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Inside Out movie review

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“Inside Out” is a powerfully moving animated piece about the importance of sadness in human life. Daring to explore the existential crises of the human mind and the emotions that affect one’s life, this formidably ingenious film works like a thesis or research project. With a material that strikes as a reflection on the power of emotions, it targets the family audience, particularly those with ages ranging from pre-teen to adult.

Packaged as a movie set inside someone’s head and how the mind and the emotions work together, the story presents a strikingly endearing take on a young girl’s growing pains as she encounters wave after wave of personal and familial problems. While traversing the bumpy road ahead of her, she also finds herself struggling to come to terms with puberty.

The narrative revolves around Riley, a sweet girl from Minnesota who gets uprooted from her Midwest life after her family’s financial struggle leads them to San Francisco. With the loss of the comfort of her childhood home, the company of her dearest friends, and the camaraderie of her hockey team, turmoil ensues inside her mind’s “Headquarters,” the control center where her emotions Joy, Sadness, Fear, Disgust, and Anger live and help her through her everyday life. When Joy, her main and most important emotion, accidentally gets lost with Sadness, the arduous journey to get back to the Headquarters coincides with Riley’s progressing depressive state while navigating her new city.

The tale begins a bit too verbose for the youngest viewers, but the gorgeous imagery and colors often help keep most people’s eyes glued to the screen. This poignant entry to the Pixar catalog hits an elusive sweet spot with its fiercely sweet approach to animated filmmaking. In portraying both the intelligence and the fragility of a child’s mind, it encourages viewers to talk more openly about their feelings — although its theme’s complexity may be lost on the younger viewers. It plays around the intricacies of human decisions, actions, and motivations and turns the unexplainable into a stuff of grand drama.

As an ambitious motion picture, its epic journey across a fantastic landscape delivers such an empathetic answer to the question “What is going on inside one’s head?” What remains consistent in the film is its impressive level of intellectual-emotional exploration. Ticking so many boxes without feeling contrived, the level of conceptual cleverness and visual design utilized in the story creates tender magic on the big screen. It challenges the viewers to dream, play around the profundity of the subconscious, and understand life’s highs and lows better. With its deeply thoughtful insights on how sadness is as much a part of life as joy, it suggests that true happiness doesn’t just involve the feeling of perpetual joy, but rather a balance of all emotions that make one human. It effectively hits the viewer by mapping the human mind to a much broader palette and putting the workings of the human psyche front and center.

This feature’s computer-generated pixels and keen attention to detail meet the challenge to surprise and delight. It offers thrilling audacity to its audience with how it dares to convert abstract elements into luminously beautiful and dynamic visuals. It handles its intricate material with striking balance through a satisfying presentation of the human psyche. Using its own madcap, non-preachy way, the dazzling wit of its storytelling becomes a means of answering the intangible aspects of human emotions and visiting one’s subconscious — without bordering on the too serious, goofy, or irreverent. The picture’s colorful imagery and inventive situations offer an emotional roller-coaster ride to connect to the viewers and keep their attention.

More than its clear technical achievement, this ambitious candy-colored adventure offers a brilliant piece of writing that takes the idea of emotions to a whole different level. Crafty, playful, thought-provoking, and mood-moving all at once, both its humor and pathos promote the exploration of some of the most basic human emotions and how they work together to make people who they are. With jokes that are as funny as they are imaginative, it approaches the happy and the meaningfully sad by entertainingly penetrating the mind with bursts of imagination. It packs an emotional punch through tender wisdom and emotional punches. It also provides a nuanced yet elegant depiction of depression, as well as how interactions and memories affect human behavior.

This existential picture is an emotionally mature yet genuinely funny cinematic treat. Coming from a material that is very difficult to pull off, it maintains a believable humanity, while being intellectually engrossing and heartwarming at the same time. Interestingly, it succeeds where a lot of heavy, serious, and thematically complex live-action movies have failed.

As a brisk and effortlessly charming affair, it doesn’t just connect human emotions to people’s manner of processing ideas, it also turns them into engaging characters that wrap lessons in behavioral science into an ambitious and visually dazzling head trip.

