Top Tens - Pixar Movies

Greetings, readers!  Due to a lack of productivity on my part, I will regrettably be unable to post Blue Jeans Samurai this month.  I offer my sincerest apologies.  On the plus side, though, I discovered how popular my first Top Tens Review was, so I've put together a new one for your consideration.  Also, concerning Disney, I am currently engrossed in another project made specially for this blog.  I will have it finished as soon as possible.  For now, enjoy another review, and thanks again for reading!

 

TOP TENS: PIXAR MOVIES

Hello, readers, and welcome to another edition of Top Tens! Once again, I've decided to bring you an article based on my admiration for the cinema, something that you may share with me, hopefully. On the last Top Tens segment, I explained my love for a certain set of Disney movies, so today, I'd like to share my love for another kind of film from a related studio: Pixar!

What most might not know is that Pixar, first called the Graphics Group, started as a computer division of LucasFilm in 1979. The group later called itself Pixar, broke away from LucasFilm, and started its independent film studio life in 1986. Pixar Animation Studios would then go on to give us a groundbreaking new animation style to add to the medium: computer animation. Pixar's first work as an independent company was 1986's Luxo Jr. (the origin of the bouncing lamp in the Pixar logo), and the studio showed great promise at a very early time. It would be longer before the release of Pixar's first—as well as the first ever—full-length, entirely computer animated film, Toy Story, and Pixar would become a household name overnight. Pixar would since release thirteen more, insanely successful films, each of them taking a place on the list of highest-grossing animated movies of all time and earning Pixar Studios a total of 27 Academy Awards and more accolades and nominations (two of those nominations being Best Picture Oscars, the only two nominations to be given to animated films besides Disney's Beauty and the Beast). Since Pixar's purchase by Disney in 2006, it's been a bumpy road; Pixar's most and least successful films were released since that time. But with the recent success of their first prequel movie, Monsters University, the announcement of Inside Out, and the announcement to the long-awaited sequel, Finding Dory, Pixar continues to amuse viewers around the world, filling us all with a sense of magic that only be described as Disney in three dimensions.

Due to the scarcity of movies in Pixar's vault, I concluded that it wouldn't be fair to attempt to craft a Top Ten List for my favorite Pixar films. As such, this segment's title is something of a misnomer. Instead of creating a Top Ten List—an easy feat to accomplish when choosing from a host of dozens of animated treasures—this segment will feature my Top Five favorite Pixar movies. Once Pixar issues more movies in the future, I imagine this list will easily double; at that time, I would be more than willing to recalculate my choices and replace them as a full-fledged Top Ten List.

5 – Cars 2

The first movie on this list may come as a bit of a shock to you all, seeing as how this turned out to be Pixar's least successful film. Cars 2 continues the story of champion racecar Lightning McQueen and his comical tow truck pal, Mater, as they travel the world while competing in a global race-off and running afoul of a conspiracy to dominate the world. Commercially, it performed just below Pixar's usual stellar standards, and critically, it performed worse, and has been universally marked as Pixar's worst movie.

So, why is it in my Top Five?

For one thing, it is a spy movie, and I enjoy an exciting espionage tale. And Cars 2 does not let up on the excitement. It shows more gunfire, explosions and large-scale destruction than any Pixar film before it (with the possible exception of The Incredibles), it refers to, and even shows, the deaths of certain characters, and the plot is surprisingly complex considering the simplicity of its predecessor. The characters' positions have since been elevated to some extent; for example, instead of being a rookie, Lightning McQueen is now a seasoned veteran, and has applied well the humility he learned from the last movie (without the embarrassing ending that ruined the first movie). Not only that, but Mater has now been promoted to a main character, and as such takes much more of the spotlight. Added to that are the gorgeous visuals of the different locations, such as Japan, Italy, France, and England. Furthermore, the musical score given by Pixar's own Michael Giacchino clearly echoes the thrill of espionage. Finally, the vocal performances of Michael Caine and Emily Mortimer, and their respective characters of Finn McMissile and Holly Shiftwell, as well as the contemptible antagonism in rival racer Francesco Bernoulli and minor villain Professor Zündapp make for more excitement and fun.

The film does, however, have obvious drawbacks. What I believe was the main downfall of Cars 2 was the overall feeling of having been “thrown together at the last minute”. Many scenes are rushed, some of the comedy falls flat, and it has the overall feeling of having been too hastily made. As a result, the heart and soul that is the signature of Disney and Pixar's team efforts doesn't quite show as brightly as any film before it. With that said, the movie is still fun to watch, despite its flaws. The majority of it wasn't as good as its predecessor, but in my opinion, the entirety was far better than the ending of the previous film; I feel that this movie deserves a spot on my list solely for that reason.

