Written by: Kevin Berge
Pixar: where we make everything anthropomorphic.(Image Courtesy of: crossswalk.com)
Back in February, I completed a journey through the complete works of Studio Ghibli. My immediate thought was I needed to then focus on the other top animated studio in the business, Pixar.
Pixar has been an important part of almost my entire life. The original Toy Story was one of the first movies I ever saw, and I have seen it now more than almost any other film in history. I always look forward to the latest Pixar release.
There was a time where it looked like Pixar could do no wrong. Every single movie they released was the best animated movie of the year, and they brought a degree of complexity to the animated genre that no one else could match.
Pixar has been an important part of almost my entire life. The original Toy Story was one of the first movies I ever saw, and I have seen it now more than almost any other film in history. I always look forward to the latest Pixar release.
There was a time where it looked like Pixar could do no wrong. Every single movie they released was the best animated movie of the year, and they brought a degree of complexity to the animated genre that no one else could match.
However, every studio eventually stumbles. Pixar though still has only a few weak offerings. Ghibli is the only animated studio with a higher success rate. Meanwhile, the classics are enduring, communicating to all ages over all generations.
These are among the best animated movies ever made and certainly among the most accessible to a wide audience. With Incredibles 2 just now releasing, it is the right time to reflect on the legacy of this studio over a decade.
***This ranking will not include spoilers, just discussing the overall focus of each movie. It includes all films released theatrically by Pixar, recently adding Pixar's 20th film Incredibles 2.***
These are among the best animated movies ever made and certainly among the most accessible to a wide audience. With Incredibles 2 just now releasing, it is the right time to reflect on the legacy of this studio over a decade.
***This ranking will not include spoilers, just discussing the overall focus of each movie. It includes all films released theatrically by Pixar, recently adding Pixar's 20th film Incredibles 2.***
At least Owen Wilson probably made some solid cash from the Cars franchise. (Image Courtesy of: youtube.com)
20. Cars 2
Director: John Lasseter and Brad Lewis
Screenwriters: Ben Queen
Premise: Lightning McQueen heads overseas to compete in the World Grand Prix with his friend Mater who is pulled into a plot of international espionage.
It hurts to watch Cars 2. It is just objectively bad. Cars was not even that good a film, but those who enjoyed that first film were certainly not clambering for a film focusing on how Mater becomes an international super spy. The film is just a bad riff on James Bond.
No film better represents what Pixar became in the early 10s than this one, trading in the engaging themes and imaginative ideas for bland attempts to play in new genres. Maybe Pixar could make a good spy movie, but it was not going to ever come out of the Cars universe.
Screenwriters: Ben Queen
Premise: Lightning McQueen heads overseas to compete in the World Grand Prix with his friend Mater who is pulled into a plot of international espionage.
It hurts to watch Cars 2. It is just objectively bad. Cars was not even that good a film, but those who enjoyed that first film were certainly not clambering for a film focusing on how Mater becomes an international super spy. The film is just a bad riff on James Bond.
No film better represents what Pixar became in the early 10s than this one, trading in the engaging themes and imaginative ideas for bland attempts to play in new genres. Maybe Pixar could make a good spy movie, but it was not going to ever come out of the Cars universe.
19. Good Dinosaur
Director: Pete Sohn
Screenwriters: Meg LeFauve
Premise: In this world, the dinosaurs never went extinct, and the creatures still rule Earth. A young apatosaurus Arlo meets a young human male, and they go on an adventure.
I watched most of the Pixar films in theaters shortly after their release, but I never had any urge to see The Good Dinosaur. Let down by a bad production process, this movie is entirely unremarkable. It's just a completely bland experience.
The real shame here is that the concept had potential, but the finished product makes the concept into a well-animated mess that does not feel like a Pixar production. I can barely remember a single thing about this film, and I only recently watched it for the first time.
Screenwriters: Meg LeFauve
Premise: In this world, the dinosaurs never went extinct, and the creatures still rule Earth. A young apatosaurus Arlo meets a young human male, and they go on an adventure.