Bold, sweet, funny, and heartbreakingly sad in various scenes, this wonderful piece of family entertainment boasts a wealth of spectacular voice talents including Amy Poehler as Joy, Phyllis Smith as Sadness, Mindy Kaling as Disgust, Bill Hader as Fear, and Lewis Black as Anger. As an ensemble, they are able to combine simplicity with the extraordinary, as well as the daring with the sophisticated. Its marvelous mounting of the human mind makes its patrons feel like visiting a laboratory that is crossed with a rainbow.

A worthwhile way to spend cash while consuming emotions in cinematic form, this significant contribution to pop culture by the people behind Pixar is another outstanding addition to the studio’s library. It offers a universality that makes it an instant classic. Its moving storytelling deeply touches through a fireworks display of fizzing ideas, as if it is designed to alternate on triggering the tear ducts and the facial muscles. It is easy to love this type of film when watching it for the first time, but it will prove even more enjoyable after repeated viewings.


‘Inside Out’ Film Review: Happy + Sad
Rianne's Score (Click post title for review)
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Video #2 documentation filmed during the “Inside Out” Press Conference in Manila, Philippines with director Pete Docter and co-director Ronnie del Carmen.

Ronnie talks about his Filipino colleagues at Pixar and their advocacy projects, then Pete and Ronnie discusses their successful working relationship starting from the film “Up,” then all the way to “Inside Out.”

Unplanned handheld shots with my GoPro, and I guess the footage turned out fine nevertheless — thanks to the awesome responses from these two smart and creative guys from Pixar.

Video #2: ‘Inside Out’ Co-director Ronnie del Carmen Talks About Pixar and Pixnoys
Rianne's Score (Click post title for review)
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Video #1 documentation filmed during the “Inside Out” Press Conference in Manila, Philippines with director Pete Docter and co-director Ronnie del Carmen.

From filmmakers’ introduction to the “Inside Out” story development to Pete and Ronnie’s working relationship at Pixar.

Unplanned handheld shots with my GoPro, and I guess the footage turned out fine nevertheless — thanks to the awesome responses from these two smart and creative guys from Pixar.

Video #1: How the Story Came About From the ‘Inside Out’ Directors
Rianne's Score (Click post title for review)
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Inside Out photo courtesy of Disney-PixarInside Out photo courtesy of Disney-Pixar
Inside Out photo courtesy of Disney-PixarInside Out photo courtesy of Disney-Pixar

 

 


Inside Out photos by Rianne Hill Soriano

Disney-Pixar’s Inside Out Press Conference in Manila with director Pete Docter and co-director Ronnie del Carmen, Friday, Aug. 7, 2015 at the Makati Shangri-la Hotel Isabela Function Room.

Inside Out Press Conference in Manila Photos

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out photos by Rianne Hill Soriano

Inside Out Photos Courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

Inside Out photo courtesy of Disney-Pixar

 

Photos: Inside Out Filmmakers Press Conference in Manila 2015
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Mad Max: Fury Road movie review

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“Mad Max: Fury Road” is supercharged with its own dose of resonant mythmaking. This action spectacle is not without flaws, but whatever narrative heft it lacks miraculously loses its ground in the storytelling — thanks to its adrenaline pill’s maximum overdrive of fun and pleasure. It proves a significant point that when done with the careful combination of heart, effort, and talent, a glorious symphony of violence, action, and manic flair can overcome the need for perfect story. The spectacle ends up so engrossing that it easily overshadows the questionable parts of the tale.

This “Mad Max” flick has more than just “What a lovely day” can offer.

This exhilarating piece of post-apocalyptic popcorn is loaded with fine madness in every nook and cranny of it. Early on, it readily gears up for a desert adventure full of mind-blowing action sequences to rival just about any other awesome action sequence ever to grace the big screen. Add up the subversive wit, propulsive momentum, feminist roar, and hilarious sexual politics and you get a full-throttle action flick that is inexplicably kick ass in every way.

Milking on the franchise for the fourth time after three decades, this “Mad Max” reboot, still helmed by the ultimate “Mad Max” hero George Miller, works as a road movie centering on the escape of an unlikely group from the greedy men in control of human’s basic resources. This leads to a feature film-long chase where a cult of manipulators and the manipulated do everything they can to catch the ragtag team led by Furiosa and Max.

