I recently had a hankerin’ to revisit the world of, WALL-E, Pixar’s gorgeous CG animated love letter to the human spirit told almost entirely through robots. I thought I understood what the film was about but that’s the thing with revisiting the past, the destination almost always changes depending on where you’re walking from.
At the time of its release there was a certain section of the population who were highly critical of WALL-E‘s political agenda. Oddly enough you can attack the film from both sides of the partisan divide. It’s either a satire of capitalism out of control and in decline made by a bunch of free-lovin’, tree-huggin’, socialists, or it’s a spoof of what a nanny state big government spoon fed society would look like. The freeloading fatsos in the film, for example, presumably can’t do anything for themselves specifically because they were urbanite, no-nothing parasites who needed Uncle Sam to do everything for them -including wipe their ginormous asses. Not to mention that WALL-E was made under the Disney umbrella, just the kind of massive, anything-for-a-buck conglomerate the film criticizes.
They cried hypocrisy, they did!
How can the movie be about two things that diametrically oppose each other? It can’t. You chowderheads.
Forget for a moment about the role government, business and even the environment plays in the film. These are just story elements that help cast the film’s humanity in relief. WALL-E isn’t about them. At its heart it’s the story of what happens when a foreign contaminant is introduced into a perfect system and when we choose not to learn from the past, and live only in the moment.
When we first meet the robot, WALL-E, he is literally digging through our past and selecting moments to learn from. He arrives on the ship as an ambassador of our past but is immediately identified by the janitorial robot, Mo, as a foreign contaminant. Interesting…
The dialogue surrounding Wes Anderson’s Moonrise Kingdom has mostly been centered on the children, and their sweet, awkward, and at times psychotic love story. No doubt this was the joyful center of a joyful movie. I grinned from ear to ear while watching them. Who doesn’t like young love?
We spend all this time examining what the kids do or don’t do, but honestly, they’re just kids. Stupid, self absorbed kids. Moonrise Kingdom isn’t really about them, it’s about the adults. The kids don’t need to learn lessons or change, they do fine fumbling towards love on their own. Love that lights their way toward self discovery. It’s the adults who are lost, who have forgotten how to love one another and how to just fucking be together.
I adore this movie but I adore the way it was made even more. They recorded the goddamn voices for the goddamn characters while doing a dress rehearsal on partially built sets!? Are you freakin’ kidding me? That is the best idea for dialogue recording I’ve ever heard. The results are absolutely spectacular. I would seriously watch an entire film of the actors doing their thing live action style, but the animators were so good they’ve made that mostly redundant.
Johnny says of the process, “It’s like being on Hee Haw or The Carol Burnett Show.” Best idea ever. Gore Verbinski has yet again proven why he’s sorely missed on the Pirates series and also why he should never go back.
Like Up, the title of Sam Raimi’s low key horror comeback Drag Me to Hell is not an easy sell. Last time I checked not a whole lot of moviegoers enjoy being dragged to hell. Aside from some residual post Spiderman buzz and goodwill leftover from three Evil Dead movies released over a decade ago, Drag Me to Hell, the story of a female loan officer who is cursed by the grungiest gypsy in film history, never became the smash hit Raimi-ites were hoping for. Instead, it’s destined to rise in cult status as people discover the joys of watching gross things go in and out of Alison Lohman’s mouth. Whether you choose to see Drag Me to Hell as a straight forward horror romp or a tragedy about a delusional formerly overweight country girl struggling with an eating disorder and self image problems the simple fact is the movie is a joy from start to finish. It’s a goofy, gross, good time.
The trailers for UP did absolutely nothing for me. The visual look of the film was cartoonish and the characters were ugly and old and the ten year old in me was yawning. I went to see it anyway. In 3D no less.
The less said about 3D the better.
I was not blown away. Nor was I lifted away or any other weather/balooning metaphor you might think of. I did however really, really, REALLY like it. I went in expecting one kind of movie and got several different movies that were more or less nothing like what I was expecting. From the first 20 minutes, which is a brilliant betrayal of the audience by the way, the movie kept me guessing and then the second act happened and I wasn’t sure what the fuck the movie wanted to say anymore. That elderly people are just young people in old person skin? That we’re all susceptible to the poison of our passions? Or was it as Miley Cyrus said, “it ain’t about what’s waiting on the otherside. It’s the climb?”
UP was typically chamring and heart warming but the thing that really changes the Pixar playing field is… UP is FUNNY. Deliriously so.
I want a talking DOUG keychain right now! but I, I gotta be strong… just keep pushing on…
The Hangover is like a greatest hits of male bonding comedy gags delivered with a keen sense of timing by some undeniably likable characters. It will not reformat your comedy hard drives but it will take your discs for a spin.
I thought the Mike Tyson bits and the effeminate Asian man fell incredibly flat, but anything and everything with Zach Galifanakis was amazeballs. Also the impromptu fourth wall shattering Tiger Song was a risk that worked. I wish more of the movie pushed the limits but I should be content with the laughs I got. Some theater-goers apparently got no laughs at all and were seen begging for them outside the theater following their screening of Year One.
The last episode of this season is now playing. We’re hard at work on new episodes, hopefully it won’t be too long. I’m feeling a little emotional about finally having the full body of our work out there and knowing, beyond the shadow of a doubt, that we’re well on our way to making something ten times better. I just spent last Friday having my friend’s nuts knocked around by various things and people for a new episode and it was fulfilling in a way nothing else in this world could ever compete with. I’ll let you know when I have my first child if the elation compares.
I know what you’re thinking… “Boo, I can’t make a balloon sandwich. I never graduated from Rubber Culinary Arts School.” You know what I say? Screw Culinary Arts School. Bunch of know-it-all “chefs” with their fancy recipes and ingredients. With F is for Film Episode 4, anyone can learn to make a balloon sandwich with our easy step-by-step instructions. Just visit our YouTube page for more information.
Sorry for the delay. I was finally able to work out my YT issues through much beating of fist upon chest and the useful tips of my fellow YouTuberians. For the time being, we are back in swing of things which swing.
EPISODE 3 of our show is now online and features one of the grossest opening skits we did along with a bizarre tribute to ACTING!! in M Night’s sure-to-be classic “bad movie night” flick. All can be seen at our YouTube Channel where comments are encouraged.
I Love Zombies Ch.2 is coming this week. I was too busy working on this other stuff to get it in shape.
As promised. F is for Film Episode 2: F_THEDARKKNIGHT is NOW PLAYING on our YouTube Channel. As I stated earlier, this was the first episode in the production run, so don’t be surprised if things are a little rockier than our previous installment. Also, the ending… we don’t hate your comments and opinions, don’t fuck off, that’s more a personification of know-it-all-ism. We love you. We want your comments and feedback.