I watched most of the Pixar films in theaters shortly after their release, but I never had any urge to see The Good Dinosaur. Let down by a bad production process, this movie is entirely unremarkable. It's just a completely bland experience.
The real shame here is that the concept had potential, but the finished product makes the concept into a well-animated mess that does not feel like a Pixar production. I can barely remember a single thing about this film, and I only recently watched it for the first time.
18. Cars 3
Director: Brian Fee
Screenwriters: Kiel Murray, Bob Peterson, and Mike Rich
Premise: Lightning McQueen finally finds that time is catching up to him as new advanced cars pass him by, and he must fight to stay relevant.
It's incredible that the Cars franchise managed to get all the way to a trilogy, and it's even more remarkable that it did so without Pixar producing a single good film in the lot. Cars 3 had some promise on the surface with a more serious tone that sells McQueen now as a mentor figure.
The film falls apart due to being a poorly conceived mishmash of elements. It explores gender equality with a lack of understanding while taking heavy inspiration from Rocky IV, and it also tries to recapture the "magic" of the first film with parallels. It's an entirely unnecessary, poorly constructed but vaguely enjoyable experience.
Screenwriters: Kiel Murray, Bob Peterson, and Mike Rich
Premise: Lightning McQueen finally finds that time is catching up to him as new advanced cars pass him by, and he must fight to stay relevant.
It's incredible that the Cars franchise managed to get all the way to a trilogy, and it's even more remarkable that it did so without Pixar producing a single good film in the lot. Cars 3 had some promise on the surface with a more serious tone that sells McQueen now as a mentor figure.
The film falls apart due to being a poorly conceived mishmash of elements. It explores gender equality with a lack of understanding while taking heavy inspiration from Rocky IV, and it also tries to recapture the "magic" of the first film with parallels. It's an entirely unnecessary, poorly constructed but vaguely enjoyable experience.
17. Monsters University
Director: Dan Scanlon
Screenwriters: Dan Scanlon, Dan Gerson, and Robert L. Baird
Premise: Mike Wazowski and Sulley are two monsters who both enter Monsters University at the same time and slowly form an unbreakable bond of friendship.
Even the Cars franchise sequels made sense. They weren't good, but the stories they told made sense. Monster University does not make sense. It should not exist. It is a poorly executed college experience film, the same story told many times before and since, without any nuance.
There is no reason to bring back Mike and Sully for this story who are not even the reason the original Monsters, Inc. works. While it is a completely watchable experience, this is a direct-to-video experience shoved into theaters for the sake of making some quick cash.
Screenwriters: Dan Scanlon, Dan Gerson, and Robert L. Baird
Premise: Mike Wazowski and Sulley are two monsters who both enter Monsters University at the same time and slowly form an unbreakable bond of friendship.
Even the Cars franchise sequels made sense. They weren't good, but the stories they told made sense. Monster University does not make sense. It should not exist. It is a poorly executed college experience film, the same story told many times before and since, without any nuance.
There is no reason to bring back Mike and Sully for this story who are not even the reason the original Monsters, Inc. works. While it is a completely watchable experience, this is a direct-to-video experience shoved into theaters for the sake of making some quick cash.
If nothing else, Finding Dory has adorable baby Dory. (Image Courtesy of: hollywoodreporter.com)
16. Cars
Director: John Lasseter and Joe Ranft
Screenwriters: Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, and Jorgen Klubien
Premise: In a world where everyone is a car, Steve McQueen is a hot shot young racer who stumbles into the small town of Radiator Springs where he causes trouble and must pay off his debt to the town before returning to racing.
Pixar loves to anthropomorphize objects for stories, but the reason for it is often sound. It creates a thematic focus for the film that is played out through the identity of the characters. Cars just makes the whole world cars because it sells some nice toys to kids.
The least offensive movie in this unwarranted trilogy, the original is just about a hot-shot athlete learning there's more to the world than what was right in front of him. He does a hard days work, makes some friends, and calls it a day. It's a bland, forgettable experience.