4 – Brave

This film was a surprise for me, as it broke many barriers held by Pixar films before it. For one thing, Brave introduced a new animation system for Pixar's animators—their first new system in 25 years. It was the first Pixar film to have a female director, and their first to feature a female lead character. These unique details and others place Brave on my list easily.

Brave tells the story of Scottish princess Merida, who defies ancient tradition by refusing to wed. In an effort to change her own fate, she consults a witch for advice; this leads to disaster, as the witch's magic transforms Merida's overbearing mother (no pun intended) into a bear. During the race to break the spell, Merida bonds more deeply with her mother and the two see through one another's eyes. The only true complaint I have with this movie is the story; while not terrible in any way, the retelling of a parent-and-child misunderstanding resolved through bonding under unusual circumstances is a bit stale and underwhelming.

That being said, the rest of the film may as well be perfect. Visually, this movie is Pixar at their absolute best. The animators capture the lush, green vividness of the Scottish highlands with fantastic detail and depth. Likewise, the characters are brilliantly designed and pleasantly unique, and their actions reflect the mysterious and often barbaric nature of the plot. The mother-daughter dynamic is one hardly touched upon in movies in general, let alone Disney or Pixar, and to see that was refreshing and interesting. Also, where the characters are concerned, among the funniest in Pixar continuity are the Scottish lords, MacIntosh, MacGuffin, and Dingwall (played respectively by Craig Ferguson, Kevin McKidd, and Robbie Coltrane), as well as the mischievous Witch and her loudmouthed crow (portrayed respectively, and hilariously, by Julie Walters and Pixar's own Steve Purcell). Pulling it all together is a strong score supplied by Patrick Doyle, and original songs that are given the dulcet tones of Julie Fowlis. Altogether, a weak story is hardly enough to keep this film off the list; with so many other incredible details that make the film extraordinary, a weak story is the only thing keeping it from breaking the Top Three.

3 – The Incredibles

Anyone who knows me well enough will confirm that I am, and have long been, a huge fan of the superhero genre. Few movies spin a superhero yarn in such an interesting and unique way as The Incredibles. The movie begins with the exploits of Robert Parr, a.k.a. Mr. Incredible, a hero with colossal strength who lives in a golden age of superheroes. Fifteen years later, following a string of superhero lawsuits that forced the government to quash all heroes' good deeds, Parr is married to fellow hero Helen Parr, a.k.a the stretchable, shape-able ElastiGirl. The couple has also passed on their “super” genes to their offspring; shy teenager Violet can become invisible and conjure indestructible force fields, overconfident young Dashiell (Dash for short) can run at unbelievable speed, and baby Jack-Jack (shown comically in the accompanying short film, Jack-Jack Attack) has a myriad of powers, unbeknownst to his family. Unable to 'take up the cowl' for legal reasons and forced into being a “family man”, Parr thrills at the chance to save the world again, and inadvertently leads his family into a secret mission loaded with deceit and danger.

As I said, the superhero genre is a deep interest of mine, and Pixar did not disappoint. Visually, the scenery and technology throws off one's perception of time; one may think the film is set in the 1960s, only to have the settings change to something futuristic one or two scenes later. The music, provided for the first time by Michael Giacchino, sounds exactly as it would coming from an old-school superhero movie, and is one of the highlights of the film. Characters like Dash, Violet, and friend of the Parrs, Lucius Best (a.k.a. Frozone, a hero with cryonic powers) do not let their personalities hide what their powers are, and yet are still enjoyable characters. Among the best details is the psychology of the film's villain, Syndrome (formerly an obsessed young Mr. Incredible fan, Buddy). As a youth, Buddy is given an irresponsible brush-off by Mr. Incredible, and as an adult, Syndrome's genius intellect leads him to build technology that makes him “super.” His jealousy of superheroes and his hatred of and obsession with Mr. Incredible turn him into a monster, as well as a worthy match for the hero and family.

The film combines many different details magnificently, such as adventure, comedy, romance, intrigue, science fiction, and—what I enjoyed most about the film—true superhero action. The idea, presented in the film, of the U.S. Government interfering with the actions of superheroes is interesting and, if it can be said, not too far off the mark. People with remarkable abilities would be a quick threat to the government, no matter how the threat is interpreted. The call to action is presented in a unique way to each member of the family, and it changes them all in different ways, for the better. With a basic, though well-organized plot working for it as well, every detail about The Incredibles gives people good reason to scream for a sequel more than any other Pixar film (which, from what I hear, is in development even as I type).

2 – The Toy Story trilogy

1995 was the year Pixar became legend, and gave us all the first fully computer-animated film, Toy Story. The film was an instant success, and would be the standard upon which Pixar's subsequent works would be based. Four years later, Pixar would defy expectation by crafting a superior sequel, Toy Story 2. In another eleven years, Pixar would not only defy expectations, but all possible odds, and create what many consider the greatest animated trilogy of all time. For me, placing any one of these movies on this list without including the others would be a sin, and to say any one of them was superior to the others is nigh impossible. For the sake of fairness, balance, and a bit of nostalgia, I have split second-place in three different ways: the Toy Story trilogy.