This motion picture makes a stark statement about humanity’s violent tendencies. Imagine how these maniacs survived the world’s end and how they would probably blow it up again if they get the chance to take whatever’s left. Another interesting point in this film is how it becomes a testosterone and estrogen mash up. Max, Furiosa, and the rest of the escape group develop interactions and varying human relationships more than gender, culture, and beliefs and beyond what their wild society defines and dictates.

Plot, subtlety, logic, and character development get tossed out the window at the expense of staging a triumph of kinetic action in this motion picture. Interestingly, it succeeds in doing that as its hyper-accelerated rush of oil-fisted explosiveness spot-on hits that elusive nerve for insane entertainment to tickle the fanboys and the fangirls.

As an epitome of a badass thrill ride, this scrap-metal demolition derby makes it a point that the action never stops — unless a few good seconds of breathing time should be counted as such. The well-thought-of audio-visual frivolities are a lot of fun. They turn out as pure guilty pleasure from start to finish. The practical effects and stunts are nothing short of jaw-dropping. Knowing how much of the sets and props are real and completely functional, including the fire-wielding guitar and the speaker truck housing it, adds to that already bone-jarring, visceral impact of this limitlessly inventive masterpiece.

The spectacle promotes gloriously crackling entertainment envisioned by such a brilliant maestro. Full of relentless imagination aptly realized on screen, this two hours worth of rolling thunder is clearly targeted for action junkies. The presentation suggests that this picture is deliberately meant as an overdose of monumental thrills. An incredible array of physical objects moves through its cinematic space in unique ways that each frame can work as awesome wallpaper. Moreover, it lays out all the crazy on screen all at once without losing focus. Everything is an orgy of the loud, the louder, and the loudest.

From the cinematography to the production design, this towering, weird-ass heavy metal of a film suddenly redefines the action template. It sets a new gold standard for action cinema. Its action pieces make many other blockbusters, superhero flicks, and special effects-savvy offerings look like they were rough tests and B-movie projects.

Displaying a perfect balance of practical and CG effects, what primarily sets this movie apart from its contemporaries is how much it feels homegrown and handmade while still maximizing the benefit of digital wizardry. Its revved up vision showcases such a gloriously twisted design fitting its theme, story, and even its social context. It doesn’t try hard to incorporate its key messages and it just fits enough to make a hyper-accelerated rush of weirdness and insanity rightfully orchestrated to both entertain and tickle social values.

This gorgeously rendered warfare of a flick injects ferocious fuel into the franchise to fire up its sequel cylinders. If this is bait for another trilogy, looks like a good number of old and new patrons will be willing to line up for more adventures with George Miller and his team.

More than just its technical brilliance, the acting performances led by Ton Hardy as Max Rockatansky and Charlize Theron as Imperator Furiosa deliver a significant contribution in achieving the film’s revolutionary effect. While subjective, the ironically toned down madness of Max in the story works well with how he shares the stage with the equally toned down yet equally kick-ass Furiosa. Together, they shine amidst all the crazy elements around. They complement the insanity of their surroundings.

The way the rest of the characters are made to behave on screen promotes a strange kind of flavor for the storytelling, regardless of their level of acting skills. Miller really makes the ensemble work — making perfection even out of the imperfections. Supporting roles including those of Nicholas Hoult as Nux, Hugh Keays-Byrne as Immortan Joe, Josh Helman as Slit, Nathan Jones as Rictus Erectus, and Rosie Huntington-Whiteley, Zoe Kravitz, Riley Keough, Courtney Eaton, and Abbey Lee as The Wives keep up with the needs of the narrative accordingly.

“Fury Road” is beautifully strange, violent, and thrilling. It may be flawed in terms of character development and plot details, but it is undeniably a flawless piece of crazy entertainment. Its whirlwind of fire accelerates to breathtaking heights that nothing else matters.

So buckle up because this is one hell of a ride. It’s mad as hell, but it’s one wild ride worth taking.

‘Mad Max: Fury Road’ Film Review: Mad symphony + feminine fury
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3D movies are actually older than most people think. Way before the latest 3D craze of our times, a number of 3D flicks during the 80’s were already hitting the box office. In fact, the 50’s and even decades earlier all became witnesses to a number of 3D movie offerings. The catch of these older movies (mainly using the anaglyph-style 3D via those red and blue glasses) was how they tend to amaze the viewers with that so-called “jump of the screen” effects.