Screenwriters: Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, and Jorgen Klubien
Premise: In a world where everyone is a car, Steve McQueen is a hot shot young racer who stumbles into the small town of Radiator Springs where he causes trouble and must pay off his debt to the town before returning to racing.
Pixar loves to anthropomorphize objects for stories, but the reason for it is often sound. It creates a thematic focus for the film that is played out through the identity of the characters. Cars just makes the whole world cars because it sells some nice toys to kids.
The least offensive movie in this unwarranted trilogy, the original is just about a hot-shot athlete learning there's more to the world than what was right in front of him. He does a hard days work, makes some friends, and calls it a day. It's a bland, forgettable experience.
15. Brave
Director: Mark Andrews, Brenda Chapman, and Steve Purcell
Screenwriters: Mark Andrews, Steve Purcell, Brenda Chapman, and Irene Mecchi
Premise: Princess Merida refuses to accept her destiny of arranged marriage and escapes into the woods, making a deal to change her fate that goes horribly wrong.
Brave feels like a real heartfelt try. The film marked Pixar's first movie with a female protagonist, and Merida has a lot going for her as a character. She's strong, independent, and not confined to customs. She feels a bit like Pixar's attempt to criticize the Disney Princess trope.
However, this film is plagued with shoddy execution. Merida stumbles through this story while the most important relationship, her love for her mother, is underdeveloped thanks to the plot direction. Brave is more admirable than good, leaving room for Pixar to do a better job presenting female characters in interesting stories for the future.
Screenwriters: Mark Andrews, Steve Purcell, Brenda Chapman, and Irene Mecchi
Premise: Princess Merida refuses to accept her destiny of arranged marriage and escapes into the woods, making a deal to change her fate that goes horribly wrong.
Brave feels like a real heartfelt try. The film marked Pixar's first movie with a female protagonist, and Merida has a lot going for her as a character. She's strong, independent, and not confined to customs. She feels a bit like Pixar's attempt to criticize the Disney Princess trope.
However, this film is plagued with shoddy execution. Merida stumbles through this story while the most important relationship, her love for her mother, is underdeveloped thanks to the plot direction. Brave is more admirable than good, leaving room for Pixar to do a better job presenting female characters in interesting stories for the future.
14. Ratatouille
Director: Brad Bird and Jan Pinkava
Screenwriter: Brad Bird
Premise: Remy dreams of becoming a chef and has all the talent for it, but he's a rat which means his only means of success rely on help from the restaurant garbage boy Linguini.
There are better Pixar movies than Ratatouille, and there are worse. However, there is not a Pixar film I forget about more often than Ratatouille. Unlike Brad Bird's other movie with Pixar, this film lacks the engaging elements to sell the thematic storytelling.
I do love the climax of the film with the critic, but otherwise there's not much here to talk about. It's just a completely unremarkable experience. It's an easy film to turn on just to let play in the background. It at least has some nice messages about inclusion and talent.
Screenwriter: Brad Bird
Premise: Remy dreams of becoming a chef and has all the talent for it, but he's a rat which means his only means of success rely on help from the restaurant garbage boy Linguini.
There are better Pixar movies than Ratatouille, and there are worse. However, there is not a Pixar film I forget about more often than Ratatouille. Unlike Brad Bird's other movie with Pixar, this film lacks the engaging elements to sell the thematic storytelling.
I do love the climax of the film with the critic, but otherwise there's not much here to talk about. It's just a completely unremarkable experience. It's an easy film to turn on just to let play in the background. It at least has some nice messages about inclusion and talent.
13. Finding Dory
Director: Andrew Stanton and Angus MacLane
Screenwriters: Andrew Stanton and Victoria Strouse
Premise: Dory stumbles upon an old memory that may be the key to finding her parents and heads to California to find them.
Finding Dory will never be a Pixar classic. It has too many narratives and tones to juggle, but it is not that far away from its more acclaimed predecessor in terms of pure entertainment. My review of the film was a bit lenient with the film's more questionable decisions, but I stand by the overall sentiment.
Sometimes, it is okay just to enjoy the ride of a film, and there are many Pixar films that fall into that category. This film has some nice moments particularly in developing Dory's relationship with her family. While it did not need to sideline Nemo and Marlin, it did bring in the delightful octopus Hank.
