Movie Review: PARANORMAN

PARANORMAN

2012

PG

"Can't you be like other kids your age?"
-- Perry Babcock

ParaNorman is a 2012 animated film directed by Chris Butler and Sam Fell that serves as the latest piece of stop-motion animation to hit the silver screen. The film tells the story of a young boy named Norman Babcock (voiced by Kodi Smit-McPhee) who has the ability to see and speak to the dead. As one can imagine, no one in his small town - including his family - truly believes his seemingly outrageous stories, and as a result, Norman has become a bit of an outcast among his peers. One day, however, his equally-outcast uncle Mr. Prenderghast (voiced by John Goodman) tells Norman that a 300-year-old witch's curse is about to destroy the town, and the boy is the only one who can prevent it from happening. Initially pushing the idea aside, a string of eerie visions leads Norman to believe his uncle. With the (reluctant) help of his only friend Neil (voiced by Tucker Albrizzi), his sister Courtney (voiced by Anna Kendrick), Neil's brother Mitch (voiced by Casey Affleck) and a local bully named Alvin (voiced by Christopher Mintz-Plasse), Norman sets out to save the town from the evil about to come upon it.

As many of my readers will know, I've been eagerly awaiting the arrival of August 17, 2012 for the two major films being released. Some of you may have seen my quick review of The Expendables 2 on the affiliated Facebook page yesterday, and now I've had the chance to see ParaNorman, for which I was more excited. Always a fan of stop-motion animation, the concepts behind this particular film seemed incredibly attractive, and I've almost been counting down the days until I could see just what directors Butler and Fell could bring forth.

I have to start by talking about the stop-motion animation. Being such a big fan of the medium, I have to say that I was utterly blown away by just what ParaNorman had to offer. I've seen plenty of great pieces of work from past stop-motion films, but ParaNorman seems to take this one to a new level. I can't quite put my finger on exactly what makes this film stand apart, but I do think that there are little nuances here and there that just make this world seem just a bit more real. There were times that I was left open-mouthed by the beauty of the film, and for that alone, it needs to be applauded.

Luckily for the audience, we're also getting a stellar screenplay that brings a off-beat type of charm to the film. From the very outset, we learn of Norman's spectacular ability see and communicate with those who have passed on. At the same time, we also learn of the struggle Norman must face as a result of his gift, and it immediately gave me the opportunity to relate to the character. From there, we jump right into the action, learning of the witch's curse and Norman's ability to stop it. We meet a number of wonderfully fleshed-out characters who help or hinder Norman along the way. At the same time, we're listening to a perfectly-scripted set of dialogue for each individual character, each of whom brings a little bit more to the overall scheme. And at the end of the day, the film manages to bring itself full circle, touching on the concepts of bullying and evil in the real world. It's a truly well-done piece of work by director Butler, who also penned the script.

While we're on the subject of the characters, I have to say that the vocal cast did a splendid job in bringing these characters to life. Smit-McPhee is great in the central role, and it's easy to fall in love with the character from the very start. I thought Albrizzi and Kendrick offered two of the better roles in the film, and I think Mintz-Plasse deserves a lot of credit as well. Also be on the listen for Leslie Mann and Jeff Garlin as Norman's parents; each of them does quite well with their respective roles.

Where ParaNorman truly succeeds is in its tone and its blending of genre. As an animated film, a film-goer will most likely assume it's going to be a comedy that's branded for children. That's not entirely the case with this particular film. Like past stop-motion ventures like 2005's Corpse Bride and 2009's Coraline, there's a bit of darkness revolving around ParaNorman. While there is quite a bit of comedy - both in dialogue and in slapstick form - throughout the film, we also have a bit of horror and suspense for the avid horror fans. There were a few moments where the tenseness of the film truly felt palpable, and I don't think I've ever had that feeling in an animated film before. I have to give a lot of credit to the entire cast and crew for bringing forth a film that pushes the boundaries of the animation genre. Parents should just beware that this one might not be for the very little ones.

At the end of the day, ParaNorman is a great film that deserves to be mentioned as one of the better stop-motion ventures in cinematic history. As I read some other critical reviews of the film, I stumbled across this particular snippet from Washington Post writer Sean O'Connell, and I thought I'd share:

[ParaNorman is] A colorfully macabre stop-motion animation comedy that embraces the sociopolitical allegories of George A. Romero's zombie pictures and reworks them into a feature-length episode of "Scooby-Doo."

Needless to say, I couldn't agree more, and that's what makes this film so darn enjoyable.

Movie Review Summary

Grade: A-

Status: Should See

Movie Review: BRAVE

BRAVE

2012

PG

"If you had a chance to change your fate, would you?"

-- Princess Merida

Brave is a 2012 animated film directed by Brenda Chapman and Mark Andrews that serves as the thirteenth feature film for animation studio Pixar. The film tells a story set in feudal Scotland that centers around a young princess named Merida (voiced by Kelly Macdonald). As a child, her father Fergus (voiced by Billy Connolly) gave her a bow and arrow as a gift, and it helped to instill a sense of adventure in her spirit. As she grows older, however, Merida's mother Elinor (voiced by Emma Thompson) tries to craft her into a lady worthy of being married off to one of the neighboring clans' first-born sons. Merida does not take kindly to this particular tradition, wanting only to be the master of her own fate. After a failed attempt at choosing her eligible suitor, Merida strikes out into the wilderness on her own, searching for the path that will lead her to a life of freedom from her overbearing mother. What Merida finds in those woods, however, may lead to a darkness unlike anything she could have ever imagined.

As with most of the people I know personally, I always eagerly await the next big Pixar production, and my anticipation for Brave was no different. I first saw the teaser trailer for the film sometime last year, and I was immediately blown away by the visual aspect of the film. Add the fact that Pixar was finally delving into the story of a female protagonist for the first time in its feature film history. It looked as though Pixar was going to rebound from its critical failure in Cars 2 (which I liked, if you may recall). Everything seemed set up for Brave to be an astounding success.

Then the initial reviews started to pour in. As of this moment, the film currently holds a seventy-three percent approval rating on Rottentomatoes.com, which is still considered a very good film. However, when you compare that to the rest of the Pixar canon, it seems a tad bit off-putting. I mean, the Toy Story films have received either perfect or near-perfect scores on the same website, and even some of the lesser Pixar ventures have fared better than that. Still, there's a many critics who have yet to see Brave, so maybe that's just the early viewers being a little too tough on the film. I mean, that makes sense, right? This particular critic says: Maybe.

