In Contention

Tag: Up

  • Can’t win ’em all

    UpSo as is the norm with Pixar productions, “Up” is apparently capturing the heart of virtually every critic it encounters. Jeff Wells offered a few mild caveats, but he was largely won over as well. So I was interested to read Kaleem Aftad’s three-star review in the Independent, which offers the first hard-and-fast criticism of the film I’ve seen to date:

    Watching with tinted glasses cannot hide the deficiencies of this adventure. It is increasingly apparent that Pixar is a company that operates best when dealing with nostalgia. Like the outfit’s previous film, WALL-E, Up is superb in setting up characters and a world that hankers over memories of yesteryear, but once the adventure moves into its obligatory action denouement, it enters a world of stereotypes that disappoints.

    Indeed, action sequences have been Pixar’s Achilles’ heel, with overly long and tedious effects letting down Cars and The Incredibles. In Up, the blockbuster moments that should be of Around the World in 80 Days proportions are instead surprisingly uninventive.

    Apart from the kooky animals (nowhere near as endearing as The Jungle Book ones), the destination is a boring land of plateaus and uninspiring forests. Muntz pops up as a Wizard of Oz-inspired villain. The nostalgic past is replaced by a horrible sentimental present that lacks emotional punch.

    Not having seen the film, I have no idea how valid these jabs are, but it’s useful to get some perspective. Interestingly, unlike several critics who are signficantly more enthusiastic about the film, Aftad has no problem whatsoever with the film’s 3-D element, justifying it on the grounds that it emphasises “optical reality rather than just an eye-popping spectacle.”

    In contrast, the Guardian’s Xan Brooks, who loves the film, sides with Roger Ebert, complaining: “It’s a film that was always going to come in three dimensions, no matter what digital wizardry they garnished it with.”

  • All eyes on ‘Up’

    UPDATE: I was expecting Jeff Wells to come up with a slightly contrarian take on “Up,” and he doesn’t disappoint. Not that he doesn’t like the film — “peppy,” “delightful,” “visually luscious” and “touching” are some of the adjectives he tosses its way — but he does qualify his praise with concerns that the film compromises itself somewhat by trying to be all things to all men:

    It’s not meant as a putdown to say that Up is too immersed in buoyant punchiness and mainstream movie-tude, which basically boils down to Pixar’s always-front-and-center task of giving the family audience stuff to laugh at and go “oooh” and “aahh” about, to finally matter all that much. It’s too entertaining, in put it another way, to sink in all that deeply.

    So what am I saying, boiled down? That it’s really quite well made and has an almost stoner sensibility in portions but may be a little too good for the lowbrows and at the same time isn’t really deep and resonant enough to penetrate with quality-cinema buffs? Something like that.

    Wells will no doubt have to fend off accusations of curmudgeonliness for that take, but whether I wind up agreeing with him or not, I understand what he’s getting at. At the very least, it’s healthy to hear a perspective that diverges from the unreserved praise doing the rounds: if Pixar movies are indeed the adult auteur works so many critics insist they are, then they merit more complicated critiques.

    EARLIER: Kudos to Jeff Wells for this hilarious snap from this morning’s “Up” press screening at Cannes. Made me laugh, anyway.

    Up press screening at Cannes

  • Trades head over heels for ‘Up’

    UpWith all the positive word that’s been trickling out this past week, it’s no surprise to hear that “Up” has scored universally breathless raves from the trade papers.

    Actually, it’s no surprise under any circumstances — with the sole exception of “Cars,” it’s one of the safest bets in the in the industry that every Pixar production will arrive on an overwhelming wave of critical goodwill, with the usual go-words of “wondrous,” “captivating,” “inspiring,” and more often than not some jab about how the studio is currently making the greatest films in American cinema.

    Not that I’m being facetious — I loved “WALL-E” too last year, even if not all Pixar’s efforts inspire the same reverent devotion in me that they seem to in most critics. I’m just saying the reviews give me no idea yet where my heart will lie on this one.

    We can expect more “Up” buzz throughout the day: the Cannes press screening is going on as we speak, ahead of the film’s official opening of the festival tonight. For now, here’s McCarthy’s Variety valentine:

    Depending on what you think of “Cars,” Pixar makes it either 9½ out of 10 or 10 for 10 with “Up,” a captivating odd-couple adventure that becomes funnier and more exciting as it flies along. Tale of an unlikely journey to uncharted geographic and emotional territory by an old codger and a young explorer could easily have been cloying, but instead proves disarming in its deep reserves of narrative imagination and surprise, as well as its poignant thematic balance of dreams deferred and dreams fulfilled.

