Film Review: Brave

Disney Pixar’s Brave is visually sumptuous, much like other animated features from the company. Unlike their recent films however, this Scotland-set tale does not pack the same emotional punch.

Merida is a princess who prefers to practice archery than to be schooled in the customs of her position by her mother. When the ritual of her betrothal approaches, Merida is dead set against the traditions of selecting a husband. Merida and her mother clash, with some disastrous consequences…

Brave adheres to some family tropes, in terms of the animated Disney feature. Merida’s struggle is between following her own wishes and bearing the weight of responsibility that her position calls for. This tension is at play in most Disney animated films. Moreover, a parental clash is at the centre of Brave; not unlike The Little Mermaid, Aladdin, Pocahontas and others.

Brave differentiates itself from previous Disney efforts in a pivotal way. The emphasis in most of these films is in having the freedom to find happiness. This usually relates to a partner of choice, rather than one the protagonist’s standing demands. Brave distinguishes itself, and perhaps heralds a new era in Disney thinking, by featuring a protagonist who is happy in her independence and has no desire to marry. It is this aspect of the film, which is played out openly but not forcefully, that is most refreshing.

This recent effort from Disney Pixar does however lack the emotional pull of WALL-E, Toy Story 3 and others. The story is engaging enough, and unfolds to include fantasy and legend. Notwithstanding, it does not evoke the type of strong emotion that the aforementioned films excel at inspiring. That is not to say Brave is a bad film in any way, but merely that it is unlikely that viewers will form the same kind of attachment to it.

The animation in Brave is fantastic. The use of colour is superb, with the vibrancy of Merida’s hair contrasting nicely with the greener backdrops. Some great voice work is provided by Kelly Macdonald, Emma Thompson and others.

Brave is an enjoyable family film that should satisfy viewers. It is unlikely to take on classic status, unlike several of Disney Pixar’s films of the last decade.

Film Review: Yogi Bear

An inoffensive live-action feature of the beloved Hanna-Barbera cartoon, Yogi Bear is sure to satisfy the young audience it is intended for. Older cinemagoers would be wise to view it as the harmless fluff it is.

Jellystone Park is due to celebrate its 100th anniversary, but Yogi Bear and his sidekick Boo Boo are more interested in stealing picnic baskets, as usual. When Mayor Brown threatens to close Jellystone, Ranger Smith enlists the help of Yogi and Boo Boo, as well as zoologist Rachel…

The premise of Yogi Bear is fairly standard; most of what occurs is predictable family movie fare. Nevertheless, the pacing is good, and with a sprightly running time of eighty minutes, the film is just the ticket. Although there are some very apparent messages, the tone of the film never becomes heavy.

Much of the humour will appeal to younger audience members, although there are some jokes that have a wider appeal. Yogi Bear does not seem to have the emphasis on entertaining adults as well as children, unlike Toy Story 3 or Megamind, for example. Notwithstanding, the light entertainment the film offers is certainly watchable for an older audience, even though is more amusing than hilarious. Furthermore, Yogi Bear makes references to 2001: A Space Odyssey and Superman, which are probably lost on younger viewers.

At its heart, Yogi Bear is unequivocal in the messages it sends. Characters are predominantly painted in contrasting colours. Mayor Brown is greedy and not enterprising, while Ranger Smith is honest and endearing. Yogi Bear promotes environmentalism over capitalism; unabashedly depicting those in power as corrupt, and elevating green issues above financial gain. However, Yogi Bear does not appear overly political in this endeavour; rather the film provides young viewers with a strong moral to the story.

The CGI effects used to create Yogi and Boo-Boo look decent in 3D. The characters are very detailed, particularly in the contours of their fur. Although the two appear natural in their surroundings, at some points it is clear that the actors are performing with green screen. The 3D is employed with gimmicky effect, functioning in much the same way as its use in The Final Destination or My Bloody Valentine.

Dan Aykroyd and Justin Timberlake sound appropriate as Yogi and Boo Boo. Nonetheless, they are parts that could have been given to any unknown voice actors; it is unclear what they bring to a feature such as Yogi Bear. Anna Faris brings her usual quirkiness as Rachel, while Tom Cavanagh is uninspired as Ranger Smith.

Yogi Bear is an entertaining film, but one that clearly has young children in mind. Although it is unlikely to be classed as one of the year’s best films, it is nevertheless an enjoyable eighty-minute watch.

10 Things To Be Grateful For In 2010

As with most years, 2010 has offered us the good, the bad and the ugly. The following is a highly subjective list of some of the best things to come out of cinema this year. Feel free to add your own entries in the comments below.

1. The Return Of Michael Keaton

Following appearances in such cinematic classics as First Daughter, Michael Keaton spent a number of years in the land successful wide releases forgot. That changed in 2010, with a memorable role voicing Ken in the hugely successful Toy Story 3, and scene-stealing as Captain Gene Mauch in The Other Guys. Although the latter was not exactly the film of the year, Keaton raised the bar with a fantastic comic performance reminiscent of his glory days. This served as a timely reminder of his charisma and aptitude for comedy in Night Shift and Beetlejuice among others. Welcome back, Mr Keaton!

2. Warner Bros Greenlit Inception

Despite its box office success, Inception is a film that has divided critics and audiences. Love it or hate it, we should all be grateful that the studio greenlit the big-budget production in the first place. Based on an original screenplay, Inception was a refuge from the barrage of sequels, remakes, spin-offs and adaptations. Inception was a blockbuster that was engaging yet accessible. For the film, Warner Bros expended the kind of marketing strategy usually reserved for pre-sold entities. Given the healthy box office returns, the gamble certainly paid off. Hopefully Inception‘s success will give more studios the confidence to follow suit.