Brave definitely offers quite a few things to enjoy. The first thing you're going to notice is just how beautifully-crafted the animators managed to make the visuals. In some ways, it's the most beautifully-animated Pixar film - and perhaps animated film overall - to date, and for that, it should be applauded. The work done with Merida, from her lifelike facial expressions to her wild curly hair, is utterly fantastic, and she may be the most realistic animated human character ever crafted. In addition, we're seeing quite a few beautiful locales that are so well-created that we may as well be seeing animated characters placed onto real-life camera shots. While I still think some of the visuals from 2008's WALL-E manage to take the cake, there's quite a bit to say about the work done here. Kudos, Pixar animators.

We're also getting a very strong vocal cast to bring forth these interesting characters. The meat of the character development belongs both to Merida and Elinor, and I personally thought that Macdonald and Thompson brought the best pieces to the film. The rest of the cast - which is mostly male, with one or two women popping up now and then - and they're all portrayed in an almost caricature-like fashion. So is it a coincidence that the Merida and Elinor are also the most realistic-looking and best-animated? I think not. It's a subtle hint to the viewer that we should be taking these women seriously while we can laugh at the men as they bumble about trying to bash each other's heads in. Still, the vocal work for the men proves entertaining. I'm a big fan of Billy Connolly's, and I thought he did well with his character. Also be on the listen for the likes of Robbie Coltrane, Craig Ferguson and the ever-present John Ratzenberger.

We also get a rather splendid musical score to accentuate the film. Patrick Doyle does well with crafting a score that's both adventurous and whimsical, and it fits the film to a tee. Interspersed with the orchestral segments are a number of songs that seemed, at least to me, a tad bit off-putting, but they still manage to capture and maintain the spirit of the film. Here's a snippet of the score for your listening pleasure:

And yet, despite all of this goodness, Brave does have a bit of a downfall, and it's not really where you'd expect it to happen. While Pixar has always been at the forefront of crafting beautifully-animated treats for their audiences, they've also been able to augment these visuals with astounding screenplays that manage to captivate and move their audiences towards whatever emotions they deem fit. Therein lies the problem with Brave. It almost feels as though we have an incomplete screenplay that doesn't necessarily punch home its message. While the story manages to be a good one, it definitely falls into predictability and rote rhetoric, and that's not something that audiences want to see, nor do they expect it from a studio like Pixar. It just didn't feel like the writers managed to figure out that one last emotional punch, and instead, we're left feeling almost a little bit empty. But it's empty in a good way, I suppose. There are still quite a few laughs to be had, and the story is easy to follow. Maybe we're all just so inundated with Pixar's brilliance that it's difficult to understand that the filmmakers are only human and we're going to hit a rocky patch eventually. It's just sad to see that it happened with a film that had so much promise.

All that being said, Brave was a solid film and definitely a step up from last year's Cars 2. Did it fail to meet everyone's expectations? Perhaps, but it's still head-and-shoulders over most animated fare being released out there nowadays. It's fantastic that Pixar finally took the leap and created a female-centric film, but I just think that they could've done Merida a little more justice than they did. If you're looking for a fanciful animated film like this that manages to impress on nearly every level, I strongly suggest taking a look at 2009's The Secret of Kells, which managed to blow me away. But Brave is still a great film that's worthy of your attention. Just don't expect it to leave a lasting mark in the way that Toy Story, WALL-E or Up did.

Movie Review Summary

Grade: B+

Should You See It? Yes

Movie Review: SONG OF THE SOUTH

SONG OF THE SOUTH

1946

G

"Johnny didn't mean no harm. He was just tryin' to be like Br'er Rabbit."

-- Uncle Remus

Song of the South is a 1946 Disney film directed by Harve Foster and Wilfred Jackson that blends live action with traditional animation. It tells the story of a young boy named Johnny (Bobby Driscoll) who thinks he's going on vacation to his grandmother's plantation. Once his family arrives, however, he learns that only he and his mother Sally (Ruth Warrick) are staying while his father (Erik Rolf) must return to Atlanta for work. Distraught by his father's sudden departure, Johnny decides to run away and make his way back home to Atlanta. As he tries to leave the plantation, however, he stumbles across an elderly African-American gentleman named Uncle Remus (James Baskett), who is known by all for his comical but enlightening tales. He begins to tell Johnny stories about a time long ago, when real folks and "critters" lived in harmony. Through these stories, Johnny starts to learn valuable life lessons, but his mother isn't terribly keen about Uncle Remus filling Johnny's head with these fanciful stories, beneficial as they may seem.

For years and years, Song of the South has been the seeming black mark on the face of Disney films. Although they've had their share of so-so films in the past, there has been nothing to measure up to the controversy surrounding this particular film. The negative publicity towards Song of the South has reached such an uproar that Disney has refused to release the film on any type of home viewing medium since the film was re-released in theaters in 1986. Since that time, it has been nearly impossible to find any copy of the film (although, sources have informed me that DVD copies of the film are available for purchase in England and Japan; I cannot, however, prove these rumors to be true). In today's day and age, most people's most direct contact with the Song of the South story matter comes from the log flume attraction Splash Mountain, located at Disneyland in Anaheim, California, the Magic Kingdom in Orlando, Florida, and Tokyo Disneyland in Japan. For years, I've wanted to see Song of the South to see just how terribly controversial it might be, and today proved to be the opportunity I had always wanted. So let's talk about it, shall we?

The first thing I want to say is this: I loved Song of the South. While I have always been and will always be a bit of a Disney fanatic and shame-lacking apologist, I do have to admit I am a bit biased; however, I do have to say that the film proved to be both entertaining and visually beautiful. I will discuss my opinions about the controversial aspects of this film, but I want to talk about its merits first, if you don't mind.

I think it's best to start with the technical aspects of this film. As one of the first major motion pictures to feature both live-action film and animation, Song of the South can easily be considered groundbreaking. Since this time, the use of both animation and live-action has been utilized on a number of occasions, ranging from tiny snippets here and there to films full-blown with the blend such as 1988's Who Framed Roger Rabbit. However, I do have to say that, despite its old age and early technology, Song of the South provides some of the most seamless animation and live-action blending I've ever seen. On three separate occasions, we delve into a world of animation in which Uncle Remus often times enters himself, and this effect alone is worth praise. However, I was most blown away by the film's finale, in which a number of the animated characters come to life in the live-action sequences. It's so well-done that it'll have you believing they just shot it that way and happened to have some very colorful critters bouncing around on that sunny day. So, kudos to the animators who helped bring this film to life.

The film's screenplay also manages to offer quite a bit of delight. It's a simple tale about a boy struggling with the idea of an absent father, and in his stead, he finds a mentor and friend in Uncle Remus, who proceeds to tell him a number of fanciful stories that are meant both to entertain and to teach. Where the screenplay succeeds, however, is in taking these stories and bringing them into Johnny's everyday life. We as the audience see him learn and adapt his behavior based off these tales, and it's these parallels that bring the screenplay from a "good" one to a "great" one.