The first film displays a world in which toys secretly come to life, and tells the story of a cowboy doll named Woody and a sci-fi themed action figure, Buzz Lightyear. Both are the toys of a young boy named Andy, but whereas Woody has been Andy's long-time favorite, Buzz's status as a hot new trendsetter threatens Woody's status. The two are caught up in a misunderstanding that puts them miles away from their owner, then directly into the sights of the destructive little boy next door, Sid. The two rivals must set aside their differences to work together and reunite with their owner. The second movie, as is proper, picks up where the first left off, and sees Woody stolen by a greedy collector, who has discovered (as Woody himself has) that Woody is a rare, almost priceless collectible. Buzz and the other toys from Andy's room set off on a rescue mission, while Woody debates the future; what can he expect to happen as his owner ages and no longer has a need for toys? Should he face abandonment, or should he live his life as a museum exhibit to be loved forever? The third and final installment answers many of these questions; years later, when Andy has grown up and must make a decision about what to do with his childhood friends, a misunderstanding lands the toys at a daycare center that is secretly run, by the local toys, similarly to a prison. This film brings up the outcome of a fascinating “what-if” scenario; what would happen if a toy had gotten abandoned? How would that toy's perceptions of children change? Just how many children are there that do take care of their toys, as Andy once did? And when all is said and done, what happens to a toy when its owner no longer needs it?

Visually, of course, the first movie is the least stellar due to the date of its release; the concept of computer animation was in its infancy and cannot, nor should, be judged by today's heightened standards. The characters of Woody, Jessie, Buzz Lightyear, Bullseye, Slinky Dog, Mr. and Mrs. Potato Head and many others are some of the most memorable in animation history, and not just because of the striking animation style that set them apart to begin with. They are as unique as their individual designs, and each appearing character is portrayed delightfully by his/her respective voice actor throughout each film (with the exception of Slinky Dog, due to the death of Jim Varney). The music of Randy Newman lights up each film, particularly the memorable ode to friendship and loyalty “You've Got a Friend in Me”. Topped off with the brilliance needed to pull off certain scenes (mutilated toy hybrids and a claw machine 'religion' in the first movie, a Buzz Lightyear duplicate and a harrowing airport rescue in the second, and the capabilities of Mr. Potato Head's moving limbs and a Spanish Buzz Lightyear in the third), none of these movies was in any danger of failure.

Tom Hanks and Tim Allen, mainstays in the Toy Story world since day one, share excellent chemistry in each film, as rivals, friends, and joint leaders of Andy's toy brigade. It would be painfully obvious to say the same of Michael Keaton and Jodi Benson (as their characters in the third movie are Ken and Barbie, respectively), but it holds true; the situation is parallel for Don Rickles and Estelle Harris (Mr. and Mrs. Potato Head, respectively), and works equally well. The fact that these great actors show dedication to these roles after all these years is deserving of respect and admiration. Finally, in relation to the time gaps between movies, the timing could not have been better for the release of Toy Story 3. What better time for fans of the first movie, who likely saw it as children, as I did, than to enjoy the final installment then in their first years as adults, which I also did? We share this passage of time with Andy, and thus our emotional connection to him and his beloved toys is that much stronger. We loved the humor and heart of the first movie, we paid attention to the philosophy of the second, and we listened intently to the psychology of the third; what we thought, felt and believed in response to the messages given to us from these movies truly defines each of us as people. Many of us laughed for all three, thought pensively for two of them, and cried at the end of the third; I became rather misty-eyed myself, admittedly. But, it didn't last, and I believe it was for this reason: the question can be answered affirmatively that there are other kids like Andy in the world, and it gives one a bittersweet feeling that it isn't the end, but a whole new beginning, and that the future is in good hands.

While being Pixar's best movies of all time, sadly, the Toy Story trilogy only takes the second spot on my list, with the number one honor going to . . .

1 – WALL-E

One of the original story concepts developed by Pixar's highest circle (John Lasseter, Pete Docter, Joe Ranft, and Andrew Stanton), WALL-E opens more eyes in more ways than any movie on this list, perhaps even any of Pixar's films. WALL-E is set 800 years in the future, on a desolate planet Earth devoid of all human life. One lone survivor of this barren, lonely world is a robot named WALL-E (an acronym for “Waste Allocation Load Lifter – Earth Class”). WALL-E robots perform the parameters they were programmed to do seven centuries before—cleaning up the trash of an over-polluted world—while the human race is whisked away into an outer-space vacation aboard the luxury space liner Axiom. Rapid, unpredictable climate changes destroyed all but one of the WALL-E robots over the years, and the loneliness and isolation of that lone WALL-E has granted him sentience. In his solitude, WALL-E shows a lovable curiosity and fascination with the relics of the past he finds in the trash, one of which being an old VHS tape of Hello, Dolly! that he cleverly rigs to play. From this tape, he develops an identifiable need for love and affection.