Screenwriters: Andrew Stanton and Victoria Strouse
Premise: Dory stumbles upon an old memory that may be the key to finding her parents and heads to California to find them.
Finding Dory will never be a Pixar classic. It has too many narratives and tones to juggle, but it is not that far away from its more acclaimed predecessor in terms of pure entertainment. My review of the film was a bit lenient with the film's more questionable decisions, but I stand by the overall sentiment.
Sometimes, it is okay just to enjoy the ride of a film, and there are many Pixar films that fall into that category. This film has some nice moments particularly in developing Dory's relationship with her family. While it did not need to sideline Nemo and Marlin, it did bring in the delightful octopus Hank.
Randall was so misunderstood. He just wanted to make sure the city got its energy. (Image Courtesy of: carolinatheatre.com)
12. A Bug's Life
Director: John Lasseter and Andrew Stanton
Screenwriters: Andrew Stanton, Donald McEnery, and Bob Shaw
Premise: Flik is a misfit in his ant colony looking to make it big with his inventions, but he makes a mistake and must seek out help to save his colony from grasshoppers.
I love A Bug's Life. It's a blast of vibrant energy. The characters are memorable especially Hopper and Francis, and the story has enough heart to work all the way through. The problem is that the tale is almost a cliche in its execution. It is some of Pixar's most conventional work.
This film is just Pixar's remake of Seven Samurai with more comedic bits. Every few years, this tale is retold in some form on screen. Sure, this is a solid shot at it, but just making the characters insects does not distract from its formulaic nature. Plus it will never be as good as Antz.
Screenwriters: Andrew Stanton, Donald McEnery, and Bob Shaw
Premise: Flik is a misfit in his ant colony looking to make it big with his inventions, but he makes a mistake and must seek out help to save his colony from grasshoppers.
I love A Bug's Life. It's a blast of vibrant energy. The characters are memorable especially Hopper and Francis, and the story has enough heart to work all the way through. The problem is that the tale is almost a cliche in its execution. It is some of Pixar's most conventional work.
This film is just Pixar's remake of Seven Samurai with more comedic bits. Every few years, this tale is retold in some form on screen. Sure, this is a solid shot at it, but just making the characters insects does not distract from its formulaic nature. Plus it will never be as good as Antz.
11. Monsters, Inc.
Director: Pete Docter, Lee Unkirch, and David Silverman
Screenwriters: Andrew Stanton and Dan Gerson
Premise: In a world where monsters scare kids to gain the necessary energy for their world, Sulley is a top scarer with the assistance of his best friend Mike, and everything is great for them until a child slips into the world of monsters.
Monsters, Inc. is proof that a great concept can carry a movie. Who wouldn't want to learn about a world where monsters scare kids for the sake of creating energy? It's dark and scary but also funny especially with this execution.
However, the plot of Monsters is underwhelming. Billy Crystal's Mike and John Goodman's Sully play in very different spaces, and their relationship ultimately becomes a bit of a caricature. Vibrant designs and strong ideas make the film engaging while Mike and Sully are hit and miss.
Screenwriters: Andrew Stanton and Dan Gerson
Premise: In a world where monsters scare kids to gain the necessary energy for their world, Sulley is a top scarer with the assistance of his best friend Mike, and everything is great for them until a child slips into the world of monsters.
Monsters, Inc. is proof that a great concept can carry a movie. Who wouldn't want to learn about a world where monsters scare kids for the sake of creating energy? It's dark and scary but also funny especially with this execution.
However, the plot of Monsters is underwhelming. Billy Crystal's Mike and John Goodman's Sully play in very different spaces, and their relationship ultimately becomes a bit of a caricature. Vibrant designs and strong ideas make the film engaging while Mike and Sully are hit and miss.
10. Finding Nemo
Director: Andrew Stanton and Lee Unkrich
Screenwriters: Andrew Stanton, Bob Peterson, and David Reynolds
Premise: The clownfish Marlin loses his son Nemo and must venture out into the sea to find him while getting help from a forgetful blue tang Dory.