The acting in the film is also relatively good, considering the type of film we're receiving. Baskett is great as Uncle Remus, sticking with the character from start to finish (Fun Fact: Baskett also provides the vocal performance for the clever Br'er Fox in his stories). Driscoll is serviceable as our leading child actor, although I can see where some viewers might get a little annoyed by him. The rest of the cast fills out nicely, and it's nice to see Hattie McDaniel, even if she's in a limited role.

One of the best things about the film is the music. It's billed as a musical, so Song of the South has to deliver on that particular front, and it certainly does not disappoint. Now, everybody knows the song "Zip-a-Dee-Doo-Dah," but many won't know that it actually took home the Oscar statuette for Best Original Song in 1947. And fans of the Splash Mountain attractions will recognize songs like "How Do You Do?" and "Everybody's Got a Laughing Place." All in all, the soundtrack proves to be fantastic, and all the songs are catchy and are sure to put a smile on your face.

And now, for the controversy. Opponents of this film have often claimed that Song of the South portrays a prejudiced view of African-Americans. The film takes place in the South during a time when slavery was still legal, so it is safe to assume that each of the black actors in the film is, in fact, a slave on the plantation. At times, this can be difficult to remember because of the relationship between the white and the black characters. In nearly every other film that deals with the subject of slavery in the United States, we see a bigoted Caucasian family hatefully driving work from their African-American slaves, all the while standing high above them. Song of the South instead offers a tale where the two races seemingly stand on equal footing, with everyone generally getting along. And that's where some of the controversy has started. Even in 1946, when the film was first released, these ideas were brought to the forefront. One of the heads of the NAACP at the time wrote that the film "unfortunately gives the impression of an idyllic master-slave relationship which is a distortion of the facts." In addition, it has often been claimed that the performances by the black actors are incredibly stereotypical, and for this, the film has been often criticized.

I stand here now to tell you two things: first, I agree with all of the racial issues I have just mentioned, and second, I'm not sure any of it is really that much of a problem. While I can plainly see where the issues might arise, I think that all of this film's opponents are reaching a tad too far into their over-analysis of the film. Yes, there are definitely some stereotypes tossed around here and there, but I think the fact that Disney took the chance to put the African-American characters on equal footing with the white characters is quite a testament in and of itself. For a film to do that in the 1940s is entirely unheard of, and I think that Disney should be commended for the effort. Disney films have always tried to create ideal cinematic worlds, so why shouldn't one of their first major forays into the live-action genre do the same? There's never a sense of hatred or bigotry in the story's telling, so the fact that so many people read that into the story is a terrible notion. The fact that it's been done so much that Disney simply will not release the film is a tragedy.

At the end of the day, Song of the South is a beautifully-crafted film that proves to be entertaining and engaging. While the stigmas of the controversy are sure to swirl around this film until the end of time, I honestly don't think that it's as bad as all the critics make it out to be. I think there's a lot of fun to be had with this film, and if you can find yourself a copy, do yourself a favor and give it a view.

Movie Review Summary

Grade: B+

Should You Watch It? Yes

Movie Review: THE PIRATES! BAND OF MISFITS

THE PIRATES: BAND OF MISFITS

PG

2012

"Avast! I'm a pirate captain, and I'm here for your gold!"

-- Pirate Captain

The Pirates! Band of Misfits is a 2012 stop-motion animation film directed by Jeff Newitt & Peter Lord. The film tells the story of the bumbling Pirate Captain (voiced by Hugh Grant) who has led his crew on many adventures but has somehow managed to steal absolutely no booty. As the annual "Pirate of the Year" awards descend upon the seas, the Pirate Captain desperately attempts to find a way to win the award for the first time. He has quite a bit of competition from some of the best captains on the seven seas, but his crew is determined to help him bring home the trophy. After a string of unsuccessful attempts at plundering, the crew meets a scientist named Charles Darwin (voiced by David Tennant) who identifies the crew's parrot Polly as actually being a dodo, which the world thought to be extinct. He informs the crew that a scientists' convention might pay handsomely for such a find, so the Pirate Captain makes sail for London, knowing full well that the pirate-hating Queen Victoria (voiced by Imelda Staunton) may lay in wait.

Those of you who have been reading my reviews for quite a while will know that I'm a bit of a fan of Disney's Pirates of the Caribbean franchise, and those films got me interested in the idea of pirate movies altogether. So, when I heard about an upcoming animated film featuring a ragtag group of pirates sailing for adventure, you can be sure that I was terribly excited to see it. The Pirates! Band of Misfits even managed to pull the number five spot on my ten most anticipated films of 2012. That's saying quite a bit. And so, I impatiently awaited my opportunity to see the film, which has finally come.

I have to say that I feel a little letdown by the film, which didn't necessarily prove to be as funny as I thought it could be. Although there are plenty of moments where the film offers a smile or a chuckle, I was honestly hoping for something a little bit stronger. The film has been well-received by most critics, and it currently holds an eighty-six percent approval rating on Rottentomatoes.com. That's strong, I suppose. I mean, I did find the film utterly entertaining, and it definitely kept my interest from start to finish. Some of the jokes and gags were incredibly inventive and intelligent. They help keep the story moving along nicely, and for that, the screenplay should be commended. There just isn't a ton of depth to the storyline and the dialogue, and that itself is a bit of a knock against the screenplay. It's entertaining, but there was definitely room for improvement.

Luckily, we as the audience are getting a rather strong vocal cast for the film. Grant plays the Pirate Captain fantastically, bringing quite a bit of emotion to the character that could have easily fallen into typical caricature. I also thought that Tennant and Staunton did well. We're also getting a number of smaller vocal performances from some big-time actors. Be on the listen for the likes of Martin Freeman, Salma Hayek, Anton Yelchin, Brendan Gleeson and a slightly misplaced Jeremy Piven. But this is definitely Grant's effort, and it's a very strong effort and worth enjoying.

I do have to commend the animation crew for crafting some of the best stop-motion animation I've ever seen in a film. We're starting to see a resurgence in the stop-motion field, and I think each subsequent film will provide a little more of a piece to the puzzle, and it starts here with The Pirates! Band of Misfits. It's a visually beautiful film, and for that reason alone, it's worth watching.

At the end of the day, The Pirates! Band of Misfits is a fun film that's good for a chuckle and a few laughs, and the animation itself is astoundingly beautiful. Still, the film as a whole feels just a little bit flat, and although you'll be smiling at film's end, I'd challenge any viewer to try to remember the film a week from now. It just doesn't have that retaining factor to bring it into the upper echelon of animated films.

