Showing posts with label Pixar. Show all posts
Showing posts with label Pixar. Show all posts

Thursday, December 17, 2015

Film Friday: The Good Dinosaur (2015)

Pixar’s The Good Dinosaur is not doing well with audiences, and I’m not at all surprised. There is a fundamental problem with The Good Dinosaur, and that is that the film mixes a main character who is too cutsie with a plot that is anything but cutsie. The resulting mishmash satisfies neither those looking for a mindless baby distracter nor those looking for a more compelling story.

Plot

To put it simply, The Good Dinosaur is a western that uses dinosaurs instead of humans as the main characters. In fact, this is a very, very clichéd western, right down to the use of Sam Elliot to do voice work. The story involves the weak son of a noble farmer who must prove that he can live up to his father’s expectations and ends up in a survival film as he must find his way home through a dark and evil wilderness.

The story opens with the birth of the main character, Arlo, and his sister Libby and brother Buck. Their parents, Henry and Ida, are Apatosauruses. They live in a world where the dinosaurs were never wiped out and continued to, uh, evolve I guess (this is part of the problem with the film... it’s not clear what changed except that these particular dinosaurs are farmers).
Arlo is the runt of the litter and quickly proves not only to be incapable of doing the work required on the farm, but is a coward. He is afraid of basically everything. His father is patient with him however, though he simultaneously pushes Arlo to stop being such a whiny bi— uh, to become less of a coward. One of the tasks Henry gives Arlo in this regard is to trap and kill a pest that has been eating their corn... which they need to feed their chickens, who terrorize Arlo. The pest turns out to be a cutsie baby human! Oh goodie.

Arlo, of course, can’t bring himself to kill the human, and the human escapes. Henry then takes Arlo and chases after the human cave boy. They chase him up into some evil looking mountains, which end up flooding. The flood kills Henry and leaves Arlo stranded far away from home. Arlo then finds and befriends the human, who acts like little more than a puppy (he can’t even speak). The rest of the story is Arlo’s journey to find his way back to the farm.
Why This Film Doesn’t Work

This movie has a lot of problems, quite frankly.

The first problem is the simple blown potential. The trailer to this film was intensely clever. It asked, what would happen if the asteroid that wiped out the dinosaurs missed the Earth? And then you see the asteroid shoot by the planet and all the dinosaurs who had looked up at its approach return to their grazing. This trailer offered limitless potential. It opened the door to anything. It promised a world where dinosaurs had evolved to something beyond just being dinosaurs. It promised a world where man and dinosaurs co-existed in some friendly or hostile way. It promised something you had never seen before. The film even skips a few million years at the opening, suggesting that we would see dinosaur society evolved into the modern world... whatever that would look like.

But none of that happened.

Instead, you get a world that is indistinguishable from dinosaur times except for the presence of one cave-boy and the existence of one dinosaur farm. That’s it. What a waste.
The next problem probably tells us why the first problem exists: the filmmakers never bothered to lay down the rules that guide their new universe before they began. Is there really a dinosaur society or not? There’s the farm. There are three T-Rexes who are herding the dinosaur version of cattle. But that’s all you see. There is no sense if there are cities or if there is an economy – does the farmer sells his crops? Do the T-Rexes sell their cattle or just eat them? The other dinosaurs they run into seem to be standard feral dinosaurs. So is there a society or not? They never say, and the result is that it’s unclear what kind of world Arlo really lives in and everything feels ambiguous and confused.
As an aside, I was also personally bothered by the sense that much of what they encounter felt vaguely stolen. The human reminded me of Mogli from Jungle Book; he even has a similar storyline – leaving for human companionship at the end. The nyctosaurus and pterodactyls reminded me of the vultures from Jungle Book. The T-Rexes reminded me of a combination of Bagheera and the elephants from Jungle Book. There's even a seemingly hypnotic horned dinosaur (a Styracosaurus), right at the end of a snake scene, which is clearly Kaa from Jungle Book. The scene chasing the human felt like the apes rounding up the humans in Planet of the Apes. The whole Arlo story felt like a number of westerns involving a weak son who must avenge his father’s death. And so on. This is the first Pixar film where I felt I could pick out things that were copied from other films.
The real problem, however, is that the film is a mishmash of concepts. For whatever reason, Pixar chose a main character who is better suited for the preschool set. He’s cute and whiny and stupid and whiny and seems made for backpacks and plush toys. Put him in a story with his imaginary friends and magic tree houses and he would feel right at home. But then they rammed him into a story that has a truly adult storyline in the sense of being dark and not at all funny, and about the subtle goal of proving one’s worth to oneself. This is a farmer western combined with a survival drama like The Grey or The Edge. It is not a plot that in any fits the childish Arlo.
The result of this is an entirely unsatisfying story. The preschool crowd will not like the dark, very unfunny plot. The people who might like the survival story will find the whiny, child that plays the lead to be too annoying and unbelievable for this kind of story. And people who come in having seen the trailer are going to wonder how this movie managed to ignore the entire magic the trailer promised.

Pixar is an amazing company that does a great job with its movies time and again, but this one is a total miss. This one is entirely unsatisfying. It’s boring, indifferent, and just out of place. And that’s too bad given the amazing potential the backstory suggested.

Thoughts?
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Wednesday, March 6, 2013

Hittin' the Links

Today we reintroduce the “links” articles. In these articles, I’ll talk about one of Scott’s links in detail and then Scott will provide brief blurbs on some others. Sadly for Scott, I’m going to do something with the link he gave me that he did not expect: I’m getting political. :( The link in question (LINK) is an interview of Pixar’s Brad Bird, and I want to talk about what the Republicans can learn from Bird.

