Oh Holy Pixar

In honor of Pixar Animation Studio's tenth film opening tomorrow, here's a look back at the nine films that precede it. Up, the latest (probable) classic (it's marker at Rotten Tomatoes is at a sturdy 98%) opens tomorrow, as does Sam Raimi's return to horror flick Drag Me to Hell, so as you see it's a big movie big weekend-- I'm too psyched for words-- but I digress-- back to the point:


Small embarrassing confession-- I have yet to watch the 2007 film Ratatouille, as thus it's eliminated from the listing. I'm working on it-- sad but true.

8. Cars (2006)- directed by John Lasseter & Jon Ranft
Pixar's least successful film (also it's longest by far-- it's almost 2 hours long) is still a highly enjoyable throwback, featuring a nice voice performance from Paul Newman, but it's still far from the quality benchmark that the brilliantly crafty studio is known for. The antromorphics are unsettling in my opinion and the voice work seemed uneven from Owen Wilson. By far not an embarrassing film, but the least sophisticated and memorable from Pixar.

7. A Bug's Life (1998)- directed by John Lasseter & Andrew Stanton
The second feature film from the studio (following Toy Story) is a beguiling winner, even though most of the film is but a blur in my memory. I remember at the time (I was all the tender age of 14 when the film first opened) that DreamWorks opened the similar Antz shortly before and liked it a whole lot more, but then again that was about the same time when I first really started exploring the ouevre of Woody Allen and that may have been a primal influence...I need to re-check this one, but I'm fairly certain it's standing will still hold.

6. Monsters, Inc. (2001)- directed by Pete Doctor & Dave Silverman
I recently revisited Monsters, Inc. and must admit my stock in the film greatly increased. The odd tale of monsters scaring children in efforts to power there alternate society is such a pleasureable, unabashedly witty experience, that I feel almost embarrassed for favoring Shrek at the time when the film opened-- this was the first Pixar film nominated for the animated feature category, and only the first of two that lost the statute (Cars lost in '06 to Happy Feet), but time is the real victory-- this one has the larger staying power I believe-- it's jazzy, staccacho score adds to the fun, free associatiative story-- plus Billy Crystal and John Goodman make a terrific comedy duo-- I love that Pixar's films are always casted so perfectly, not always focusing on big marquee names.

5. Toy Story 2 (1999)- directed by John Lasseter & Ash Brannon
The only sequel thus far in the Pixar cannon (Cars 2- boo- and Toy Story 3 are in development at the present), and one of only sequels in film history that compares favorably to the original. It's more of the same, but when the same accounts for the joys of the first Toy Story, that's high phrase in deed. Again, I must revisit this one again soon, but fond memories alone make the ranking justified. On a sidenote-- the great 'toon year of 1999 (which also included other non-Pixar triumphs as The Iron Giant, Princess Mononoke, and to a lesser extent Tarzan) prompted the AMPAS to add an animated feature category two years later, which annually ghettoizes grand pictures deserving of a best picture berth to animated status alone, again I digress.

4. Toy Story (1995)- directed by John Lasseter
The film that started it all, which now sits pretty (well in 90-something place) on AFI top 100 list, one of the greatest and grandest of film history-- and it's only 4th on my list, damn quality machine! I remember at the age of 11 when this master work premiered, I, the eternal movie snob initally snubbed the film thinking it was would waste of time (what is this- computer animation thing, I don't like it!)-- what an ignorant fool I was. When that settled I fell madly in love with beautifully new concoction and was hooked fully to the promise of Lord Lasseter and his team of fine technicians. As a story, as a visual beaut, a comedy, a tender bromance-- Toy Story is eternal. Bonus points- a young Joss Whedon has a screenplay credit!

3. Finding Nemo (2003)- directed by Andrew Stanton & Lee Unkrich
Arguably the most beautiful looking of all the Pixar films, this underwater pleasure sits comfortably at the top of my personal list of top films of 2003 (sometimes the more auteural flourishes of Sophia Coppola's Lost in Translation top it, but that's a conflict only for my brain.) The simple story of of father Marlin (wonderful voice work by Albert Brooks) searching for his son is one of the most poignant films in Pixar history, thankfully Ellen DeGeneres' delightfully dim Dory provides the comic relief. I believe this when I really first appreciated the Pixar entity and embraced it as the most daring, most consistent production company ever! EVER!