Now, in the era of IMAX 3D, Real 3D, and Dolby Digital 3D, this best 3D movies list rekindles the long-gone hype of what 3D technology can offer to the big screen.

Since the resurgence of 3D movies from the mid-2000’s to March 2010, I have been personally hoping to catch the old 3D movies of yesteryears, then have them compared with what the modern times offer. But for now, these films from the new era of 3D filmmaking (using 3D stereoscopic technology) are my best picks for the Top 5 Best 3D Movies List as of March 2010:

1. “Avatar”
Year: 2009
Director: James Cameron
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Joel Moore, Giovanni Ribisi, and Michelle Rodriguez
Plot: After the sudden death of his twin brother, the paraplegic war veteran Jake takes his place in a mission to infiltrate the Na’vi, a humanoid race from the distant world Pandora, through the use of an avatar. In exchange for the spinal surgery to fix his legs, he submits to the instructions of the military authorities and corporate executives, only to find himself torn between the greed of his own race and the need and value of an alien civilization that he begins to embrace.

This bold 3D eco-opus examining technological wonders and morality is totally jaw-dropping in stereoscopic 3D. Period.

2. “U2 3D”
Year: 2007
Director: Catherine Owens and Mark Pellington
Cast: U2 as themselves (Bono, Adam Clayton, Larry Mullen Jr., and The Edge)
Plot: With everything entirely shot with more than a dozen 3D cameras, U2 3D offers a groundbreaking concert movie featuring the legendary band U2’s 2006 “Vertigo” tour.

This rock documentary provides a perfect marriage of surround sound and 3D visuals that it felt like attending a real concert. At the IMAX theater, I and the rest of the viewers were standing, singing, holding up concert stuff, and jumping from our places with an energy like that from a real concert.

3. “Deep Sea 3D”
Year: 2006
Director: John Hall
Voice Narration: Kate Winslet and Johnny Depp
Plot: As a 3D nature documentary exploring the awe-inspiring depths of the oceans around the world and their marvelous creatures, this film becomes a spectacular journey around the homes of the many aquatic wonders of the planet.

This visually enticing 40-minute film offers a worthwhile 3D experience. It is breathtaking, educational, and so full of life. From the stunning and colorful species to the grotesque and weird sea creatures, it allows the audience to really feel the valuable presence of all these life forms and how significant they are in a world that humans should fairly share with them. How engrossing this short but meaningful movie is? Many of us inside the theater ended up personally touching mid air for several times to feel those majestic fishes that were seemingly right in front of us.

4. “Coraline”
Year: 2009
Director: Henry Selick
Voice Cast: Dakota Fanning, Teri Hatcher, Jennifer Saunders, Keith David, and Ian McShane
Plot: Based on Neil Gaiman’s novel, this 3D stop-motion animation project offer tells the story of the little girl Coraline who moves to an old house and discovers an alternate version of her life there. Feeling bored and neglected by her parents, she finds solace on the parallel reality of this other version of her world (where everybody has buttons instead of eyes). She initially finds it way much better than her real life. However, her adventure gradually turns into danger and she struggles to find her way home to save her real family.

This animated offering sets a significant template on how 3D films should be. It provides great storytelling, just enough “jump-out-at-you” moments, and a fantastical vision though its dark fantasy treatment. It effectively envelops the audience with an immersive adventure the way Coraline experiences it. The 3D imagery is utilized for the best of the film instead of becoming a mere 3D cash-cow gimmick.

5. “Beowulf”
Year: 2007
Director: Robert Zemeckis
Cast: Ray Winstone, Anthony Hopkins, John Malkovich, Robin Wright Penn, Crispin Glover, and Angelina Jolie
Plot: The Danish king Hrothgar succumbs to the havoc initiated by the monstrous troll Grendel. He offers rewards for his death and the great warrior Beowulf lives up to the task. He soon becomes king. However, his darkest secret gets back at him decades after when Grendel’s evil mother, whom Beowulf had a life-enduring bargain with before, brings to his kingdom its worst nightmare.

Zemeckis’ foray into the world of actor-based computer animation turns this classic literary tale into a different kind of sensory experience in 3D animation format. It blends CGI, motion capture, and 3D sterescopic technologies to bring a level of 3D appeal that has become a pioneer for its time.