    Unsurprisingly, no one puts a foot wrong here. Vocal performances, most importantly from Asner, Plummer and nonpro Nagai, exude a warm enthusiasm, and tech specifications could not be better. Michael Giacchino’s full-bodied, traditional score is superlative, developing beautiful themes as it sweeps the action along on emotional waves.

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  • 5/12 Web Round-up

    Green Lantern• Alex Billington takes a few snaps of upcoming release poster artwork in Cannes (including “Shutter Island” and “A Christmas Carol”), then, the web being what it is, he slaps his watermark all over them. [First Showing]

    • Kevin Costner keeps the western’s light flickering with an upcoming A&E mini-series. [The Hollywood Reporter]

    • The top 10 movie misquotes of all time. [The Guardian]

    • Vaneta Rogers consolidates the numerous “Green Lantern” rumors flying around town.  Please, God, don’t fuck it up. [Newsarama]

    • Speaking of rumors, Drew McWeeny recounts the crash and burn of one such, this one concerning the potential casting of Christian Bale in Andrew Stanton’s “John Carter of Mars.” [Motion/Captured]

    • Roger Ebert expresses concern over the use of 3D technology in “Up,” specifically citing the potential for diminishing “brightness and delicate shadings of the color palate.” [Chicago Sun-Times]

    • Anthony Breznican previews the upcoming Cannes Film Festival. [USA Today]

    • Candace Jackson talks “The Girlfriend Experience” with director Steven Soderbergh and star Sasha Grey. [Wall Street Journal]

    • William Goss remembers 1998: the movie summer that was. [Cinematical]

    • Twitter’s potential effect on the unstable world of film criticism gets some more ink. [The Wrap]

  • All ‘Up’ all the time

    UpDisney/Pixar’s “Up” is set to open this year’s Cannes International Film Festival Wednesday on the Croisette (Guy will be all over festival coverage for you, by the way), so the papers from here to there were obviously a little toon happy over the weekend.  The most encompassing was L.A. Times writer John Horn’s look at the film’s four-year history from a passenger seat at the studio’s insider screening in Northern California last month, but it was this aside concerning deliberation over a music cue (Michael Giacchino is once again scoring) in a key sequence:

    As “Up’s” poster and trailer make clear, the film’s central image is a house, tethered to thousands of balloons, soaring into the sky. When septuagenarian Carl Fredricksen’s ( Ed Asner) residence took flight at the Skywalker screening, Giacchino’s score was big and dramatic, the kind of music that typically accompanies an action sequence.

    “What we had I think works,” said Docter. “But I didn’t feel like we were quite capturing it.” Specifically, the music wasn’t magical, poetic. The house’s taking off needed to play more like a mystical metaphor — Fredricksen’s trying somehow to join his late wife, Ellie, in the heavens — and less like a prison break.

    “There’s something about the lyricism of the floating house that appealed to me from Day One,” said Docter, a tall man whose 10-year-old daughter, Elizabeth, provided young Ellie’s voice. With a new piece of music, the scene played closer to how he always imagined it should. “Now, it’s almost like he’s waltzing with Ellie as the house takes off.”

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  • Thoughts on Cannes, Huppert and ‘Up’

    Dull but hindering circumstances kept me offline yesterday, so I couldn’t get to the Cannes/”Up” news that Kris recently posted.

    By the way, before I get into that, can I just say what a great choice the Cannes organisers have made in selecting Isabelle Huppert as their jury president this year?

    It’s been a while (8 years, to be specific) since a woman took on the role, and as one of the most adventurous, intelligent and hard-working actors of her generation, Huppert (a two-times Cannes winner herself) has earned the position. Here’s hoping she brings the same kind of fearless thinking to the panel that she does to her roles.

    As for “Up, “Being the first animated title to open the world’s most prestigious film festival is obviously a notable accomplishment — and probably an overdue one, at that.

    Chiming in with last year’s tide of critical accolades for “WALL-E” and “Waltz With Bashir” (which, of course, began its buzz at Cannes), it’s clear that the artform is increasingly nearing an equal footing with live-action filmmaking as far as cineastes are concerned — even if some conservative viewers (and of course, AMPAS voters) would like to pretend otherwise.

    However, amid the breathless reporting of “first evers,” it seems to me one crucial detail has been somewhat neglected — the film is playing out of competition.

    This strikes me as an opportunity missed. I’m guessing it was Pixar’s decision not to submit the film for competition consideration, but one has to wonder what they stood to lose by trying. Given Cannes’ arthouse bent, nobody would have expected the film to win anything anyway, but a Palme d’Or nomination could have lent the film some impressive additional cache.