Few can watch Finding Nemo and not enjoy it. It has all the necessary pieces for an exciting and memorable adventure: stakes, drama, comedy, and relatable characters. However, it often feels like Nemo is just good enough to appeal to everyone, missing something to truly stand out.
When thinking about the great Pixar films, Nemo will always come up, but I often struggle to recall any major scenes in the film. I remember the relationship of Dory and Marlin and the brief appearances of Crush and Bruce, but the scenes blur together after a few months of separation.
Screenwriters: Andrew Stanton, Bob Peterson, and David Reynolds
Premise: The clownfish Marlin loses his son Nemo and must venture out into the sea to find him while getting help from a forgetful blue tang Dory.
Few can watch Finding Nemo and not enjoy it. It has all the necessary pieces for an exciting and memorable adventure: stakes, drama, comedy, and relatable characters. However, it often feels like Nemo is just good enough to appeal to everyone, missing something to truly stand out.
When thinking about the great Pixar films, Nemo will always come up, but I often struggle to recall any major scenes in the film. I remember the relationship of Dory and Marlin and the brief appearances of Crush and Bruce, but the scenes blur together after a few months of separation.
9. Up
Director: Pete Docter and Bob Peterson
Screenwriters: Bob Peterson and Pete Docter
Premise: Carl Fredrickson is a tired old man who ties a thousand balloons to his house so that he can finally accomplish his dream of seeing the South American wilds, only to find that a Boy Scout Russell has tagged along for the ride.
One year after Wall-E presented the perfect half-hour of nearly silent (other than a few words and the underlying music) storytelling, Up arrived to give us the most heart-wrenching ten minutes of story presented without dialogue. While the opening is brilliant, the rest of the film can't quite live up to that bar.
It's still a fun adventure about a man rediscovering his youth and passion, but too much of the main story of Up feels mundane. The threats are not well enough established, and the ultimate goal of the film can feel muddled. While certainly enjoyable, Up showed some notable flaws in how Pixar was telling stories.
Screenwriters: Bob Peterson and Pete Docter
Premise: Carl Fredrickson is a tired old man who ties a thousand balloons to his house so that he can finally accomplish his dream of seeing the South American wilds, only to find that a Boy Scout Russell has tagged along for the ride.
One year after Wall-E presented the perfect half-hour of nearly silent (other than a few words and the underlying music) storytelling, Up arrived to give us the most heart-wrenching ten minutes of story presented without dialogue. While the opening is brilliant, the rest of the film can't quite live up to that bar.
It's still a fun adventure about a man rediscovering his youth and passion, but too much of the main story of Up feels mundane. The threats are not well enough established, and the ultimate goal of the film can feel muddled. While certainly enjoyable, Up showed some notable flaws in how Pixar was telling stories.
All the classic Toy Story characters and there's also Barbie. (Image Courtesy of: denofgeek.com)
8. Incredibles 2
Director and screenwriter: Brad Bird
Recency bias can be a dangerous thing, so I feel like I'm trying to be cautious in my rankings of Pixar's 20th film. Incredibles 2 is a fun romp that celebrates much of what the original celebrated, taking a more heavy focus on the Incredible parents rather than the kids.
Even with some balancing issues in the story, the main thing keeping the sequel away from its predecessor is timing. This long-awaited second effort feels like it pulls too much from recent Marvel films when the original almost created the tropes Marvel relies on. It's all about timeliness.
Recency bias can be a dangerous thing, so I feel like I'm trying to be cautious in my rankings of Pixar's 20th film. Incredibles 2 is a fun romp that celebrates much of what the original celebrated, taking a more heavy focus on the Incredible parents rather than the kids.
Even with some balancing issues in the story, the main thing keeping the sequel away from its predecessor is timing. This long-awaited second effort feels like it pulls too much from recent Marvel films when the original almost created the tropes Marvel relies on. It's all about timeliness.
7. Coco
Director: Lee Unkrich and Adrian Molina
Screenwriters: Adrian Molina and Matthew Aldrich
Premise: In a family that has banned music, Miguel secretly dreams of becoming a musician, and his aspiration send him straight to the Land of the Dead.