Top 5 Best 3D Movies List 2010
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Avatar movie review

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As a feat of fearless imagination and audacity, “Avatar” is a bold eco-opus examining the themes technological wonders and morality. It is a breathtaking flight of fancy using the typical Hollywood formula.

Engaging its audience with its titanic technical achievement, its technical brilliance, alongside its timely and significant concept, is truly worth more than a decade of risky, arduous, and passionate work.

Leading the future for its new format of big-screen entertainment, watch it in 3D to get the full experience it can offer on the big screen.

Director James Cameron impressively leads the viewers to his Pandora’s box. Predictable story, cliched dialogue, and logical lapses aside, this motion picture turns out thrilling and explosive in the right mix. It has enough soul to effectively escape into the new world of jaw-dropping spectacle. This film gets the closest any has to fulfilling the 3D format’s fundamental mission of creating a new, immersive way of looking at movies. If there’s a chance, it is highly recommended to watch it in IMAX to see it in its full visual glory.

The most-hyped movie of the year just about merits the description. Cameron’s visionary bearing for his long-awaited pet project, his first film after the equally historical 1997 hit “Titanic,” is well worth the wait.

Its awe-inspiring technical brilliance kind of overpowers the storytelling — but the said flaw doesn’t really matter with how Cameron brings to life Pandora and the Na’vi, which clearly is a quantum leap in modern filmmaking technology.

The narrative explores the sub-stories of: a buffed ex-marine in a wheelchair who gets turned into an alien warrior through his avatar (his human mind in an alien body); a free spirited princess in an indigenous alien tribe getting into a love triangle; a military industrial complex with machinery and weaponry of the 22nd Century caliber; and a potential world filled with exotic life forms and million-dollar stones.

The tale about profit and progress vs. nature’s power and infinite variety promotes a fancifully detailed vision. However, the exploration of these societal issues gets quite compromised by the rather juvenile story exposition. In terms of the intense expectations for it, amidst the very promising concept, the film still falls short in putting enough dimension to its plot, as compared to its technical magnificence as a 3D epic.

Gorgeously rendered, this 3D offering sets a new bar in computer-generated animation. With the feast of technical details on display, the viewers can easily find themselves busy marveling at everything on screen. The photorealistic 3D imagery really transports the audience into an alien world rich with imaginative vistas, creatures, and characters; even at the middle of clunky lines, awkward scenes, cliched moments, and a script that plays things very, very safe.

The film’s concept is full of potential. Its vision is full of challenge. Not everything makes sense; but in the best way possible, things are dealt with for the sake of pure Hollywood entertainment. Every time the movie runs out of credibility, especially when it comes to the plot, the eye-candy provides enough sugar rush. The screen elements break the CG barrier by combining elaborate lighting elements and complicated visual details with state-of-the-art motion-capture technology and tried-and-tested recreation of live-action parts. Meanwhile, James Horner delivers the 3D equivalent of a soundtrack. From start to end, the sound and music are in par with what the visuals offer.

Cameron and his legion of skilled craftspeople mounts a convincingly realized artificial world created from scratch to the big screen. They blur the line between reality and CGI by definitively blending animation and live-action elements. The breathtakingly beautiful CGI landscapes present a story that easily travels from the human world to the fantastical and back. Its sophisticated editing rhythms represent what one contemporary blockbuster cinema (a $400 million project) dictates. The filmmakers’ aim for sheer wonderment for this sci-fi epic with gamer-geek sensibility truly delivers for its intended purpose.

While its cinematic impact may not quite rise to the ultimate expectation of being “a master of all masterpieces,” this bold and imaginative vision gets to the level of such a descriptive phrase as a “stunning masterpiece of cinematic technology.”

The metaphorical aspects of the film, though not played out at their best, are still worth noting. When trying to go deeper than the jaw-dropping visuals, the narrative reveal issues and concerns on progress vs. environment. Value is also given to themes about: tribes and races; physicality and spirituality; love and survival; humanity and technology; pride and purpose; responsibility and morality; and war and greed.

The world of Pandora is very immersive and the Na’vi people seem to resemble the old culture of the world in the alter ego of American Indians. The marines and the scientists resemble the capitalist and fascist thinking in modern civilization. The heroes of the tale show how it is to become truly human, while being torn in between two different worlds.

