well, sad, but it's also a key to empathy.
It was really just a very intelligent and insightful movie, that managed to skillfully juggle a variety of tones, and I really was impressed by it.
No thoughts on Monsters University? Or The Good Dinosaur or Brave? I haven't seen any of them, and I haven't heard horrible things about them, so I can understand them being left out, but I am curious.
Anyway, I agree. Inside Out and was easily one of the best films they did.
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Nope, sorry. I *was* tempted by The Good Dinosaur (being a shameless uber-dinosaur fan), but I ended up missing seeing those for one reason or another. I don't object strenuously to them (as a matter of fact I applaud Pixar for their restraint in not making a sequel to Monsters Inc.) but for one reason or another they didn't hook my interest enough to go see them. *shrugs*
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That's fair, I was just curious.
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No worries.
And I do admit, it was a bit of a surprise to me, compiling the list for this overview, to realize just how many of the subsequent movies I'd either missed or skipped after Toy Story 3. Maybe sometime I will go back and check out some of them, just for the sake of judging for myself.
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Hey, don't feel too bad. I missed out on a number of them myself, despite my best efforts. Another reason to get a Disney+ account, I suppose - I can finally catch up.
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Yeah, Kratos' words about anger being a tool definitely struck a chord in me. I wasn't overly familiar with Kratos before I saw a playthrough of God Of 4, but I did eventually watch the cutscene "movies" of 1 through 3. And, yeah, I see his point. Inside Out is honestly a goddamn masterpiece. It's all about control or moderation. It's when those emotions run rampant in excess that things go wrong.
Hm... looking through these one at a time... bear with me a moment.
Ah, the original Toy Story.
What makes this one remarkable is that it's a 3D pioneer that's actually a pleasure to watch as a movie in and of itself. Woody's arc, of course, but I've always liked Buzz's transformation too, from delusional Star Wars-knockoff to loyal friend. As weird and kind of trite as Buzz's unexplained "he thinks he's a real spaceman" inclinations are, it's a testament to how committed the staff behind the film were that it works so well, especially Tim Allen's take with a stuck-up but enthusiastic performance. He's simultaneously a figure of pity (because we know he's completely deluded) and admiration (because he clearly strives to be the valiant, helpful hero in his own story). Plus I always liked the theme of trends between his space age background and Woody's more old-timey cowboy schtick. They revisited it to magnificent effect in the second movie, and I'm only saddened they never found a way to extend it during the third.
I think I see where you're coming from about Toy Story not being an outright favourite, though. As much as I like watching it, I've never considered it a personal favourite (though given the competition, that's like complaining 9 is smaller than 10!) even though I'd unfailingly recommend it to others.
I think that word's the reason: personal. Later Pixar movies felt like they could go to some riskier emotional places, and though Woody's arc and Buzz's realization were handled with the right emotion, I think it still errs a bit too safe or impersonal or conventional to match the heights of later films. Even later Toy Story movies felt more emotionally intense: Jessie's song and Pete's speech about Woody's "mortality" cut closer to the bone than Woody's attempt in this one to snap Buzz out of his funk, and do I need to mention the incinerator scene in Toy Story 3?
But still, this film is a class act (give or take some of the jokes). A great entertainment in its own right, and a superb standard-setter for things to come.
Actually, I don't think I'll be doing a lot of these, and certainly not in-depth. I've limited stamina. Besides, some of it would just be me saying "I agree", some of it I haven't figured out in any great depth either, some of it I just don't feel like sharing. But to pick a few...
Aw, I quite liked A Bug's Life. Part of that's my arthropod bias (I like insects and spiders to the point I refuse to kill them if I can help it), but I always liked the variety of the cast, especially the circus bugs (favourite is the touchy ladybug Francis as voiced by Dennis Leary). For the most part, it struck me as an engaging ensemble, special thanks going to the voice actors who breathed life into what could otherwise be a parade of stereotypes.
Hopper is the first unrepentantly vile antagonist in the Pixar canon, and he left a hell of an impact on me (I was particularly struck - years after seeing the film - by a comparison between his attitude towards Princess Atta and the tactics of an emotionally abusive boyfriend, and that's kind of stuck with me since). And I will respect any movie that makes a tiny songbird terrifying.
True, the plot's "just" an odd variation of the Seven Samurai, and it's nowhere near as sophisticated as its later stablemates, but I've always felt this was a fun dark horse in the lineup.
I'm one of the few people who's not particularly gung-ho about The Incredibles, and that's for two major reasons.