Worshiping The Past or Intimidated By The Past?: Bird describes Disney as “a classic Cadillac Phaeton that had been left out in the rain. It was this amazing machine that was beautiful but old and getting a little decrepit. . . [their] movies were still well executed, if uninspired.” He then ads that the problem with Disney was that:
The company’s thought process was not, “We have all this amazing machinery—how do we use it to make exciting things? We could go to Mars in this rocket ship!” It was, “We don’t understand Walt Disney at all. We don’t understand what he did. Let’s not screw it up. Let’s just preserve this rocket ship; going somewhere new in it might damage it.”
Substitute “Ronald Reagan” and tell me that doesn’t describe conservatives perfectly. Conservatives live in Reagan’s shadow, afraid to do anything he didn’t. We need to break free of this mindset and step out of his shadow.

Beating Complacency: One of the biggest flaws in conservatism today is this head-in-the-sand mindset by which conservatives assure themselves that everything will get better if they just keep doing what they’ve always done. Bird said it was the repudiation of this attitude which attracted him to Pixar:
[I was told], “The only thing we’re afraid of is complacency—feeling like we have it all figured out. We want you to come shake things up. ... For a company that has had nothing but success to invite a guy who had just come off a failure and say, “Go ahead, mess with our heads, shake it up”...
Even in good times, companies or political parties need to constantly fight against complacency. They need to be constantly evolving and looking for ways to improve, to make things better. This has been the biggest failing of conservatism for two decades now. . . it’s stagnated.

How To Fix Things: The Republican Party is famous for picking silverbacks as leaders. It always looks to its most senior members to set the agenda. That’s a horrible idea, especially when the current plan isn’t working. We act like GM in a Pixar world. Said Bird of how he shook things up when making The Incredibles:
I said, “Give us the black sheep. I want artists who are frustrated. I want the ones who have another way of doing things that nobody’s listening to.”
Almost every dying company that has ever turned itself around (and most of the best companies who stay on top) do this. They look for the people who have the ideas that the establishment thinks can’t be done. Conservatives need to learn to accept this and to stop hoping the establishment (Rush and Hannity and Boehner and Heritage Foundation) will stumble upon the next great idea. . . they are too comfortable to think like that. In fact, consider this from Bird as well: “The best leaders are somewhat subversive, because they see something a different way.” Who would you say are our subversive leaders?

Teambuilding: Finally, to make a successful film, Bird says you need teamwork with everyone’s “creativity [working together] in a harmonious way. ... Otherwise, it’s like you have an orchestra where everybody’s playing their own music. Each individual piece might be beautiful, but together they’re crazy.” This describes conservatism. Look at how none of the radio talkers work together and how Breitbart and Daily Caller compete rather than coordinate. Conservatism needs to learn the art of teamwork. Dozens of individuals suffering from groupthink is not teamwork.

In that regard, we need to learn to build up our people. Bird notes that Disney in its heyday and Pixar both have “Universities” to encourage their employees to “learn outside of their areas, which makes them more complete.” Most of the best companies do this do. Unfortunately, conservatives rarely do this. There should be policy shops in each area of expertise, public speaking programs, marketing/communications programs, etc. There is no excuse for any party member (Tea or Republicans) not to be fully trained in these things. Bird also notes that they designed the building specifically to force people to keep running into each other. Once again, the message is to come together as a team. It’s time conservatives became a village rather than a series of forts.

Thoughts?


Now here are more links you might want to check out, courtesy of Scott:

The price of foreign funding

The teen romp 21 and Over is nowhere near my radar but, apparently, it was partly financed by Chinese money and the filmmakers were required to cut an alternate version of the film specifically for Chinese audiences... I hope I'm not the only one who has a problem with this! While the American version is a simple tale of youthful rebellion (with the requisite T&A), the Chinese version is a more wholesome story about the west's hedonistic ways. The filmmakers even had to shoot new material in China specifically for this version. While show business is above all a "business," this doesn't bode well for anyone: filmmaker or audience member.

The two stages of Hollywood soul crushing

Meet Daniel Wilson, author of How to Survive a Robot Uprising and Robopocalypse, both of which were going to be turned into movies at one point. Several years later and it still hasn't happened yet. Wilson details the high highs and the low lows and the long process involved in simply getting the chance to maybe make a movie one day. Truthfully, it's a miracle any movie gets made, let alone a good one!

A radical idea for the new Star Wars trilogy

The author is this article suggests that Disney remake the prequels. Of course they won't, but it's a pretty interesting idea nevertheless. I don't agree with all the ideas suggested here but no other movies have been analyzed to death as much as the prequel trilogy and the raw material is there - all it takes is someone who knows what to do with them.

15 thrillers from the 70s you may not know

In the midst of Vietnam, Watergate, ad infinitum, Hollywood managed to crank out some great thrillers, which reflected then-current fears and anxieties about our country and the people running it. Of the ones mentioned in this article, I can say the following: Black Sunday is badass, Executive Action would NEVER get made today, Twilight's Last Gleaming is good but not as incendiary as I expected, The Anderson Tapes is okay, and The China Syndrome is, for better or worse, a classic. The rest I need to see.

A look back at the penultimate Marx Brothers movie

1946's A Night in Casablanca is not a great movie but it's not bad. Not bad at all. It's really not a parody of Casablanca, despite Warner Brothers' concerns and Groucho's caustic letters to the WB brass. Once again, Groucho plays a hotel manager, Harpo is a valet for a sadistic bully (played by veteran Marx Brothers villain Sig Ruman), and there's a love story, a couple of songs, the usual. Not a classic but still worth watching. There's one exchange I love when Groucho's date tells him she wants champagne and when the waiter shows up, Groucho says, "Get this lady a cheese sandwich. Charge it to her!"
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