Movie Review Summary

Grade: B

Should You Watch It? Yes

Movie Review: THE ADVENTURES OF TINTIN

THE ADVENTURES OF TINTIN

2011
PG


"You care about something, you fight for it. You hit a wall, you push through it. There's something you need to know about failure, Tintin. You can never let it defeat you."
-- Captain Haddock

The Adventures of Tintin is a 2011 animated adventure film directed by Steven Spielberg that utilizes motion capture technology. After purchasing a model of a history-laden ship called the Unicorn, well-known reporter Tintin (voiced by Jamie Bell) learns that the demand for the model is rather high. He starts to search for the story behind the ship, but he soon finds himself wrapped up in a more nefarious plot. Tintin is kidnapped by a man named Sakharine (voiced by Daniel Craig), who plans to find the secret behind the story of the Unicorn, which is only held by a descendant of the ship's captain, Sir Francis Haddock. Fortunately for Sakharine, he has found the last remaining member of the Haddock lineage, Captain Haddock (voiced by Andy Serkis), and plans to use him to find the answer he seeks. Wanting to learn the truth before Sakharine, Tintin teams with Haddock to keep Sakharine from finding the secret of the Unicorn, chasing him to the ends of the earth in order to stop him.

When I first heard about this film, I recognized the Tintin namesake despite having not been at all familiar with the original Belgian comic books. The biggest reason behind my desire to see the film was the collaboration between Hollywood legends Spielberg and Peter Jackson, as well as the fact that this would serve as the former's first animated feature film. Jackson, having been well-versed with the concept of motion capture, surely helped ease Spielberg into the filming technique. Their teamwork made this an almost must-see for me, but as with any movie, it had to be seen to be potentially enjoyed. It earned generally favorable reviews - it currently holds a 75% approval rating on Rottentomatoes.com - but it hasn't had the overwhelming success I thought it might. And after having watched it, I think it should easily have those rave reviews.

I want to start with the animation, which was stunningly beautiful. I've heard a couple of critics knock the motion-capture style that Tintin uses, citing that it takes away from the even-handed style of cartooning that the original comic books pioneered. While this style is referenced by a joke early in the film, I still think that the animation in this film does quite a bit of justice. It gave the filmmakers quite a wide range with which to work. But there's something absolutely beautiful about this film's animation. Aside from the motion-capture techniques used to create Gollum in the Lord of the Rings franchise, I personally think this is the best I've ever seen motion capture work. It's utterly stunning. I can't even begin to describe it.

I'm a little torn about how to talk about the acting in the film. Because the performances are technically motion capture performances, we do have the actors giving the live performances in front of a camera. It's only after the filming is done that the animation is laid over their acting. The Internet Movie Database (IMDb) claims that the performances are vocal ones, and seeing as the actual actors aren't really seen on-screen, I suppose that's how they have to be reviewed. In that sense, the vocal acting is simply stunning. Bell is great, but I think that Serkis and Craig deserve a lot of mention. We also get some comic relief from the likes of Simon Pegg and Nick Frost.

The real shining moment of this film, however, is in its screenplay. Spielberg steals a page from his own playbook by bringing us a very Raiders of the Lost Ark-esque film, and it plays out almost as wonderfully. The story's scope is enormous, and the action and adventure run non-stop from start to finish. At the same time, however, we're getting a lot of comedy along the way, just like in the Indiana Jones franchise of old. I also thought the characters were written incredibly well, even if some of their relationships - mostly the one between Tintin and Haddock - echoed some former relationships from the Indy franchise (i.e., Indiana and Henry Jones Sr.). The story also offers just the right amount of twists and turns, and it's enough to keep the audience guessing until the very last scene. The screenwriters did a fantastic job with this one.

I also want to applaud the film's musical score, which was composed by the always-great John Williams. Last year, I heard Williams comment that his score for this film would be just as iconic as the scores he composed for Jaws and Star Wars, and although this one will probably never reach that particular echelon, I do have to say that it proved to be fantastic and fit the film's tone incredibly well. Here's a snippet for your listening pleasure:

At the end of the day, The Adventures of Tintin met and surpassed my every expectation. I have to say that I think Spielberg and Jackson have made quite the combination and have produced a fantastic film, and I wouldn't be surprised were they to collaborate again and craft a sequel to this one. They've left the possibility open, so if this film's success can translate to box office gross, then we should be seeing another Tintin adventure somewhere on the distant horizon. If you haven't had a chance to see this film, I think you need to do yourself a favor and get a theater as quickly as possible.

Movie Review Summary
Grade: A
2 Thumbs Up

Movie Review: WINNIE THE POOH

WINNIE THE POOH

2011
G


"Oh, Pooh, you went back for the honey, didn't you?"
-- Piglet

Winnie the Pooh is a 2011 animated film directed by Don Hall and Stephen J. Anderson that offers a new tale in the Hundred Acres Wood. Our narrator (voiced by John Cleese) starts our tale by telling the audience of morning where Winnie the Pooh (voiced by Jim Cummings) had something important to do. He starts to go about his day in the hopes of finding what he's supposed to do, but he happens to stumble upon his friend Eeyore (voiced by Bud Luckey), who has lost his tail. Distraught, Pooh asks his friend Christopher Robin (voiced by Jack Boulter) for help, and he suggests a contest to see who can give Eeyore the best new tail. Every one of their friends, from Piglet (voiced by Travis Oates) and Owl (voiced by Craig Ferguson) to Kanga (voiced by Kristen Anderson-Lopez) and Roo (voiced by Wyatt Dean Hall), helps out, but in the process, the group comes to believe that Christopher Robin has been kidnapped by a terrible beast called the "backson." Led by Tigger (voiced by Cummings) and Rabbit (voiced by Tom Kenny) in an attempt to find their friend, they set a trap for this horrible monster and wait for it to be tricked.

I was moderately excited when this film was released last summer, and I wasn't at all shocked at how well-received it was with the critical community, and it's critical success was equivalent to the success that the 1977 film, The Many Adventures of Winnie the Pooh, received during its theatrical run. While the film from the 1970s featured three shorter vignettes, this film manages to interweave the stories and create one continuous and connected narrative that plays out rather nicely.

One of the film's stronger points is its screenplay. While on the one hand it's offering something terribly simple and easy-to-understand for the childhood audience, we're actually getting a few little quips here and there for the adult crowd. You have to imagine that the screenwriters understood that parents would be taking their kids to see this one, so they wanted to give them a little something to enjoy as well. But there's something so brutally innocent about the story and the characters that makes it all wonderfully charming. It's difficult to find a movie - even an animated kid's movie - in today's society that knows how to be completely innocent and carefree, but Winnie the Pooh has succeeded in doing just that, and it has its storyline and screenplay to thank.

I could probably talk about the vocal acting in the film, but there really isn't that much to say. The base characters have been crafted and created in the past, so it was up to the performers to mimic as best they could, and I thought they all did splendidly. I do think, however, that Cleese was the perfect choice to play the film's narrator.