It is interesting to note that unlike the overall storytelling that gets sort of overpowered by the film’s audio-visual grandeur, the well-realized culture of the Na’vi becomes comparable to a fantasy novel getting the reader engrossed to the value of its world, resources, and people — to the point that the special effects don’t exactly become a barrier to let you feel for them as they struggle against the destruction of their home by the so-called “sky people.”

This decade-in-the-making dream project of Cameron is like the “Star Wars” of this age. For all the technical virtuosity of its mythical 3D universe, the Na’vi characters seem much more expressive than most motion-capture technology creations of this generation — making it in par with the brilliance of the exemplary Gollum-Smeagel character in “Lord of The Rings.” The invented world is also comparable to the technical and thematic milestones that George Lucas and Peter Jackson made in the realms of fantasy and special effects filmmaking.

The technical wizardry is at the service of a recycled plot that still rightfully pumps blood for the purpose of cinematic immersion. The film’s digital world effectively transports the audience to a domain that doesn’t exist — and it is just impossible not to get engaged with the fantastic visuals of such painstakingly intricate details.

“Avatar” is a little hollow at the center as compared to great film concepts and scripts that have become masterpieces; but the sheer scale and ambition of its production look as tactile and as tangible, as if they are made of real materials and living tissues.

The creative epiphany in “Avatar” is the extraordinary experience that more than lives up to the hype. Despite its flaws, it is a brilliant, visual extravaganza that is simultaneously thrilling, provocative, and surprisingly moving. It ma be more impressive on a technical level than as a piece of storytelling opus, but it proves to be a successful approach in creating a good 3D film experience; thus, paving the way for it to become a 3D sci-fi classic in the history of world cinema.

This motion picture is essentially a movie that people have seen before; but it is boldly made to look like nothing anyone has seen before. The inadequacies of the story become relatively forgivable — thanks to the undeniably beautiful, engrossing, and mind-bending audio-visual epic that it is.

‘Avatar’ Film Review: What jaw-dropping 3D can be
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Pixar’s “Up” is a symphonic balance of touching silence, witty dialogue and cinematic flight of fancy.

This animated picture further strengthens its impressive track record of making noteworthy animated films. It provides a symphonic balance of touching silence and witty dialogue where the flight of fancy is carefully crafted through wildly creative fantasy, inner childhood, and rediscovery.

As an emotional and heartfelt story with various levels of relationships and sense of belongingness, this high-altitude exploration about love and loss and letting go makes a beautifully balanced effort, propelling the viewers up, up, and away with its colorful balloons of cinematic adventure.

This family film doesn’t pander. The audience’s suspension of disbelief, especially for some of its preposterous elements, never insists itself as a negative issue. In fact, the cleverness and originality the film exudes through it becomes considerably boundless. Highly supported by visual wonder and worthwhile story investment, the theme of this exquisitely cinematic work tweaks the common elements of a grownup tale and rejuvenates the storytelling with much spark and pop.

From belly-laugh humor to tear-in-the-eye despair, it never becomes anything less than incredibly touching and entertaining. Alternately funny and touching, and exciting often all at once, this tale about unfulfilled dreams and fulfilling promises is punctuated by gentle whimsy and tender human values. Through its intimate character study about rediscovering the soul, or surviving the worst and making the most of it, the film’s creative synergy of sharp, funny, and tear-jerking elements delivers both a thrillingly fantastic adventure and a devastatingly poignant piece of realism.

What makes “Up” more special is how its animation efforts are utilized for maximum value. It combines the basic filmmaking requirement of imaginative and sincere storytelling with dazzling and dreamlike visuals on a level that can work best on animated films. It creates an experience that is a special characteristic of animation: at once utterly convincing and completely impossible, but all in all, lovingly acceptable for its kind of medium.

This swashbuckling romp starts slow and classy. Then it picks up helium and soars into a continent-hopping adventure and an understated, nuanced psychodrama with an end as inspiring as its title. For children, it’s an adventure movie; for adults, it’s an adventure on a whole different level.

