Cartoon Brew | Five New High-Res Stills from Blue Sky’s ‘Peanuts’ Movie:
Blue Sky Studios has released five new high-res stills from The Peanuts Movie via an article in USA Today. And thanks to the wonders of computer animation, they’ve finally added all the glorious details—fully-rendered hair, fur, cloth, lighting, shadows, even reflective eye highlights—that Peanuts creator Charles Schulz was too lazy to draw himself.
Blue Sky is no stranger to gorgeous animated moviemaking (Ice Age, Rio, Epic, and so on), but this is technically their first attempt at making an adaptation.
And from what I can tell, they’re off to a splendid start with their take on Peanuts, which is set for release next November (2015). Continue reading
Since it was announced, many Toy Story fans like myself have been scratching our heads about the upcoming plot for Toy Story 4.
After all, John Lasseter promises that it’s good enough to warrant yet another sequel to an otherwise perfect trilogy. So what could this great idea be?
It’s too early to tell, but that didn’t stop Aaron Helman from writing out what he considers to be a pretty exciting script. Enjoy:
TOY STORY 4
by Aaron Helman
The film is set 6-7 years after Toy Story 3.
The toys are hanging out by themselves, doing Toy Story things when a woman barges in the room in a tizzy and starts throwing them into boxes. The toys are confused, but they hear a conversation in the next room, trying to figure out what’s going on. Through the perspective of the toys, we hear bits and pieces:
“Once I heard, I just knew you had to have these.”
“That’s so sweet, but what about…”
“Oh she’s 13 now. She doesn’t really play with them anymore.”
“I’m sure Andy will be thrilled.”
“When’s the baby due?”
Cue music and excitement from the toys. Continue reading
If you’ve been keeping up with my latest ramblings, then you know that I wasn’t the biggest fan of Interstellar, despite my feverish love of Nolan’s past work. And I’ve never considered much about the underlying themes or connections between his movies. Until now.
No, this isn’t like a “shared universe” theory. No one has time for that. This is something better.
Akshay Seth | The Michigan Daily
And I realized something. The film’s final act, like its labyrinthine middle, rushed start or organ-blasting score, isn’t meant to inspire. Because this film is a farce. It is Nolan’s letter to Flora, his daughter. Stretched to the grandest scales, this movie is his most withering self-critique. Here’s why.
I think Akshay’s on to something. And after reading through his admittedly long arguments, I’m a believer.
If anyone’s capable of doing something like this across multiple movies over 16 years, it’s Christopher Nolan.
Josh Trank’s Fantastic Four has already promised a more “gritty, grounded” approach to fantasticness, a tone Fox’s comic-book movie hopes to achieve by staying away from the sort of outlandish stories one might find in comic books. In keeping with that, certain adjustments must be made to the characters themselves, giving them new origin stories, making them younger and hotter—and therefore more believable as scientists—and, in the case of villain Doctor Doom, updating them to a more contemporary version of evil.
For example, the old Doctor Doom was the gypsy son of a witch and medicine man who wielded sorcery and science as the ruler of the fictional nation of Latveria. He was a man of unparalleled arrogance who used his skills only to threaten the world. So obviously, in the modern parallel, he’s an asshole on the Internet.
You can’t make this stuff up. Unless you’re Fox, that is.
Most of the elements and techniques Disney used in Pinocchio weren’t completely new—Disney regularly used its short films as proving grounds for things like the multiplane camera—but they were untested at Pinocchio’s level. And that represents perhaps the film’s greatest achievement: unprecedented artistic ambition. From the macro level—making major alterations on the story and character levels—to the micro—spending a full year animating water droplets—the production of Pinocchio represents a calculated risk that established Disney Feature Animation as an artistic force as well as a commercial one. Snow White set the records, but Pinocchio set the standard.
That last line is referring to the fact that Pinocchio was a major financial flop for Disney, earning only about half of what it cost to make.
But as the article states, Pinocchio was incredibly important for the world of animation. It took risks no one even knew existed yet, and we’re still gaining from those benefits today (especially if you’re an animator). It makes me wonder which “flops” from our generation will go on to be revered and inspired classics.
Also, you may have noticed that this is the “Movie of the Week” on The Dissolve. Basically, they pick a movie every week for readers to watch and discuss, which is what you read above. I’m happy to share from their excellent site, and I encourage you to check it out.
This week on Worth Watching, we have two guests joining the show: Sara Peery and Jordan Smith! We talk about Big Hero 6, the latest plot rumors around Star Wars Episode VII, and finally figure out why Maria hates Marvel movies. Enjoy!
Click here to download the episode
Yes, but manage your expectations.
I watched the film in its best format — 70mm IMAX on one of the biggest screens in the country. I couldn’t have been any closer to the content.
It’s a spectacle of a movie. It uses a lot of flair and constrained visual effects to justify its ridiculously long runtime. And it’s best feature is the emotional story that evolves between Cooper (Matthew McConaughey) and his daughter Murphy (played by Jessica Chastain as an adult).
But the fantastic performances and literally epic world-building is undercut by the science of it all. The ultimate story. It doesn’t wrap up as nicely as it ought to. The final act tries to be a deserved payoff, but for me it felt confusing and underwhelming.
But it’s still a blast of a movie, and among Nolan’s most ambitious. It’s just not his best.