WALL-E's life (so to speak) takes a sudden turn when a spaceship lands on the planet and deploys a new robot—a sleek, feminine machine named EVE (for Extraterrestrial Vegetation Evaluator). She is the true definition of a “robot”—emotionless, mechanical, only focusing on her “directive” to find sustainable plant life on Earth. Despite all this, WALL-E falls head-over-treads in love with EVE, and is determined to make her happy. However, when EVE's mission is accomplished and she is delivered back to her employers—the humans aboard the Axiom, who have continued to survive for the last 700 years—WALL-E follows, determined to be with his “EE-VAH” (as he calls her). While there, we get a look at how the human race has evolved since beginning the lazy life of relaxation—they have become swollen, fat blobs with little remaining bone and no capacity to stand or walk on their own. While on the Axiom, WALL-E and EVE discover a conspiracy to keep the human race this way, and away from their home planet, which the pair must foil by presenting their evidence (a single green sprout) and returning the human race to their home.

The most overt plot point in WALL-E is the environmental issue. While most movies catch pollution in action and explain the consequences hypothetically, WALL-E puts the consequences on full display—garbage and filth piled to the sky, a distinct lack of water, and wild, unpredictable weather patterns as a result of climate change. It's a haunting sort of message that does not say “stop before it's too late”, as other environmentally-conscious films do. Rather, the message is: “This is what happened, because you didn't care about the planet. Are you happy now?” Because of the setting, and the lack of human characters as a result of it, the first half-hour of the movie has almost no spoken words at all. While this would seem like a deterrent, it is anything but; never has a movie spoken such volumes with such little dialogue, something only true animation and story geniuses could have pulled off. Another enjoyable aspect of WALL-E is its genre—this is Pixar's first true sci-fi movie, and a marvelous accomplishment at that. Science fiction has always been a favorite of mine, and WALL-E exceeds all expectations on that front. Not only that, but the movie gains momentum with many cleverly-placed sci-fi references (WALL-E's design heavily resembles “Johnny 5” from Short Circuit, the main villain, AUTO [the Axiom's autopilot] references HAL from 2001: A Space Odyssey, and the Axiom's loudspeaker voice is that of the star of the Alien franchise Sigourney Weaver). One other particular detail that makes the movie shine: its music. Legendary rock star Peter Gabriel co-contributes the score, while also offering the original song “Down to Earth”, a tune about self-disillusionment in relation to the environment.

What stands out the most to me is that WALL-E is, first and foremost, a love story. WALL-E's endearing eccentricity and determination makes one root for him in his endeavors, including gleaning emotion from his dearest love, EVE. While EVE, at first, does not reciprocate these feelings, she soon recognizes WALL-E's courage and willingness to put her (and the human race) above himself. WALL-E's individualism proves to be infectious; not only does EVE realize the concept of emotion as per WALL-E's example, but a group of robots on the Axiom that seem to have malfunctioned view WALL-E as a sort of role model, and look to him as a leader of sorts (ironic, given the ending). SPOILERS START HERE: When WALL-E sacrifices himself to bring the Axiom back to Earth, EVE is devastated, and rushes to repair him as soon as she can. When she does, it seems WALL-E's memory did not survive the process, and he acts exactly as EVE did upon her arrival on Earth: cold, distant and emotionless. EVE is visibly heartbroken at this, and gives him one last “kiss” goodbye. This static “kiss” seems to reboot WALL-E's mind, he is himself again, and the two are finally together. SPOILERS END HERE. The romance between WALL-E and EVE is slow to start at first, but seems meant to be from one point onward: their “dance” through space outside the Axiom. A scene like that puts their love in stone, and makes many who long for love hope for a love like theirs. It is mainly for this reason that WALL-E is my all-time favorite Pixar movie; only real storytelling brilliance could tell a tale of a cold piece of machinery with a warm heart and a desire for love, and tell it so poignantly that one forgets that WALL-E is made of metal.

Thank you once again for joining me on this retrospective. While Pixar has seen better days lately, it can be safely said that no other animation company (except perhaps Disney) has exceeded their level of success. Riveting stories, breathtaking visuals, and unforgettable characters have become hallmarks of Pixar, and one can only hope that their brilliance continues, maybe even to a point where Pixar Animation Studios becomes the logical successor to the Walt Disney legacy.

Thank you again for your time, and for your eyes.

-- J. A. G.