2. WALL-E (2008)- directed by Andrew Stanton
This one would probably be at numero uno, if it weren't so spanking new-- but I need a bit more time to make a marking like that, but it's potential is luminous. I've spoken grandly about this one often (it was my favorite film of last year), but I'm so confident of it's classic status, enough said.

1. The Incredibles (2004)- directed by Brad Bird
I can't proclaim enough how much I enjoy Mr. Bird (The Iron Giant, The Simpsons), so it's little surprise that this one marks my current favorite, but I can't get enough of this movie-- it's with certainty one of the greatest cinematic triumphs of this decade and proves the worth of Pixar stock so completely with elegant storytelling, magnificent visual wonder, great casting, and the wonderful child-like sense of "magic" that most live action and other non-Pixar animated studios lack so much of it. Every frame here seems earned and perfected. The title explains it all.

The Ones Oscar Didn't Choose

I apologize in advance for pointed rants about this one. Here are the
most painful snubs for me to bear this year...it was a doozy.

The Fall for Art Direction and Costume Design
While the film itself wasn't the greatest (though Lee Pace nails his part of a morphine crazed Hollywood stuntman), the visual quality of the film was a real beaut. Director Tarsem created a crazy, dizzy world that was a phenomenal artistic achievement. Showy for sure, but why not go all out. The Academy unfortunately preferred the muted tones of Changeling and The Curious Case of Benjamin Button instead.

Darren Aronofsky, The Wrestler for Direction
In a filmography that includes depressing anarchic snapshots of life like Pi and Requiem For a Dream, The Wrestler is certainly the most humanistic of his work-- also the most heartbreaking. In what could have been a generic tale of redemption in someone else's hands becomes a quietly revelatory and moving piece of art. Mickey Rourke's incredible comeback performance got a nomination (deservedly), but what of man who staged it. The Academy has yet to acknowledge Mr. Aronofsky personally, but then again they never paid attention to David Fincher (an equally unflinching, detailed director) until he sucumbed to typical Oscar catnip.

James Franco in Milk (or Pineapple Express)
What a year did Mr. Franco have- two wonderfully unexpected performances, and yet despite a Golden Globe comedy nod (for Pineapple) and Critics Choice nomination (for Milk), he mostly got the shaft. This is not unexpected necessarily, but still not right in my book. Not only did he expand his career with these marvelous turns, but surprised with his great sense of ease for
comedy. The warmth exhibited in these two movies makes me forget the last couple of years of forgettable movies. And yet nothing...boo, especially this year where best supporting actor was a mixed bag.

Jonathon Demme, Rachel Getting Married for Direction
In the 1980s before Mr. Demme has one an Oscar for The Silence of the Lambs, he was honing his craft on small comedy-dramas like Married to the Mob, Something Wild, Swing Shift and Melvin and Howard. On first observation they might have appeared smallish, but they were all memorable humanistic stories with a free floating structure and a fine sense or character-- as well as luminous showcases for actresses like Michelle Pfieffer, Melanie Griffith, and Mary Steenburgen. It's been a long time since Demme has made a film so intimate and felt before, and that's part of what makes Rachel Getting Married such a remarkable thing-- his returned with one of most joyous ventures yet, again with a fine showcases for one of the best ensembles of the year, but of course Ron Howard broke new ground too. (Didn't he?)

Vicky Christina Barcelona for Original Screenplay
C'mon Academy members! True Original Screenplay was pretty strong this year (a rarity), but this one is a lot better than In Bruges. You've never had a problem honoring Woody Allen in the past, but when the master comes up with something worthy, but deny him. Sure he probably wouldn't show up (Woody has notoriously rejected the Academy salivation in the past), but he's an American treasure, and this was one of strongest films in years.

