When air travel is cost prohibitive.... Courtesy avoision.com
After almost 15 years of feature films, Pixar still does not make bad movies. The studio has achieved some of its best moments when its films confront the dichotomy between fantasy and reality in a child’s life. It’s why the unloved toys of Toy Story 2 made for a better film than the first, and why Monsters Inc., in spite of its flaws, was so charming.
And at its best, Up, Pixar’s tenth feature, delivers the same goods. Helmed by Pete Docter, Up shows some influences from the director whose writing credits include Monsters Inc., WALL-E and both Toy Story films. Much like WALL-E, Up’s best moments are its quietest. Carl Fredricksen (voiced by Edward Asner), the movie’s senior citizen hero, is the widower of his childhood sweetheart. The film begins with the Fredricksen’s love affair, which is founded on a mutual adoration of explorer Charles Muntz (voiced by Christopher Plummer), and the moments in which we find Carl quietly reflecting on his love are achingly beautiful. But Carl’s richest characteristic is his sense of adventure, which prompts his decision to float away in his house to his and his wife’s dream destination: Paradise Falls, Colombia—where Muntz disappeared to years ago.
But a sort of boy scout by the name of Russel interferes with Carl’s peace and quiet. The relationship between Carl and Russel is the focus of the film, providing comedy, insight and annoyance. Russel is clearly a character for the kids, but he inspires a sense of parental duty and childlike wonder in Carl. It is the duality of Carl’s personality—his youth and seniority—that make Up special, and Carl one of the year’s most unique and affecting characters (though he’s no WALL-E).
There’s a lot more to the film, including some of the best animation we’ve seen from Pixar (Paradise Falls is a sort of Seussical jungle and just looking at it is worth the price of admission) and an Incredibles-like good vs. evil plot where Russel and Carl must save an endangered bird from the villainous Muntz. Although this plotline serves as a catalyst in changing Carl—making him understand Russel’s youthfulness and overcome his idolization of Muntz—the results are mixed. Some of the humor is just too childish and the action sequences too Hollywood. But these are all forgivable peccadilloes because, in true Pixar form, Up has more heart and soul than probably any movie you’ll see all year. Especially this summer.
Disclosure: The version screened for this review was not in 3-D.
Almost four hours later, we are done. Charlie McSpadden and Andrew Hibbard’s LIVE BLOG has reached its peak. Check back tomorrow for an wrap-up and an analysis of how gay Hugh Jackman was as a host. For now, good night.
11:59 p.m. FINAL THOUGHTS A mostly unsurprising night at the Oscars. They kept it under 3.5 hours which is respectable. There could have been some more clips, but this preview of 2009 (too many John Travolta movies and sequels) is alright. More thoughts forthcoming. Go drink Hollywood. And Mickey Rourke, we want more from you. We want that speech.
11:54 p.m. No surprises here as Slumdog Millionaire wins Best Picture. The montage is clearly the best moment of the night, however, with each BP nomination connected with different moments from film history. Everyone from SM is up on stage and producer Chris Colson gives his speech.
11:49 p.m. A quick moment to say that, though not man people did see The Reader, it was actually a great film. Anyway, back to the incredible best picture montage that is currently going on.
11:48 p.m. Spielberg presents Best Picture. Appropriate.
11:47 p.m. In the only neck and neck race of the night, the Best Actor Oscar goes to Penn instead of Rourke. Great opening line by Penn: “you commie-homo-loving sons of guns.” Sean Penn doesn’t disappoint entirely with his speech. Spiccoli lives on. This is a well deserved award. San Francisco sleeps tightly tonight as Penn delivers a political message. A homo, Obama-lover himself. Mickey Rourke is Sean Penn’s brother. Sick. Otherwise, Slumdog just won Best Picture as Milk got its final concession.
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How could anyone not give WALL-E Best Animated Picture? Courtesy IGN.
With the Oscars (and our LIVE BLOG) less than a week away, we’ll be treating you to three installments of Oscar Predictions this week. Don’t forget to read our
earlier predictions and check back in the week for more. But for today, the post is on those other categories.
Today is about Best Documentary, Best Foreign Film and Best Picture Snub Animated Feature. And also those ones that aren’t that important because no one really understands them, but they are really important because they are nuanced and make the films really special. Anna Farris was great in The House Bunny, but that didn’t get any buzz. It’s things like editing, cinematography, etc. that really make these directors, writers, actors and films shine. Best Picture is an amalgamation of all these awards. I don’t really understand them, but I’m going to give it my best go.
Best Animated Film
Whatever that mess that happened with Kung Fu Panda was at the Annie’s, don’t expect it here. That award might appeal to the technical merit of the films, but most Oscar voters aren’t going to pick up on that. As justice to the greatest Best Picture snub and to honor one of the most pure and classic pieces of cinema in recent memory, Andrew Stanton will take the award for WALL-E.
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Regardless of what you have to say about The Boss, his song from The Wrestler is perfect fodder for an Oscar nomination. So why did the Academy snub Springsteen and only nominate three songs (two from the overhyped Slumdog Millionaire and one for WALL-E–yeah, Peter Gabriel). From the Gold Derby on the LA Times’ Envelope site:
In the Original Song category, Music Branch members shall meet to screen clips of the eligible songs and vote on the achievements. A DVD copy of the song clips will be made available to those Branch members who are unable to attend the screening and who request it for home viewing. Voting shall be conducted as follows:
Nominations will be determined by an averaged point system of voting using 10, 9.5, 9, 8.5, 8, 7.5, 7, 6.5 or 6. Only those songs receiving an average score of 8.25 or more shall be eligible for nomination. There may not be more than five nor fewer than three nominations.
And then Idolator said this:
So even if, say, every voter was into “The Wrestler” just enough to score it as an 8, and that was enough to give it the fourth-highest overall average score, it still wouldn’t be up to snuff by the Academy’s standards. The rule also notes that only two songs from a single film can be nominated, even if more than two songs’ average scores go over the 8.25 mark. Is this something else that we can blame on the fragmentation of pop music, or what?
Yet another reason why I’m not a math major. It screws over the Boss.
Oscar predictions have been coming in for months at other blogs. We at the Playground don’t need to spend months speculating. One (expansive) list (with some obscure categories) shall do. It seems these things are pretty much set at this point, so I threw in some surprises because you never know with L.A. Check back Jan. 22 for an analysis of the awards and until Feb. 22 for our take on the major categories. And without further ado, here’s the list.
Best Adapted Screeplay
The Curious Case of Benjamin Button
The Dark Knight
Doubt
Frost/Nixon
Slumdog Millionaire
Best Original Screenplay
Milk
Rachel Getting Married
Synecdoche, NY
The Visitor
The Wrestler
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