“Up” is a breezy kid’s fun yarn embedded in a sentimental grownup tale with serious consideration on love, death, and lives left behind. The “visual wow factor” can resonate more powerfully to the kids while the amusing brilliance as a sweet, gentle, and imaginative tale about grief and regret, purposes lost and rediscovered can resound more to the adults.

The opening sequence sits in silence, telling the story of young Carl and Ellie filled with emotions and alleviated by Michael Giacchino’s magnificent music transporting the viewers to a make-believe place. Tears fall at the end of this beginning to cast a spell over the willing audience. It hits the right notes as the musical score becomes practically a character in the film itself. The contemplative montage taking Carl from childhood to widowhood truly makes imaginations take flight. Director Pete Docter and co-director Bob Peterson, along with all the talented people from Pixar, create such a palpable story while maintaining itself as a piece of expertly-rendered and artful type of entertainment.

Colors match the emotions seen on screen. Shapes and sizes in every frame promote such valuable storytelling subtexts like: the character design of Carl being very edgy while the designs of Ellie and Russel being full of curves.

The various characters balance the thrills and tenderness to make a truly beautiful and compelling work. The gruffy old widower Carl Fredrickson (voiced by Ed Asner) ties thousands of balloons to his home and sets out to fulfill the lifelong dream initiated by his already departed wife Ellie (with the young Ellie heard in the film voiced by Elie Docter) to see the wilds of South America. Right after lifting off, however, he learns he isn’t alone on his journey, since Russell (voiced by Jordan Nagai), a wilderness explorer 70 years his junior, becomes a stow away on the trip. As he finds himself reluctantly sharing his ride with the short-attention-spanned kid, he embraces the jungle adventure with more and more characters coming their way including the colorful, sweet-toothed bird Kevin, the talking dog Dug (voiced by Bob Peterson), and his childhood idol, the adventurer Charles Muntz (voiced by Christopher Plummer) with his pack of dogs led by Alpha (voiced by Bob Peterson).

“Up” has a genuine warmth of a true classic. It orchestrates itself into one truly unforgettable piece of animated film for all ages.

‘Up’ Film Review: Pixar goes up, up, and away
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District 9 movie review

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“District 9” is a hybrid of a film: it is a Hollywood material that looks like a successful anti-Hollywood venture and a brilliant social commentary.

Produced by the people behind “LOTR” including its helmer Peter Jackson, this motion picture delivers its universal message about ethnic tolerance through the tale of a doomed extraterrestrial race forced to live in slum-like conditions on Earth, mainly in a South African ghetto, until these beings suddenly find a kindred spirit in a government agent exposed to their biotechnology.

This sharp-edged, down and dirty science-fiction work incorporates a great deal of big-budget elements in a part-fake documentary, part-body horror, and part-robot flick. As a comparably smaller offer than the usual Hollywood sci-fi offering, it is still utterly reminiscent of the failed alien and mechanical warrior sequels of similar franchises like “Terminator,” “Aliens vs. Predator,” “Transformers,” and “G. I. Joe.”

Director Neill Blomkamp packs this gritty sci-fi tale with compellingly bold and imaginative pop elements. People have seen too many alien invasion flicks before, but nothing anything quite like “District 9” has come before it, especially in terms of its carefully merged dramatic story, biting satire, low-key CG inventiveness, tightness of editing, and carefully rendered set details. The special effects don’t overwhelm the harrowing story, which helps make the storytelling more emotional. The gross and the drama, together with the big guns, chases, and explosions, remain appropriate to the storyline. Thus, paving the way to a fresh franchise potential.

The good thing about “District 9” is that it’s both intelligent and entertaining. There is clearly no need to dumb out the audience just to be able to get that combination of funny, violently gross, and wildly enthralling speculative movie that exude genuine emotional resonance.

This motion picture is unlike any of those mostly seen in Hollywood’s sci-fi canon. It is not targeted for those who don’t find psychological and physical gore favorable as they would probably feel a little uneasy in a couple of scenes. Some may find certain shots kind of stressful to watch. But sitting through it has its price — a fresh and thought-provoking, if not groundbreaking story, making a good point about racial prejudice and posing a number of serious questions about the state of humanity.