Firstly, character: it's more "Mr. Incredible + family", and while his frustrated nostalgia was easy to root for in the early offing, later on he strikes me as erring too close to selfishness for me to fully care about what happens to him. Ultimately, his antics jeopardize his family and end up - if not rewarded, then - vindicated to a degree. I've felt a much stronger, more consistent, and more mature film would have hewed closer to Helen's stance: that the glory days happened, you really can't get them back, and you're better off appreciating the life you've got now. Especially when there's that subtle subplot drawing comparisons between Bob's furtive activities and adultery, his behaviour gets downright uncomfortable.
To be fair, the cast is still pretty damn strong, for the most part. A lot of characters are great: Helen's commitment and "stretching" to keep her family together is the most relatable part of the whole thing for me (closest competition is Violet's insecurities, but she's not particularly focused upon in this film, so points go to Helen).
Frozone's not exactly deep, but he's hilarious and cool (because who's voicing him, after all?), and I've always liked how he's almost comically selfish in the other direction and just doesn't want to save people when he could be bowling. Syndrome is a superb take on supervillainy, a fanboy gone horribly wrong, whose ruthless and cynical view of humanity sits right next to his excited geek persona. And Edna Mode could steal the rest of the movie if she wanted to.
But since Bob Parr's the main focus, a lot of the movie's appeal rests with him, and I just find it hard to root for him with much enthusiasm.
Secondly, theme: there's a heavy influence of middle age nostalgia, where the glory days of young superheroism give way to reality and more domestic family matters. Helen's accepted it, Bob hasn't. That's fair. And Syndrome works into that too: he can't let go of the glory days either, but in his case it's turned into an unscrupulous desire to show he can be cool and relevant despite the adulation of "special power" superheroes, specifically those who disappointed him by not letting him into the club. That's fair too.
My problem is that, past a certain point, the superhero plotting requires that part to weaken: Helen and the family get involved in old-school superhero shenanigans, it becomes a straightforward beat-the-villain plot, and it's implied with the ending the glory days are just back, and somewhere in all that it feels like the domestic angle gets diminished down to a couple of "their problems have now been solved" nods. Compared to the driving force of the first half of the movie, the second half feels weak on that front.
Mind, I'm not saying everything about it is weak: the Omnidroid battle is an amazing blend of spectacle and character moments. Or even bad: Syndrome's fake hero plan is honestly pretty clever as a way of showing how disillusioned he is with real heroes that he thinks a fake hero - who can still outclass real heroes behind the scenes and in the long run - is an improvement. That's especially so, given his initial intentions of joining the special heroes in the first place, and the overall theme of nostalgic glory days being replaced by everyday real life concerns: he wants to take the extraordinary and make it ordinary, because that's how real life progress works.
And it's still good superhero entertainment with some funny and clever action scenes. But to me at least, it feels like the movie stops committing to its strengths as it approaches the obligatory final boss, so I usually come away a mite disappointed.
Up, I understand your reservations, because my initial take on it was largely that too, along the lines of "the best parts are in the early offing, so what's the rest for?"
Even by Pixar standards, it's an oddball: instead of some child-oriented or "child-oriented" theme, like living toys, monsters, superheroes, or talking animals and robots, it's about an old man who's lost his wife and wants to do one last deed as a promise to her memory. That deed happens to be "jungle adventure via balloon house", but it's certainly not a promising start if you consider this family entertainment (even Incredibles, to its credit, sold itself better on that front with the superhero theme, despite the fact it's actually about a midlife crisis). I still liked it, I just felt for a while after initial viewing that I didn't fully get into it.
Then later, someone - sadly, I forget who - compared it to Studio Ghibli, and I felt that's when it really started clicking with me personally.
Firstly, there's the obvious: the theme of flying, and the delight in depicting the house held up by thousands of balloons. Every time I see that house take off for the first time, I get the Ghibli comparison there, because the movie simply shows the surreal imagery of house flight for a few minutes, just so you can gawk at the sight. Personal favourite part is when the balloons cross that child's window, and she notices the colours blur along the walls before she looks out and sees the balloons themselves.
Then there's the oddball inclusions. Studio Ghibli borrowed heavily from Japanese mythology, and for me the first time it might as well have been "weird random stuff". I kind of bounced off Ghibli on the first few goes (Spirited Away, for instance, I struggled with initially), and that was one reason why. But once I got acquainted with the elements of that mythology, some things started making enough sense that I appreciated it the more I watched it. It was similar with Up as well - flying houses, talking dogs, odd birds - but that I'll discuss later.
There's also the fact that, apart from Muntz, the film is surprisingly pretty gentle compared to, say, the mad-dash antics of some children's animated films. Most of what happens is that Carl goes on his own quest and picks up a cast of oddballs along the way, forming a kind of "surrogate family circle".
Considering one of the crueller off-notes in the first ten minutes was when Carl and Ellie realize they can't have children, it's kind of amusing he gets a whole family on this trip: a child (Russell), a pet (Dug), and a colourful, hyperactive weirdo who turns out to be a mother (Kevin). Kevin in particular is interesting because she's a rare bird, an object of obsession, the most efficient protector of the "family" (though Dug tries, bless him), and is the only one who leaves the cast once the adventure is done.