Rosemarie DeWitt in Rachel Getting Married
As I am delighted Anne Hathaway got nominated for her terrific performance, I'm still confounded how DeWitt got so shamefully overlooked this entire season. Most of the thrill of Rachel Getting Married is the complex volley between DeWitt and Hathaway-- both actresses
coaxed such deeply felt everything from each other. There's anger and shouting (great for Oscar clips), but also warmth and silliness. And the great thing about is how authentic it all felt. It's great for Hathaway, but wheres the love for Rachel herself.

WALL-E for Picture
I knew it wasn't going to happen, but I wish to dream in a perfectly idealized world for a second, where a film as powerful and entertaining and popular as this one could for some dasterdly reason get a birth to top award. Beauty and the Beast is the only animated film to do so, and I believe it's time for another...one day! The unfortunate thing is that I know the love for this one will out last the Academy support of middling films like Frost/Nixon and The Reader, as evident by there hideous box office-- even being nominated hasn't made anybody want to see them. HA!

Bruce Springsteen's "The Wrestler," for Original Song
This one was just plain wrong. What's the deal with the Song category this year-- three nominations (two for Slumdog, one for WALL-E) and no love for The Boss. It's a crime-- this one is actually a great song by itself, but it's also a deeply felt song perfectly insynch with the beautiful film it's set against. Yes, Bruce has an Oscar already (for "Streets of Philadelphia" from Philadelphia, 1993), but that's never bothered them before-- during the early 90s the Disney teams won every year for a while. This is a plain travesty. The song was eligible, what no one listened? I thought the new song rules implemented in the last year were meant to eliminated multiple songs for one film, was supposed to make the field stronger, not weaker. What? Why? Boo! Shameful! Then again the Academy is again notorious for making bad decisions in the music categories (last years painful omisision of Jonny Greenwood's amazing score in There Will Be Blood brings to mind.)

The Dark Knight for Picture
And the most painful one, but of course. This one is just appalling on all levels. For a film of such widespread support everywhere else--those eight other nominations indicate it's broad Academy appeal, but to miss out on the big one to middlebrow nonsense that no one will bother to remember tomorrow is an outright travesty. It's not just that I personally found The Dark Knight to be a great movie (which I do), but the fact that this was a big (HUGE) film adored almost universally for the second it opened to record breaking box office. Forget about the comic book nerds-- critics loved it, the general public spent hard earned cash on it several times (even during these recession days), the film nerds loved it, the elitist film nerds loved it. And what's wrong with breaking the mold for this Godfather, Part II of superhero flicks. The real pain may come on Oscar night itself, when the ratings plummet to there worst on record. I'll be watching, because it's in my blood, but I won't blame the ones that tune out, for the members of the Academy of Motion Picture Arts and Sciences have clearly already tuned out to the very obvious pleas of movie fans everywhere.

Top Ten of 2008

I finally feel ready saying goodbye to the film year of 2008. These are my favorites in what was a somewhat lackluster year. But what I like about this eclectic group of fine films is the genuine emotion I felt from a fairly genre specific group. There's a couple of biggie summery blockbusters, a pair of under seen documentaries, a rousing biopic, a sex comedy(actually two) a comeback sports movie, and an Oscar bait drama with a capital D (again two.) What's refreshing about this list is a mostly optimistic feel central in almost all of these films, very fitting in the year of Obama, and hopeful mighty change.

10- YOUNG@HEART
What on the surface is a blandly made made-for-TV doc about a geezer singing group is one of the gleefully made pieces of pop art made in 2008. Earnest yes, but I'll take this in a heartbeat over saccharine overload, cute docs like Mad Hot Ballroom anyday. What's here is an grandly entertaining pean to youth. And the soulful rendition of Coldplay's "Fix You" will leave even the most cold hearted in tears.

9- FORGETTING SARAH MARSHALL
In the nicely traditional Apatow-ian spirit comes another impishly hilarious (and slightly brutal) testament to the screwyness of relationships. Jason Segal proudly droups trou for his comedy, and anchors this mellow confectionary that had the best laugh ratio of anything in 2008, and actually out-aced both 2007's Superbad and Knocked Up. Rejoice-- the R-rated sex comedy has been granted at the very least one more year. Also kudos to Mila Kunis for more than aptly offering a leading lady every bit as charming and crude as the men.