We're also getting a rather stellar soundtrack, much of which is crafted by the multi-talented Zooey Deschanel. I had known that she was working on the film for quite some time, but I didn't quite know just how much she'd actually be doing with the movie. However, her voice is heard rather often throughout the flick, and it's a rather pleasant surprise, to be sure. From the film's opening sequence with the oh-so-familiar theme, she makes her presence known, and I couldn't be happier that she found a way into this film. Here's her biggest song on the soundtrack, which plays during the end credits:

At the end of the day, I have to be honest: I couldn't watch this movie without a huge, ridiculous grin across my face. I was smiling from ear to ear from start to finish, and I could probably go back and watch it again right now and smile and laugh just as much. This is high-class animated cinema at its finest, and I can only wish that studios were making films this brilliantly innocent more often. And yet, a part of me doesn't because that allows Winnie the Pooh to remain the gem that it is. I'll leave you with the critical consensus for the film from Rottentomatoes.com, where it holds a 91% approval rating:

Short, nostalgic, and gently whimsical, Winnie the Pooh offers young audiences - and their parents - a sweetly traditional family treat.

Movie Review Summary
Grade: A-
2 Thumbs Up

Movie Review: ARTHUR CHRISTMAS

ARTHUR CHRISTMAS

2011
PG


"Dear Santa, are you real? If you live at the North Pole, how come I can't see you house when I look on Google Earth?"
-- Gwen

Arthur Christmas is a 2011 animated comedy directed by Barry Cook and Sarah Smith that offers a rather original holiday story. With the world so overly-populated in today's society, the current Santa Claus (voiced by Jim Broadbent) utilizes some new technological advances in order to make his annual trip around the world delivering gifts. With the help of his eldest son Steve (voiced by Hugh Laurie), the two circumnavigate the globe in their massive command aircraft and deliver two billion presents; however, it is soon discovered that one child was missed. When this comes to the attention of Santa's younger son Arthur (voiced by James McAvoy), who has been relegated to writing return letters to the children who wrote to Santa, he feels the need to return the gift despite his father and brother's lackluster desire to do the same. So, with the help of his Grandsanta (voiced by Bill Nighy), Arthur takes the old sleigh on a trek to England to deliver the final gift of the Christmas season.

I first started hearing about Arthur Christmas around last year's holiday season, and because it was so close to Christmas 2010, I thought it might be getting ready for a late 2010 release. However, the film was still under production at that point, and it wasn't until summer 2011 that we got a teaser trailer to see what this film might be about. I knew that the film would be British-centric considering the caliber of acting star-power lending their vocal talents, but aside from that, I wasn't entirely sure what to expect until a legitimate trailer (posted at the end of this review) was released. Early reviews posited that the film should be a smash success, so it was only a matter of time until I was able to give the film a viewing.

I have to say that I was pleasantly surprised with the final product presented in Arthur Christmas. We're getting a rather splendid screenplay that gives a completely different view of Santa than we've seen in films past. While Santa himself is an older, bumbling man, he relies heavily on his son Steve who is the real brains behind their high-tech operation. The film's opening sequence, which illustrates how this Santa delivers gifts to children in today's modern society, is quite a sight to behold, and it has both an action-y and comedic feel. It isn't until after the opening salvo that we actually meet our titular character and start to learn about his personality. After the successful Christmas mission, we learn that one child has been left present-less, and when Arthur and his Grandsanta decide to embark on their own mission to deliver that gift, the screenplay becomes even greater. The rest of the film serves as a clash between the old and the new, showing both the pros and cons of each point of view. The final scenes of the film, however, show that all the bickering and arguing over who's method works more effectively is ultimately a moot point in light of the true spirit of Christmas. This screenplay brings comedy, adventure and a healthy heaping of heart, and it works exceptionally well from start to finish.

As I previously mentioned, we're getting some high-caliber acting power bringing the vocal work this time around, and everyone is pretty much on their A-game. McAvoy is fantastic as our lead, playing the clumsy worrywart Arthur to a tee. In complete contrast, Laurie brings a headstrong and confident Steve to the screen, offering quite the foil for our central protagonist. Also offering a strong performance is Ashley Jensen, who plays the gift-wrapping elf Bryony who aides Arthur and Grandsanta in their insane endeavor. Also be on the listen for Imelda Staunton, who does well as Mrs. Claus. Overall, the vocal talent is simply fantastic and fits the film quite well.

At the end of the day, Arthur Christmas is a well-made animated film that's sure to delight audiences this holiday season. I'm sure you'll still be able to find it in a theater near you, and if you haven't given it a chance, you just might want to do so. And if you're in the mood for some new Christmas fare, then this one's right up your alley. I can assure you that you haven't seen anything quite like it before.

Movie Review Summary
Grade: A-
2 Thumbs Up

Movie Review: A CHARLIE BROWN CHRISTMAS

A CHARLIE BROWN CHRISTMAS

1965
G


"I know nobody likes me. Why do we have to have a holiday season to emphasize it?"
-- Charlie Brown

A Charlie Brown Christmas is a 1965 animated TV special directed by Bill Melendez and written by Charles Schultz that serves as one of the longest-running television specials in American history. The story starts with Charlie Brown (voiced by Peter Robbins) telling his best friend Linus (voiced by Christopher Shea) about his disdain towards the Christmas season. Even though he understands the idea of getting and giving presents each year, he still says he feels down and depressed come each Christmas. After consulting Linus's sister Lucy (voiced by Tracy Stratford), she offers Charlie Brown the opportunity to direct their Christmas play. When he attempts to do so, however, he has difficulty getting the other kids to listen to him, so Lucy sends him to find a Christmas tree for the play. The one he chooses is the only real tree he can find, but it happens to be a sad little tree that loses pine needles every time he touches it. Obviously incensed at his decision, the other kids get angry, forcing Charlie Brown out of the theater. However, he decides that he is going to make this tree beautiful, despite everything they say.

Now I know that this is by no means a feature-length film (it's run-time currently sits somewhere between twenty-five and thirty-two minutes, depending on which version you're able to find), but I have been known to review short films from time to time (see: The Black Mamba). When special circumstances arise, I will generally review any type of film, and considering this is the holiday season, I figured there was no way I could possibly leave A Charlie Brown Christmas off my review slate. It's such a classic holiday fixture that you'd probably be hard-pressed to find someone who both hadn't seen the special nor even heard of its existence.

As is the case with every Peanuts special, we're getting our same basic slew of characters, and they don't really divert themselves from their normal personalities. Charlie Brown is still the down-on-his-luck leading character with whom every audience can seemingly relate. His buddy Linus represents the child in every adult, especially in this particular special (more on that in a moment). Lucy is still bossy, Schroeder (voiced by Chris Doran) still plays the piano, and Snoopy (voiced by Melendez) still does whatever he wants to do. So in that respect, there's not all that much different from other Peanuts specials.