Plus, as a bird fan, I love the way her animation calls to mind several bird species without committing to one species in particular (and doesn't stint on some of their weirder behaviours either, like regurgitation).
Given that, I've always found it interesting how realism and fantasy/delusion crisscross as the movie progresses. Especially when Carl gets his house to the waterfall, only to feel nothing in the accomplishment: the loss of his real "life" with Ellie transforms into a fantasy that making this impossible journey will somehow bring her back, only to be cruelly reminded it's solved nothing and he's throwing away another real "life" just to accomplish it.
What's more ironic is that his new real "life" consists of absurd fantasy characters (a talking dog, for one). But then there's also Russell's implied family problems with his father back at home, which he thinks will be solved if he just gets this final medal. Even Dug has a delusion that completing some great task will solve all his personal problems (in his case, with the rest of the pack).
And Muntz's delusion dominates so much of the second half of the film, to the point I'm saddened that the team behind the film replaced his original haunting ending (lost in the maze, still obsessed with hunting this bird) with the more conventional one (falls down once the house lets go).
I think that decision hints at what might be the film's greater weakness: there's a lot of potential for thematic relevance there, but it's a bit rough and not capitalized upon nearly as much as it should be. (For another instance, Alpha - the villain's second-in-command - doesn't really have any major traits beyond "is mean to Dug and comically serious otherwise"). The fact that I didn't get these connections until well after the initial viewing suggests to me they're not foregrounded as much as they ought to be (or that I'm reading too much into this).
On the other hand, I thought Carl worked extremely well as an unconventional hero in a children's adventure story: he reacts to weird companions and the tribulations of the journey as a curmudgeon would, not as a gee-whizz child would (cough-Russell-cough). Yet he already has the pathos established by the opening ten minutes, so we get why he's a curmudgeon who doesn't put up with other people's nonsense much.
I admit the first ten minutes are, in a sense, too "good" at their job, overshadowing the rest of the movie and making it seem drabber by comparison, but I think that's at least partly intentional: Carl's happier life is a short few minutes of memory that fuel the more annoying and grumpy experiences he has in the here-and-now.
So you're correct that it coasts on the goodwill of the opening - and that is kind of a problem when selling the rest of the movie, but hear me out - because that's Carl's life at this point. He's coasting on the good life he lost, and the rest of the movie's structure is built around that, to the point that the next keystone scene is him going through the adventure book and receiving the twist at the end (namely, that Ellie mellowed over the years, she regarded her life with him as her personal adventure, and Carl should accept the good times and move ahead to find more adventures).
I have to admit, after all that, the film kind of fumbles a bit with the execution - the fact that Kevin is literally the only fantastic element that's actually native to the jungle, whereas the dogs are sort of there as comedic props, bugs me no matter how much I try to rationalize it - and comparing it to the best of Studio Ghibli doesn't do it too many favours either.
But for me at least, it's one of those films that gets better and hits harder every time I watch it again, and it's got enough that works for me to consider it one of Pixar's best.
Also, on a less pretentious note...
Watching Ratatouille, and then "Stranger Than Fan Fiction", makes the latter even more hilarious to me. I now think Quibble Pants moonlights as a food critic.
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I kinda did a wild take when I saw just how many comments had been left on this blog post since last night.
All joking aside, you make a very good point about this movie in several ways. I do really love the balance that they struck, both in writing and in Tim Allen's performance, with Buzz's character: he's hilarious, but there's such a sincere quality to his character that he manages to avoid becoming obnoxious - and that's a very tricky act to pull off! You can laugh at his utterly straightfaced recitation of Star Wars' opening crawl, and yet feel utterly sad for when he sees that commercial and tries to fly... and can't.
I do agree, I think that while it might not hit the same heights as some of its successors, it's still a great introduction or starting point for what Pixar is and what they can accomplish.
5287725
That's all right. I mean, I don't hate the movie in any sense of the word, but the stuff in there that I *do* enjoy (good mention of Francis by the way, I DO like him a lot XD) are few and far enough between that it just doesn't stick the landing for me. The villain is genuinely vile and I do appreciate that... but all the same, when I think of what I enjoy about this movie, it's pretty much the side characters, Francis and the stick bug, and then the bird... and the blooper reel at the end. *shrugs*
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What's peculiar about the film is how it ended up being the shot across the bow between Pixar and Dreamworks, when Antz and A Bug's Life ended up as the first round. (To show my true colours: on balance, I like ABL more, but Antz goes in more interesting directions with its premise, and has that frankly astounding war scene with the termites that's always impressed me with how gruesome it could get).