8- BIGGER, STRONGER, FASTER
Out in theaters for about a second last summer, Bigger, Stronger, Faster is an informative and mediative discussion of steriods. The movie faded before the Beijing Olympics, but is an insightful indictment of an American culture that really doesn't know what it's take on it is. What's refreshing about this documentary is not only the personal aspects (it centers around a group of brothers, all of whom have dabbled in the past, present or future), but that there's no definitive answer to it's question, just more questions. Lots of interesting facts are thrown about (pop culture ones, medical ones, legislative ones), but the debate continues. I hope this finely made film finds it's audience eventually-- it's worth it!

7- DOUBT
Haven't seen the play, so I can't compare, but one surely can't deny the powerful effects of watching these masterful actors working so feverishly. The story is cloudy, but it's supposed to be-- it's refreshingly complicated, without backing out to some sort of climax that isn't earned. But never mind that, focus on the chamber piece scene between Meryl Streep (as 1960s Catholic school principle) and Viola Davis (as the mother of boy suspected to have been molested) and there's absolutely no doubt that watching to raw power of singularly wonderful actors at the strength of their powers can't move, inspire, or make anything seem possible.

6- VICKY CRISTINA BARCELONA
After years of idealized Manhattan in unrealisticly neuroticly beautiful ways (and a few not so beautiful, granted), the finest American screenwriter (that would be Woody Allen) has made a point in recent years to branch out-- first to England (the well reguarded Match Point, Scoop and Cassandra's Dream), and now to Spain. The movie feels like a greatly needed summer vacation-- simmering, relaxing, romantic, and blessidly still pretty neurotic (though here in atypical yet familar Woody rhythms), and it all feels pretty good. And true to spirit, it's a lovely romantic comedy without any fairy tale endings, just experiences. Featuring terrific performances from Javier Bardem (who Chigruh would be be such a great leading man), Rebecca Hall, and especially Penelope Cruz, this was the most blissful movie of the year (save for my top pick of course.)

5- THE DARK KNIGHT
What the movie event of the decade is only at number 5-- well sorry, it is. But Christopher Nolan's mammoth achievement should never feel dwarfed. Interestingly while most of the films on this list have an optimistic Barak spirit to them, this one is firmly in Bushian gloom and dread-- but it's all the better for it. It redefines what a superhero flick can be, hell it redefines what a genre picture can be. It can be big, but also smart, saavy, and emotionally resonant. While the Oscar nomination didn't come (and unfortuneatly the Academy may have to bite the dust on less than stellar ratings for that one), there's no denying the power, the awe factor, the mega glory of The Dark Knight. Unquestionably I'll be in tears when Heath Ledger wins the award this year.

4- RACHEL GETTING MARRIED
As a fan of Jonathon Demme circa 1980s as well as a huge fan of Altman's The Wedding, I eagerly awaitted Rachel Getting Married, and I'm more than happy with the experience. This may be the first time I actually feel that handheld digital cameras helped form the story rather than just look dinky and messy. Centering around Anne Hathaway's damaged recovering druggie returning home for her sister's wedding-- nothing here feels false, even though Jenny Lumet's script feels like it may trap itself as a Lifetime movie of the week any minute-- it never does. It feels authentic and as though I was invited to these nupitals. The scene that hooked me in (and probably completely detached it from others) was the long toasting sequence. Everyone speaks and everyone gets a chance to chime in, and inform the story, alter the relationships. It's awkward, it's funny, it's touching, it's difficult...it feels very real. Hathaway is tremedous and fully goes into her characters less than lovable moods, while the ensemble cast is great. Where was the Oscar support for Rosemarie DeWitt, or Bill Irwin (my favorite as the enabling father.) Jonathon Demme's best film since The Silence of the Lambs and his warmed since Married to the Mob.