3. Disney Released A Traditionally Animated Feature

The Princess and the Frog (released in February 2010 in the UK) marked the first hand-drawn animation film from Disney since 2004. The past five years have seen no shortage in animated films; however these have tended to be of the computer generated variety. While features such as Up look fantastic, there is something quintessentially Disney about The Princess and the Frog. The beautiful animation harks back to the golden age of the early and mid-nineties, when each year would see a now classic Disney animated feature. Only time will tell whether The Princess and the Frog will be appraised in the same way as films such as Beauty and the Beast and The Lion King. In the meantime, the film indicates at least some variety in Disney’s output.

4. Referencing The 1980s Is Still In Vogue

Certainly not a new trend for 2010, for a number of years now cinema has been harking back to the eighties. Be it long overdue sequels to 1980s hits (Indiana Jones and the Kingdom of the Crystal Skull), remakes or even choice of soundtrack, referencing that most magical of decades has been a fixture in Hollywood in recent years. 2010, however, may have pulled of a coup d’état with the gloriously nostalgic Hot Tub Time Machine. With an amazing soundtrack and a plethora of references to 1980s films, fashion and popular culture, Steve Pink’s film was the ultimate homage to the much-loved decade.

5. David Fincher Signed On To Direct A Film About Facebook

A film about the creation of social networking site Facebook sounded just about the most unappealing premise of the year. Interest was peaked when David Fincher was announced as director of the project in 2009, but many, like myself, remained unconvinced. All that changed when the film was released in October 2010. The Social Network was one of the most absorbing films of the year, brilliantly executed and visually handsome. A very welcome surprise.

6. Woody Allen Dusted Off A Script From The ’70s

Released in June 2010 in the UK, Whatever Works saw a return to form for prolific director Woody Allen. Based on his original script from the 1970s, Whatever Works featured all the hallmarks of a classic Allen feature; witty dialogue, well-written characters and the New York setting. The film served as a reminder of why Woody Allen is such a lauded filmmaker, and is reminiscent of some of his best-loved pictures of the 1970s and 1980s. Here’s hoping Allen has a few more scripts gathering dust in his attic.

7. Colin Firth Stepped Up His Game

A bastion of period drama and romantic comedies, in 2010 Colin Firth revealed his flair for more serious dramatic roles with two magnificent performances. Firth conveyed the aching tragedy of George in Tom Ford’s A Single Man (released in February 2010 in the UK), and was thoroughly convincing as George VI in The King’s Speech (screened at the London Film Festival in October 2010). Having won awards for A Single Man and already receiving nominations for The King’s Speech, these triumphs are almost enough for us to forget Mamma Mia. Almost.

8. Danny Boyle Produced One Of The Most Wince-Inducing Scenes In Film History

Collective squirming ensued in screenings throughout the world when Danny Boyle’s 127 Hours was released (screened at the London Film Festival in October 2010). Most viewers would have known what to expect, but the film excels in building tension right up until this point. The event itself was visceral enough to apparently induce vomiting and fainting amongst audience members. This may just have been good marketing, but what remains is one of the most memorable scenes of 2010.

9. The Bounty Hunter Was Released In March

Though it has faced some stiff competition, The Bounty Hunter was the worst film released this year. For an action comedy, The Bounty Hunter was painfully unfunny. Like a childhood trauma, time dulls the pain, although you never entirely forget.

10. Joe Dante Directed A ‘Family Horror’

The Hole (released September 2010 in the UK) may not be the greatest film of the year, but it was certainly one of the scariest. For a film with child protagonists and aimed at a family audience, the film was surprisingly frightening. The Hole played on the most primal of fears, which resulted in a film that was far more effective than many of the adult horrors released this year. Although The Hole has been rather overlooked in terms of critical acclaim, it is a must-see for horror aficionados.

Film Review: Toy Story 3

Toy Story 3 is a highly entertaining film for people of all ages. It is also one of the best final films in a trilogy series. Given the marketing campaign and release date, it is bound to be one of the biggest grossers of the year.

As Andy gets ready to leave for college, Woody, Buzz and the rest of the toys are uncertain about their future. A mistake leaves them stuck in a daycare centre, with Woody insistent that they should return home to Andy before he departs…

As ever, the animation from Pixar is superb. The 3D aspect to the film works well as it is unobtrusive. It adds extra life to the animation without being  distracting, indeed you quickly forget you are watching a 3D film.

The usual suspects are back for this third instalment, as well as a number of new characters. These new additions are well-written overall, although understandably some of the minor characters fall into recognisable archetypes. The idea to introduce a Ken doll is inspired; his scenes are some of the funniest in the film.

Unsurprisingly, considering the Pixar back catalogue, the film combines comedy with action, suspense and drama. Numerous critics have discussed the emotional depth to the film, suggesting its ability to tug at the heartstrings. There is a universalness to the themes of maturing and the abandonment of childhood that entails the film will have an emotional effect on most, if not all, of its viewers.

In some ways, it is more of a film for adults, particularly younger ones who grew up with Toy Story as a child, than for a very young audience. Whilst there is enough action, comedy and pace to entertain the youngest viewers, the onus is very much on the notion of the toys being abandoned, rather than the narrative of their quest to find their way back. This is particularly pertinent in the last section of the film.

Toy Story 3 works so well as it errs on the right side of sentimentality. It is emotional without becoming cloying. Interestingly, with the end message of the film, John Lasseter, Lee Unkrich and Andrew Stanton appear to propagate the idea that growing older necessitates the end of childish pursuits. A message that seems at odds with the Disney ethos. But with the revenue brought in by both ticket sales and the abundance of merchandise, it is unlikely Disney will worry too much about this.