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  • Pixar’s ‘Up’ to open Cannes

    Old news now but I’m just resurfacing on the east coast.  From the press release:

    UP, the new animation film from the Disney•Pixar studios, produced under John Lasseter’s supervision, will be the Opening Ceremony film of the 62nd Festival de Cannes in Disney Digital 3-D on Wednesday May 13th, 2009…

    This is the first time that an animation film, in 3-D, will be the Opening Ceremony film at the Festival de Cannes.

    Animations distinguished by their participation in the Official Selection are, DUMBO (1947), THE FANTASTIC PLANET (1973), FRITZ THE CAT (1974), SHREK (2001), THE TRIPLETS OF BELLEVILLE (2003), SHREK 2 (2004), OVER THE HEDGE (2006), KUNG-FU PANDA (2008) and WALTZ WITH BASHIR (2008)

    UP will be released in the United States on Friday, May 29th and in France on July 29th.

  • Year-in-advance winner predictions

    Yes, I’m insane, but before I leave off this year’s year-in-advance week, by request, I thought I’d throw up a random set of winner predictions and see if I was close to the target next February.  Last year I managed three correct guesses (four if you count Winslet for the wrong movie), two of them in the tech categories, so maybe I can at least up that tally.  I really want to predict Clint’s movie for Best Picture, but I have some weird sense of irritation at predicting an untitled movie.  Oh well, who cares?

    Best Picture: “Nine”
    Best Director: Rob Marshall, “Nine”
    Best Actor: Morgan Freeman, “Untitlted Nelson Mandela Project”
    Best Actress: Michelle Pfeiffer, “Chéri”
    Best Supporting Actor: Matt Damon, “Untitlted Nelson Mandela Project”
    Best Supporting Actress: Mo’Nique, “Precious”
    Best Adapted Screenplay: “Nine”
    Best Original Screenplay: “Up”
    Best Art Direction: “Amelia”
    Best Cinematography: “Nine”
    Best Costume Design: “Chéri”
    Best Film Editing: “Nine”
    Best Makeup: “The Wolf Man”
    Best Music (Original Score): “Broken Embraces”
    Best Music (Original Song): “Nine”
    Best Sound Editing: “Green Zone”
    Best Sound Mixing: “Nine”
    Best Visual Effects: “Avatar”
    Best Animated Feature Film: “Up”

    Those will all be wrong.  Each and every one of them.

    (And in case you missed it: OFF THE CARPET: Handicapping 2009 a year in advance!?)

  • OFF THE CARPET: Handicapping 2009 a year in advance!?

    Ewan McGregor and Hilary Swank in AmeliaAhh.  The dust is settling.  And on the horizon, just visible through the mist and waiting to drive us all up the wall once again: the 2009 Oscar season.

    I’ve been writing this year-in-advance column for probably six years now, and I always look forward to gazing ahead.  No one dives in so pathetically deep this far out as yours truly, but in exchange for not having a life for the past few months, I get to unload this burden the day after our annual season’s peak and forget about little gold men entirely for a few months.

    It’s quite liberating.

    The most interesting thing about the season to come, from my vantage point, is the lack of a dreaded “frontrunner status” for any of the contenders.  Some might say Clint Eastwood’s Nelson Mandela project (which is not called “The Human Factor,” mind you — the director says the film is currently untitled and is based on John Carlin’s book “Playing the Enemy”).

    Others might say Rob Marshall’s “Nine” (coming from a money-tight company hoping to avoid echoes of “Memoirs of a Geisha”).  But I don’t see a “Geisha” from here, or a “Charlie Wilson’s War,” expected heavies waiting to miss the mark.  The field is curiously flat, and as a result, excitingly broad.

    Let’s get to it, shall we?

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  • Pixar’s latest a “tearjerker” and a “gamble?”

    That’s what this Anthony Breznican USA Today story suggests of Pete Docter’s upcoming “Up.”  Just reading through the brief recap of a footage screening, it seems to me “WALL-E” might not be the Pixar high-mark after all (not that it is for me to begin with, mind you, but it certainly is for the great majority of film fans).  I have to say, it seems to be a story that could have a lot of resonance within the zeitgeist.  After all, who doesn’t want to get the hell away from everything after the last eight years?

    Here’s a taste:

    Instead of Clint Eastwood clashing with street gangs, the old-timer in this story (voiced by Ed Asner) decides to get off his own lawn, tying thousands of balloons to his little wooden house to float away from his troubles.

    Up opens May 29, and early footage reveals a gamble from the makers of Cars and Toy Story: a plunge into tearjerker territory. The first third of the movie establishes the main character, Carl, as a lost and angry soul after a happy, mostly quiet life with his childhood sweetheart, Ellie.

    The montage of their marriage touches on themes rarely seen in bedtime storybooks: romance, financial hardship, a lost pregnancy, loneliness and the blink-of-an-eye passage from childhood to wrinkles.