3- THE WRESTLER
Darren Aronofsky's brilliant ace of a movie is small, but Mickey Rourke is not-- his megawatt movie star charisma is still as bold as ever, even as his face has changed oh so much. There's a sweetness and a melencholy to this redemption sports tale, but also a revelatory kick, in that everything that's old is new again. Who would have expected a midlife flirtation between a past his prime wrestler and a stripper would be the most heartfelt source of romantic longing in movies this past year? (Well second, after my number one picture) Who knew Rourke would stage such a magnificent comeback? Or that Marisa Tomei would sparkle so much? No one knew, but that's the beauty of The Wrestler. Angriest Oscar snub of the year: the rejection of Bruce Springsteen's beautiful theme.

2- MILK
Far from a stale biographical film, this loving and haunting portrait of the first gay man elected in public office is rousing as it is relevant. In chronicling the heartbreaking tale of Harvey Milk, Gus Van Sant has made a passionate ode to a mostly unknown piece of California history, thanks to a fresh and informative script from Dustin Lance Black and a wonderful performance from Sean Penn, in his most thoughtful and warm performance to date. But Milk is also much more, so much more, a battle cry for all voices, and embracement of acceptance in all forms and most importantly a crowdpleasingly hopeful shout for freedom. No other movie felt so needed to be told in 2008 (especially in the days of Prop.8.) Thankfully it was also an artful and moving story with the best ensemble cast of the year. Penn carried it, but James Franco, Josh Brolin, Allison Pill, Joseph Cross and Emile Hirsch ran with it.

and drumroll please...

1- WALL-E
The most beautifully enchanting apocalyptic robot love story ever made. Andrew Stanton (already a Pixar maestro with Finding Nemo) added to stock of the indominible brand with this classic melding of Spielbergian sentiment in a Kubrickian world. A deep, meditative story (really the first Pixar great I believe better suited for adults) of an earth almost gone and humanity all but a folly, a trash compacting robot proved to the most charming (in all his "little tramp" tendencies) and irresistable of all.

Central Ohio Film Critics

PICTURE: WALL-E

Top Ten:
2. Slumdog Millionaire
3. Frozen River
4. The Dark Knight
5. Frost/Nixon
6. Milk
7. The Wrestler
8. Let the Right One In
9. The Curious Case of Benjamin Button
10. In Bruges

DIRECTOR: Danny Boyle, Slumdog Millionaire
runner-up: Andrew Stanton, WALL-E

ACTOR: Mickey Rourke, The Wrestler
runner-up: Sean Penn, Milk

ACTRESS: Melissa Leo, Frozen River
runner-up: Anne Hathaway, Rachel Getting Married

SUPPORTING ACTOR: Heath Ledger, The Dark Knight
runners-up: Philip Seymour Hoffman, Doubt; Eddie Marsan, Happy-Go-Lucky

SUPPORTING ACTRESS: Marisa Tomei, The Wrestler
runner-up: Misty Upham, Frozen River

ENSEMBLE: The Dark Knight
runner-up: Slumdog Millionaire

ACTOR OF THE YEAR: Robert Downey, Jr., Iron Man & Tropic Thunder
runner-up: James Franco, Pineapple Express & Milk

BREAKTHROUGH FILM ARTIST: Melissa Leo, Frozen River
runner-up: Courtney Hunt, Frozen River (writer/director)

ORIGINAL SCREENPLAY: WALL-E- Andrew Stanton & James Reardon
runner-up: Frozen River- Courtney Hunt

ADAPTED SCREENPLAY: Slumdog Millionaire- Simon Beaufoy
runner-up: Frost/Nixon- Peter Morgan

ORIGINAL SCORE: The Curious Case of Benjamin Button- Alexandre Desplat
runner-up: Slumdog Millionaire- A.R. Rahman