What sets this one apart is the rather spectacular screenplay we're receiving. The entire storyline revolves around Charlie Brown's negative attitude towards the commercial aspect of Christmas. All throughout the first half of the story, we see him scoffing in disgust whenever a monetary want or desire comes to the surface (i.e., Snoopy's attempt to decorate his doghouse; Sally's fixation on the presents she wants to receive). It seems so ingrained into the culture that Charlie Brown doesn't really know how to handle himself. And so, when he's given the chance to direct the play, he elects to find the true spirit of Christmas and convey that through his performance.

The anti-commercialism message is a good one, and it's probably one that we need to hear, especially in today's economic state here in the United States. As we've seen in some of the other films I've reviewed - most glaringly, 2007's What Would Jesus Buy? - the commercial aspect of the Christmas holiday is starting to overshadow the holiday itself. Because of this, it's nice to see a long-running television special that still reminds its audience of the true meaning and spirit of Christmas.

I'd also like to make a quick mention of this special's soundtrack, which was performed by the Vince Guaraldi Trio. The soundtrack takes the classic Peanuts music and meshes it with holiday classics, and although we've heard all these songs before, there's something rather perfect about the way the Trio performs them. They fit seamlessly into this film, and the soundtrack easily proves to be one of my personal favorite holiday soundtracks.

All that being said, I honestly think you should take the time to watch A Charlie Brown Christmas. I'm sure it'll be playing a few more times before Christmas reaches us, so tune into your local TV stations and find out when it'll be playing near you. It's a holiday classic for the ages, and everyone in the family should give it a watch.

Movie Review: THE NIGHTMARE BEFORE CHRISTMAS

THE NIGHTMARE BEFORE CHRISTMAS

1993
PG


"Are you a gambling man, Santa?"
-- Oogie Boogie

The Nightmare Before Christmas is a 1993 animated film directed by Henry Selick and produced by Tim Burton. It tells the story of when holidays collide, clashing the haunted holiday of Halloween with the joy and peace-ridden holiday of Christmas. In the ancient holiday world of Halloweentown, there lives the Jack Skellington (voiced by Chris Sarandon, sung by Danny Elfman) who has become tired of his age-old holiday. As he ventures into the wilderness, he stumbles upon the portals to the other holiday worlds and soon finds himself in Christmastown. Seeing the beauty of the land, he decides to bring some Christmas cheer back to his own town, telling the townsfolk that they are going to take over Christmas this year. They start to prepare their own creepy versions of gifts for all the boys and girls, and they even go as far as to steal the horrible "Sandy Claws" (voiced by Edward Ivory) to keep him from ruining their plans. Unfortunately, Santa is delivered to the incredibly evil Oogie Boogie (voiced by Ken Page), who hopes to make a ruckus of his own.

I was five years old when this film first hit theaters back in 1993, and my earliest memory of the movie was how terrified I was of the trailers I saw in the months leading up to its release. As a young child, the images of terrifying presents on Christmas morning scared me beyond belief. It scared me so badly that I never actually saw the film until a few years ago. And from the moment I first saw the film, I can honestly say that it's one of the most brilliant animated films I've had the pleasure to see in my lifetime.

Let's start with the screenplay. If you're looking for an original story, this one's about as original as they come. Essentially, the monsters from Halloweentown attempt to steal Christmas from the inhabitants of Christmastown in order to add their own dash of holiday cheer. In the time that they spend preparing for the Christmas holiday, the film goes through nearly every Christmas cliché you can possibly imagine and turns it on its ear. Even the film's title is a play on an age-old Christmas tradition: the story "'Twas the Night Before Christmas." At the same time, we're getting a sub-plot of a love story between Jack and a "woman" named Sally (voiced by Catherine O'Hara) as well as a continued predicament with the aforementioned villain, Oogie Boogie, who ranks as one of my all-time favorite cinematic villains. The blending of these intertwining stories puts this screenplay above and beyond your average Christmas, or even your average animated, film.

Our voice acting is also above par, and while no one's truly standing out from the rest, I think part of that has to do with the fact that each and every character's voice fits them so perfectly that there's no one who could truly stand above the rest. Obviously, the collaboration between Sarandon and Elfman to bring Jack to life is simply astounding, but we're also getting some fantastic voice work from the likes of Page and William Hickey, who voices Dr. Finklestein, who plays an integral part of the story.

I think what's truly great about The Nightmare Before Christmas, however, are some of its intangibles. For example, the stop-motion animation is top-notch, and I'd argue that stop-motion wasn't used as effectively again until 2009's Coraline, which was also a Selick/Burton collaboration. The special effects are so good in this film that the earned it an Academy Award nomination in that category (it ultimately lost to Jurassic Park). So if you're not wowed by anything else, at least appreciate the fact that you're seeing an entirely visually pleasing film.

Also, some mention needs to be made of the soundtrack, especially considering this film is a musical. There's two facets to the soundtrack that should be mentioned. First, Elfman's orchestral score is simply beautiful in its own way. Here's a snippet of the score for those of you unfamiliar:

In addition to the orchestral score, we're getting a slew of fantastic original songs to accentuate the film's story. Be on the listen for songs like "Jack's Lament," "What's This?," "Kidnap the Sandy Claws," and my personal favorite, "Oogie Boogie's Song," shown below:

Ultimately, The Nightmare Before Christmas is one of the best animated films I've ever had the pleasure to see, and it's made such a lasting impact on the cinematic landscape that it manages to be re-released every October for a limited span, and people continue to flock to the theaters to see it. It's an annual must-see for me, as I watch it at least once between Halloween and Christmas, just to get my fix. If you haven't had an opportunity to see the film, I strongly suggest you do so this holiday season. I'm almost positive you'll love it.

Movie Review Summary
Grade: A+
2 Thumbs Up

Movie Review: THE POLAR EXPRESS

THE POLAR EXPRESS

2004
PG


"Seeing is believing, but sometimes the most real things in the world are the things we can't see."
-- The Conductor

The Polar Express is a 2004 animated film directed by Robert Zemeckis that was one of the first films to utilize motion capture technology to create an entire feature-length film. The story follows a young boy (voiced by Daryl Sabara) who has started to question the existence of Santa Claus and the spirit of the Christmas holiday. On Christmas Eve, he is awakened by a train rumbling to a stop outside his house. He goes outside to investigate and meets a conductor (voiced by Tom Hanks) who tells him that the train is on its way to the North Pole. The boy reluctantly agrees to go, and he embarks on a journey with a number of other children. The trip is long and dangerous, but once they finally reach the North Pole, they learn that Santa will choose one of them to receive the first Christmas gift of the year.