“District 9” is a superb realization of a poignant satire, irony, humor, violence, and drama that is not afraid to examine the essence of what it actually means (and what it might cost) to be human. It is an edgy, provocative commentary on the human condition. It has a heart and soul to its piece. It keeps up with its own technical challenges. As a sci-fi actioner that entertains mercilessly, it opens up a certain compassion and humanity to its audience. It is a swift and subtle movie that trusts its viewers to do some of the work — and it’s quite effective at that. It serves as a pop allegory for the racial tension of apartheid, issues on mass immigration, and man’s inhumane ways to both humans and non-humans.

A modestly budgeted project with an actual idea in its head, this cinematic offering aptly combines breathless action, political satire, and poignant drama that can generally hold the viewers’ attention from start to finish.

This piece of cinema proves that sci-fi flicks don’t always need star-studded or mega-budgeted requirements to be visually intense, remarkably executed, and thoroughly entertaining. Its relatively unknown cast works very well. Lead character Sharlto Copley as Wikus Van De Merwe puts the right dose of pathos for the film through grit, charm, naivete, and humor.

People have seen many aliens coming to earth in movies. Many have seen the finest use of computer-generated imagery on the big screen; but it’s rare to see an intriguing, sci-fi fable that is consistently gripping. This makes “District 9” an original classic in its own right.

‘District 9’ Film Review: Thinking man’s sci-fi
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Behind its eerie theme, Tim Burton’s “Corpse Bride” presents a morbid and romantic trip between the cold dwelling place of the living and the colorful nderground world of the dead. Fun, genial, expressive, and charming, this semi-musical stop-motion piece is set at death’s door, saluting the liberating power of true love and sacrifice.

The story revolves around a young groom-to-be who mistakenly weds a girl from the grave and complicates his upcoming marriate to the womaan he loves.

The directors paint death as a more colorful plane of existence compared to life, as literally shown on the visuals — a bitterly cold presentation of the world of the living as compared to the colorful and musically vivid world of the rotting flesh. It turns out there is more life at the dead’s company.

The engaging story, the expressionistic visuals, and the heart for the very statement it wants to insinuate make an overall witty animated tale. It is whimsical yet eerie, funny but melancholic. On a light, side-splitting note, it promotes a necrophiliac entertainment which can find a good place at the hearts of people who like watching a pile of bones set in an ironic and animated space, whether or not it is the Halloween season.

Tim Burton, along with co-director Mike Johnson, ventures into the world of stop-motion animation for this motion picture, rendering that tedious job of hand-manipulating characters that move incrementally to be shot frame by frame.

So how tedious can this work be? A film is a moving picture. Each frame is shot. Each shot becomes 1 frame. From 1 frame to another, the movements are incrementally shown over a certain period of time. For a TV show, there are generally 30 fps (frames per second). In film, the standard is 24fps. Taking it from here, one can just imagine the challenge of shooting each frame of “Corpse Bride” with 24 shots to be done for a 1-second clip of the film, 48 shots for a 2-second clip, and so on. Each frame is carefully shot with human hands, rightfully moving the different parts of the body of each character for 1 frame, then move all the body parts very incrementally to shoot the next frame and make sure everything complements the previous movement of one particular character. Each frame requires very dexterous hands moving the subject creatively and effectively. According to IMDB.com, instead of film cameras, tthe filmmakers used 31 commercial digital still photography cameras, particularly the Canon EOS-1D MARK 2 SLR, interestingly with Nikon lenses.

The musical score by Danny Elfman, just like Johnny Depp and Helena Bonham-Carter who are Burton’s frequent collaborators, makes a delightful mix of flight of fancy for the film. A stylistic and touching moment to create a more human tone on the love story is shown in many ways as the accurately presented piano scene of Victor and the Corpse Bride. Overall, the musical parts are very flourishing. As usual, Burton’s team makes up a new world out of the dark and expressionistic style Burton is known for.

The story is not as refined as the usual art-house works. But this film makes a poetic form out of what it has. Its minor flaws are easily overlooked as the eyes roll over its Burtonesque-style of storytelling. Its imaginatively done puppetry promotes a dark and grand fairy tale brimming with quirky characters and gothic sets.

“Corpse Bride” is a darkly enchanting tale about the celebration of love that is told in a quirky, gothic, and ironic style. It has the courage to address issues about love and sacrifice and life and death in a shadowy, poetic, and creatively bizarre way.

‘Corpse Bride’ Film Review: A charming grave fairy tale
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