Biases aside, I understand why a lot of people don't care for ABL much. Even I have to admit it's not a showcase for Pixar's best work. It's a bit too "kiddie" in some respects (simple characters, blander protagonist, no deeper themes, etc.), and doesn't hold a candle to the smarter storytelling and more impressive cast of the Toy Story movies.
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Your perspective on Bob is *very* interesting to me, because it's almost exactly (not quite, and not in as many words, but very similar to) the one that my own mother has in regard to this movie. XD I do get what you're saying - not gonna mince words here, Bob *is* selfish for much of the movie, and I get that uncomfortable aspect of his behavior... but I do think he gets enough of a wakeup call in the airplane attack sequence that works out *reasonably* well enough. ("You keep trying to pick a fight, but I'm just happy you're alive!" on the funny side of that, and then on the serious side, "I can't lose you again!")
I also can kind of understand your point about the plot kind of causing a weakening of the movie's earlier point about nostalgia and the glory days. I suppose I just chalked it up as sort of a "necessary evil" in regard to the course of the story: Syndrome obviously has no intention of ever stopping, so yeah, the earlier character issues kinda have to put on hold to just focus on stopping the giant murder-bot. Not saying it's perfect, mind you, but I can live with it.
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Ah yes, I have heard much about A Bug's Life versus Antz. Never seen the latter, for whatever reason (I don't think I outright considered it a ripoff of ABL, but I was just kinda apathetic to it, I guess?) Does amuse me though to learn about this whole back-and-forth between the two studios, and then it gets really interesting to me when you factor Disney animation itself into the mix as well... remember when people considered Pixar to be THE master of animated movies?
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Oh gosh, that airplane attack sequence. That was amazing, and especially Bob's reaction to it. Now that you've mentioned the scene, I still get goosebumps just remembering the tension when the missiles close in, and when Bob holds Mirage hostage and Syndrome is calling his bluff. As much as I can't fully like Bob, I felt the pain and anger there.
The thing is, I do like the action - it's well-directed adrenaline fuel - and especially the Omnidroid itself. Such a simple, no-nonsense robot design, but I've always loved how efficiently ruthless and malicious it looks, especially with that permanent glowering red* "eye".
* A nice touch here: you can see there are actually three variations of Omnidroid that Bob confronts. The first (which Bob defeats) is v8.0 and has a blue eye, the second (which grabs Bob and lets Syndrome make his appearance) is v9.0 and has an orange eye, and the final boss is v10.0 and has a red eye. You can even see the file for version 8.0 in the scene where Bob's sneaking a look at the Kronos files in Syndrome's lair. It's such great attention to detail!
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It's a hell of a sequence in a ton of ways; they really bring out the full emotion in pretty much everyone there. Bob, Helen, the kids, Mirage... it hits you like a ton of bricks.
Fully agreed. The Omnidroid is one of the best mechanized weapons put to film, animated or otherwise in my opinion. Such a simple yet effective design, and all so eerily efficient at what it does too!
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I kind of forgot about this comment in the shuffle, and I apologize for that, because your answer really made me think about a lot of things. And while I'm sorry to say that I still can't really connect to the final product, the thoughts you expressed and analysis of elements of the movie really did make me look back on it with a bit of a new perspective.
...Though sadly, I have next to no knowledge of anything Studio Ghibli. I did watch Howl's Moving Castle, and Kiki's Delivery Service, but those were literally more than a decade ago.
Perhaps sometime I shall have to give this one a rewatch. It might very well be better on second viewing... especially upon viewing it *without* sitting next to a family member regarding the story with indifference at best and hostility at worst. XD
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To be fair, this is the rambling of someone who had to watch it a few times in order to upgrade an opinion on it. I still don't think it's as well-executed as it should be (for instance, the Kevin-mother connection only struck me recently when I remembered Ellie had a job in the bird section of the zoo). Besides, it wouldn't be the first time an Internet commentator conflated happy coincidence with Deeper and More Meaningful Thematic Relevance.
It's funny to me, at least, that your experience of Up was coloured so, because if there's a Pixar film that tends to get flak for its perceived message, it's The Incredibles.
(Personally, I think it's a case of making too much out of a few minor lines of dialogue, but that's hardly an original observation on my part).
5294419
That's perfectly fair. But even so, it still prompted some legitimate thinking on my end, so for that I say thanks! XD
Ohhh yeah. Boy do I get sick of that hullabaloo. The article series that inspired this whole post really had a hopping comment section when they got to that movie and whether or not it's really Randian propaganda. I just wonder what kind of sad and empty lives these people must live in order to get *that* angry and worked-up over an animated superhero movie. (...Says the guy who writes movie reviews and writes fanfiction about My Little Pony... but even so!)
trivia: Remy and Quibble Pants have the same voice actor