The first thing you're going to notice about this film is how stunning the visual effects appear to be. Well, stunning for the most part. Upon its release, The Polar Express faced mixed reviews, and a lot of the negative feedback came as a result of the mixed quality of the special effects. While most of the scenery and background effects are simply beautiful, there's something inherently creepy about the human characters that doesn't seem the least bit lifelike. It was so 0ff-putting that it took me out of the film, and I couldn't find a way to form any type of relationship to the characters. I blame the use of motion capture for this particular flaw. While motion capture has worked wonders in the past (see: Gollum in The Lord of the Rings, the Na'Vi in Avatar or, more recently, Caesar in Rise of the Planet of the Apes), there's something a little off with it in this film. Still, it's not necessarily the filmmakers' fault - any time that a new technology is used, there's going to be some setbacks. It took Zemeckis to be the trailblazer, and from his start, more effective means have been found.

Sadly, the storyline and plot don't really make up for the shoddy special effects. The story seems a tad bit stale, and it's definitely rote in comparison to some of the holiday fare we've seen in the past. It so conforms to past Christmastime films that it's easily predicted. You know exactly where it's going from the very start, and that doesn't bode well for any film. A little unpredictability never hurt a movie, but a lot of predictability can kill one. Still, there's enough Christmas spirit in this one to keep a child occupied for the film's duration.

However, this is really a Tom Hanks vehicle. You'll be surprised to see that he occupies six different characters in this film, and it's all thanks to the powers of motion capture. I've already mentioned that he portrays the film's conductor (the character that most looks like the real-life Tom Hanks), but he also gives life to a hobo, Scrooge, the boy's father, the voice of an older boy reminiscing about the experience and Santa Claus himself. If you're a fan of Hanks, you'll recognize his voice in the many incarnations, and although he varies his vocal talent from character to character, it's undeniably him in each respective role. We're also getting bit parts from the likes of Michael Jeter and Steven Tyler, but if you're not paying attention, you're going to miss them.

I think the biggest reason I wanted to watch this film was for the Academy Award-nominated original song titled "Believe," which was sung by Josh Groban. The song became an instant staple during Christmastime, and I heard it over and over again in the holiday seasons that followed this film's release. For those of you unfamiliar, here's the song:

The rest of the film's soundtrack, composed by John Debney, takes its orchestral chords from "Believe," and it proves to be a delightful soundtrack overall.

At the end of the day, The Polar Express is a decent film, but it doesn't quite hold up to the holiday classics of old. The shoddy final result with the motion capture animation kept me out of the film, and the inaccessibility of the film was it's most major downfall. Had the screenplay been a bit stronger, I might've been able to look past the issues with the special effects; however, we had no such luck, so The Polar Express is destined to live in a state of mediocrity.

Movie Review Summary
Grade: B-
1 Thumb Up

Movie Review: SANTA CLAUS IS COMIN' TO TOWN

SANTA CLAUS IS COMIN' TO TOWN

1970
Not Rated


"Watch out for that dolly. She's a hardened criminal, I hear."
-- Kris Kringle

Santa Claus Is Comin' to Town is a made-for-television animated film directed by Arthur Rankin Jr. and Jules Bass that tells the story of Santa Claus. The film opens with postal carrier (voiced by Fred Astaire) serving as our narrator as he tells us of the origins of Santa Claus. According to him, an infant Claus was left on the doorstep of the evil Burgermeister Meisterburger (voiced by Paul Frees) who immediately had the baby sent away. He ended up with a family of elves known as the Kringles who spent their entire lives making toys the could not deliver to children because the Winter Warlock (voiced by Keenan Wynn) prevented their passage across the mountain. The elves took the child as their own and named him Kris (voiced by Mickey Rooney), who vowed to take the toys across the mountain once he was strong enough to make the trek. He took the toys to the town of Meisterburger, who had outlawed toys of all kinds. As the evil lord continued to prevent Kris's ability to deliver the toys, he began to think of more and more innovative ways to succeed in his plans.

I know that I've seen this movie at some point over the years, but I figured I'd give it another go this holiday season. Considering how much I love 1964's Rudolph, the Red-Nosed Reindeer, I thought I might find a way to like this one just as much. It's made in the same way as the Rudolph, but despite the likability of the film, it just didn't quite resonate with me in the same manner that the former film did.

The screenplay offers an interesting tale as to the origins of good old Saint Nick. I don't know whether it's the accepted story behind his origins (although I'm sure there are dozens of stories that some would claim to be the true story), but it's an interesting look nonetheless. The writers were able to place a lot of Christmas song-infused references into the dialogue, so if there's anything to look forward to, it's that bit of wordplay here and there. In the end, the story is satisfying, and the fact that it's told to us by Fred Astaire is definitely a plus.

Strangely enough, my biggest issue with the film was the use of some of the songs. While some of the songs - such as "The First Toymakers to the King" and "Be Prepared to Pay" - seemed to fit the message and the tone of the film, there were a couple - namely, "One Foot in Front of the Other" and "My World Is Beginning Today" - that just seemed terribly out of place. They were so glaringly out there that they took me out of the film's flow. The orchestral score worked well enough, but the musical numbers were just a little too off-kilter to keep me interested and engaged.

Still, Santa Claus Is Comin' to Town is a classic TV special that is sure to warm the hearts of millions this holiday season. While it's not quite at the level of Rudolph, it will still manage to leave a lasting impact on the Christmas season. Just don't go in expecting the greatest television event you'll ever see. That would be quite disastrous.

Movie Review Summary
Grade: C+
1 Thumb Up

Movie Review: PUSS IN BOOTS

PUSS IN BOOTS

PG
2011


"That's a lot of heel for a guy, don't you think?"
-- Kitty Softpaws

Puss in Boots is a 2011 animated film directed by Chris Miller that serves as a spinoff for the titular character who gained fame in the Shrek franchise. The film begins with Puss (Antonio Banderas) learning of the existence of magic beans that will lead to an enchanted castle in the sky which houses a Golden Goose that lays golden eggs. Puss has spent his whole life looking for these beans, but after years of fruitless searching, he had given up the quest. Now, however, he is told that two ruffians named Jack (Billy Bob Thornton) and Jill (Amy Sedaris) are in possession of the beans. When Puss goes to steal them away, he runs into another cat attempting to do the same. After a brief scuffle, he learns that this cat is named Kitty Softpaws (Salma Hayek), and she is working with an egg named Humpty Dumpty (Zach Galifianakis), with whom Puss has a storied past. He reluctantly agrees to help them find Jack and Jill, and the trio sets out to find their fame and fortune.

The talk for a Puss in Boots spinoff film has been going pretty steadily since his first appearance in 2004's Shrek 2, so it was only a matter of time until Dreamworks actually took the time to make the film. By waiting until after finishing the Shrek franchise (supposedly), they had the opportunity to distance themselves from the Shrek character while still bringing the nostalgia of having one of that franchise's funnier characters grace the screen in his own light. I was a strong proponent of the idea of a spinoff for Puss, but when I first saw teaser trailers for the film, I started to wonder whether Dreamworks could pull it off. Having bled the Shrek franchise for all it was worth (the first two films both scored 89% approval ratings on Rottentomatoes.com, but the third and fourth scored 41% and 58%, respectively), I was just a tad bit concerned that they'd be able to renew that energy with this film.