DOCUMENTARY: Man on Wire
runner-up: American Teen

FOREIGN FILM: 4 Months, 3 Weeks & 2 Days
runner-up: Let the Right One In

ANIMATED FEATURE: WALL-E
runner-up: Kung Fu Panda

OVERLOOKED FILM: Ghost Town
runner-up: Rock N Rolla

Chicago Film Critics Association

PICTURE: WALL-E
DIRECTOR: Danny Boyle, Slumdog Millionaire
ACTOR: Mickey Rourke, The Wrestler
ACTRESS: Anne Hathaway, Rachel Getting Married
SUPPORTING ACTOR: Heath Ledger, The Dark Knight
SUPPORTING ACTRESS: Kate Winslet, The Reader
ORIGINAL SCREENPLAY: WALL-E- Andrew Stanton & Jim Reardon
ADAPTED SCREENPLAY: Slumdog Millionaire- Simon Beaufoy
FOREIGN FILM: Let the Right One In
DOCUMENTARY: Man on Wire
ANIMATED FEATURE: WALL-E
CINEMATOGRAPHY: The Dark Knight- Wally Pfister
ORIGINAL SCORE: WALL-E- Thomas Newman
MOST PROMISING PERFORMER: Dev Patel, Slumdog Millionaire
MOST PROMISING FILMMAKER: Tomas Alfredson, Let the Right One In

Boston Film Critics Society

BEST PICTURE: WALL-E and Slumdog Millionaire (tie)
BEST DIRECTOR: Gus Van Sant, Milk and Paranoid Park
BEST ACTOR: Sean Penn, Milk and Mickey Rourke, The Wrestler
BEST ACTRESS: Sally Hawkins, Happy-Go-Lucky
BEST SUPPORTING ACTOR: Heath Ledger, The Dark Knight
BEST SUPPORTING ACTRESS: Penelope Cruz, Vicky Cristina Barcelona
BEST SCREENPLAY: Milk- Dustin Lance Black
BEST CINEMATOGRAPHY- Paranoid Park- Christopher Doyle & Rain Kathy Li
BEST DOCUMENTARY: Man on Wire
BEST FOREIGN FILM: Let the Right One In
BEST ANIMATED FILM: WALL-E
BEST FILM EDITING: Slumdog Millionaire- Chris Dickens
BEST NEW FILMMAKER: Martin McDonagh, In Bruges
BEST ENSEMBLE: Tropic Thunder

Such a fickle group those Bostonians, with various ties going on, but I'm all for the WALL-
E choice-- could it be that after the Los Angeles Film Critics and now Boston that lovable robot in the best movie of the year could potentially be a Best Picture candidate-- please, please, please!

Los Angeles Film Critics Association

BEST PICTURE
WALL-E
runner-up: The Dark Knight

BEST DIRECTOR
Danny Boyle, Slumdog Millionaire
runner-up: Christopher Nolan, The Dark Knight

BEST ACTOR
Sean Penn, Milk
runner-up: Mickey Rourke, The Wrestler

BEST ACTRESS
Sally Hawkins, Happy-Go-Lucky
runner-up: Melissa Leo, Frozen River

BEST SUPPORTING ACTOR
Heath Ledger, The Dark Knight
runner-up: Eddie Marsan, Happy-Go-Lucky

BEST SUPPORTING ACTRESS
Penelope Cruz, Vicky Cristina Barcelona
runner-up: Viola Davis, Doubt

BEST SCREENPLAY
Happy-Go-Lucky- Mike Leigh
runner-up: Synecdoche, New York- Charlie Kaufman

BEST FOREIGN LANGUAGE FILM
Still Life
runner-up: The Class

BEST DOCUMENTARY
Man on Wire
runner-up: Waltz with Bashir

BEST ANIMATED FEATURE
Waltz with Bashir

BEST CINEMATOGRAPHY
Still Life- Yu Lik Wai
runner-up: Slumdog Millionaire- Anthony Dod Mantle

BEST PRODUCTION DESIGN
Synecdoche, New York- Mark Friedberg
runner-up: The Dark Knight- Nathan Crowley

BEST SCORE
Slumdog Millionaire- A.R. Rahman
runner-up: The Curious Case of Benjamin Button- Alexander Desplat

NEW GENERATION AWARD
Steve McQueen, Hunger

I praise the LA film critics for their bold and worthy selection of WALL-E as best picture-- it's a real shame now that most animated features are ghettoized in only one category. This is far and away the first critics group of the season that seems to have avoided group-think mentality. YAY!