Thankfully, Dreamworks was able to deliver a well-made film that's sure to satisfy audiences. To reference Rottentomatoes.com once again, their critical consensus for the film reads the following:

It isn't deep or groundbreaking, but what it lacks in profundity, Puss in Boots more than makes up for with an abundance of wit, visual sparkle, and effervescent charm.

I'd have to say those were my thoughts exactly. It wasn't bringing anything terribly new to the table, but it was intelligent enough to keep me interested throughout its entire run-time. One reason the Shrek franchise proved to be so successful was the fact that it catered to both children and adults, offering a wide range of humor types in order to keep all audiences involved with the story. Puss in Boots follows that same vein, bringing enough slapstick comedy to keep the kiddies occupied while the parents can lean back and enjoy the wit and clever wordplay.

The cast rounds out relatively nicely as well. Banderas brings the same A-game he brought to the character in his first three go-arounds, but it's the supporting cast that helps bring this film to a higher level than the last couple of Shrek flicks. Hayek and Galifianakis share a great rapport with Banderas throughout the film, and the inclusion of Thornton is a pleasant surprise. Oh, and for those of you paying very close attention, we actually get a small vocal performance from Guillermo del Toro. So keep those listening ears on high alert.

Overall, Puss in Boots is a fun film that's good for a chunk of laughs. It's not breaking any barriers or bringing anything terribly new, and at the end of the day, the story is still a tad predictable and easy to figure out. Still, the animation is top-notch and the laughs are plentiful, so just sit back, relax and enjoy this one. Don't try to out-think it; you'll find yourself hating it. Just enjoy it for what it is, and I'd bet you'll have yourself a good time.

Movie Review Summary
Grade: B
1.5 Thumbs Up

Movie Review: CARS 2

CARS 2

2011
G

Cars 2 is a 2011 animated film directed by John Lasseter and Brad Lewis that serves as a direct sequel to the 2006 film, Cars. The film picks up the storyline seemingly a little while after the events of the first film, with Lightning McQueen (voiced by Owen Wilson) now the winner of four Piston Cup Championships. When Sir Miles Axlerod (voiced by Eddie Izzard), the maker of a new alternative fuel, announces the formation of a World Grand Prix, McQueen's best friend Mater (voiced by Larry the Cable Guy) inadvertently gets McQueen to agree to join the race, the two embark on a trip around the world as they try to win the title. However, while they're in Japan for the first leg of the race, Mater finds a way to get caught up in a conspiracy looking to take down Axlerod and his line of alternative fuel. Mater teams with a couple of British spies, Fin McMissile (voiced by Michael Caine) and Holly Shiftwell (voiced by Emily Mortimer), both of whom mistake him for a trained American spy. As they trio tries to solve the mystery of who wants to take down Axlerod's empire, it becomes eerily apparent that the evildoers' plot intertwines with the World Grand Prix itself.

I do have to say that I was having some reservations going into this film. Of the eleven Pixar feature films released prior to Cars 2, all have managed to score at least a 74% approval rating on the online critical aggregate RottenTomatoes.com (Note: The 2006 film Cars scored the 74% approval rating - the other ten films have all achieved higher than a 91% approval rating.). Because the first Cars film was the least well-received, I probably shouldn't have expected critics to be terribly kind to this new installment. The fact that it plummeted to a 33% approval rating definite gave me a moment's pause simply because of the monumental drop. It marks the first time that any Pixar film hasn't been positively received by critical consensus. So you can imagine my hesitation, especially considering that my tastes often tend to stay in line with what the "professional" critics think. I did enjoy the first Cars film - I gave it a 'B+' grade, and it nabbed three nominations in my "Best of 2006" awards, so I did have a little bit of hope for this one.

And I can honestly say that I enjoyed this second installment almost as much. While the coming-of-age tale presented in the 2006 film would have been difficult to pass, I personally thought that Cars 2 came rather close to meeting those expectations. I think one of the knocks against the Cars story has always been that it lacked a little bit of the magic that other Pixar films have brought to the screen. However, when you have to compete with toys coming to life and anthropomorphic animals, it's tough to find a niche. At the end of the day, the Cars franchise will still be remembered as head-and-shoulders above the majority of animated films that hit theaters. Unfortunately, we almost automatically start to compare any Pixar film to the other films they've produced, and that's where the negativity is going to stem for Cars 2.

We actually get a decent, multi-faceted storyline this time around. On the one hand, we have the story of the World Grand Prix, with Lightning McQueen doing his best to beat out his newest rival in Francesco Bernoulli (voiced by John Turturro) for the world's top spot. However, the race - as well as McQueen himself - truly takes a back seat to the drama unfolding behind the scenes, so to speak. This film is definitely more Mater-centric than anything else, taking us on his adventure rather than sticking with the humdrum existence of an established race-car because we already got to see the ins and outs of that in the first film. Add to the fact that Mater's storyline has a very James Bond feel to it, and you've got the makings of an action-packed flick that's sure to be a crowd pleaser.

Now, because the film is more centered around Mater's story, you really do have to kind of like Larry the Cable Guy's brand of humor. I know he might be a little polarizing for some, but in the constructs of this movie and his character, I think it works exceptionally well. As the funniest character in the film, he needs to be consistent, and that's exactly what Larry conveys throughout the movie. The film actually benefits from the bringing in of some new voice talent, especially in the inclusion of Caine and Mortimer, who complement one another quite well throughout the film. Also be on the listen for the likes of Brent Musburger, Thomas Kretschmann, Jason Isaacs and Bruce Campbell in smaller roles.

Oh, and the visuals are simply astounding. I know that Pixar has truly outdone themselves in the past, but this film is equally brilliant. I could go on and on about the action sequences, but I personally thought the races were simply astounding. At times, I felt like I was watching real-life races because the cars' movements were so realistic. I had to give Pixar massive amounts of kudos for always upping the ante a little bit when it comes to their animation. They also found a way to bring out the life of each of the film's main settings (Japan, Italy and England). We definitely get a strong sense that we're actually there, whether it be the off-beat Japanese humor we Americans have taken a liking to or the grand family-oriented parties in Italy. Good job, Pixar, on bringing all that to life in Cars 2.

Overall, I thought that Cars 2 was a rather good continuation of the story set forth in the first film. I think if you're going to see it, you should try to view it for what it is, rather than compare it to the classic films of Pixar past. If you look at it through those tinted glasses, then you're going to have a tough time enjoying this particular movie. It's definitely a good one, and it definitely deserves your attention.

Movie Review Summary:

Grade: B
1.5 Thumbs Up