Pixar's 2017 film feels like a celebration of everything that makes Pixar special while being completely unique to the studio. Coco has heart, adventure, imagination, and perhaps most importantly explores the Mexican culture with an honesty that makes it accessible to all audiences.
While it struggles at times to put together all the pieces, it's so colorful and impactful that it makes up for those small shortcomings. As I said in my review, it can feel at times like it is more Disney than Pixar with its goofiness, but Disney Animations rarely has created stories this important.
Screenwriters: Adrian Molina and Matthew Aldrich
Premise: In a family that has banned music, Miguel secretly dreams of becoming a musician, and his aspiration send him straight to the Land of the Dead.
Pixar's 2017 film feels like a celebration of everything that makes Pixar special while being completely unique to the studio. Coco has heart, adventure, imagination, and perhaps most importantly explores the Mexican culture with an honesty that makes it accessible to all audiences.
While it struggles at times to put together all the pieces, it's so colorful and impactful that it makes up for those small shortcomings. As I said in my review, it can feel at times like it is more Disney than Pixar with its goofiness, but Disney Animations rarely has created stories this important.
6. Toy Story 3
Director: Lee Unkrich
Screenwriters: Michael Arndt
Premise: Andy is on his way to college, and his toys get donated accidentally to a day care center, forcing Woody, Buzz, and the gang to concoct a plan to get home.
The Toy Story trilogy is nearly perfect with each film tackling a different time and idea surrounding childhood. The third is the weakest act of the story mainly because it feels almost too polished in comparison to the younger two movies. As I said in my review, the film does well in completing the trilogy.
This is a whole trilogy about accepting change, and the final change that needs to come is Andy moving on from his toys. The toys have grown up and accepted this day would come, but it does not help them when it arrives. It's a bittersweet conclusion to a fantastic franchise.
Screenwriters: Michael Arndt
Premise: Andy is on his way to college, and his toys get donated accidentally to a day care center, forcing Woody, Buzz, and the gang to concoct a plan to get home.
The Toy Story trilogy is nearly perfect with each film tackling a different time and idea surrounding childhood. The third is the weakest act of the story mainly because it feels almost too polished in comparison to the younger two movies. As I said in my review, the film does well in completing the trilogy.
This is a whole trilogy about accepting change, and the final change that needs to come is Andy moving on from his toys. The toys have grown up and accepted this day would come, but it does not help them when it arrives. It's a bittersweet conclusion to a fantastic franchise.
5. Inside Out
Director: Pete Docter and Ronnie del Carmen
Screenwriters: Pete Docter, Meg LeFauve, and Josh Cooley
Premise: Riley Anderson is a young girl dealing with a move from Minnesota to San Francisco, and the five emotions in her head (Joy, Sadness, Anger, Fear, and Disgust) all try to help her through the transition.
After a bit of a dry spell from Pixar, Inside Out came along to remind everyone why the studio even exists. Once again, it masterfully uses the anthropomorphism of objects, in this case emotions, to explore simple concepts in a well-told story.
It's emotional watching these emotions grow beyond their simple roles, learning why they need one another. This all comes to together to tell the audience why we need to hurt sometimes, why we can't always just be happy. It's the Pixar formula at its finest with modern touches.
Screenwriters: Pete Docter, Meg LeFauve, and Josh Cooley
Premise: Riley Anderson is a young girl dealing with a move from Minnesota to San Francisco, and the five emotions in her head (Joy, Sadness, Anger, Fear, and Disgust) all try to help her through the transition.
After a bit of a dry spell from Pixar, Inside Out came along to remind everyone why the studio even exists. Once again, it masterfully uses the anthropomorphism of objects, in this case emotions, to explore simple concepts in a well-told story.
It's emotional watching these emotions grow beyond their simple roles, learning why they need one another. This all comes to together to tell the audience why we need to hurt sometimes, why we can't always just be happy. It's the Pixar formula at its finest with modern touches.
SO where's my Wall-E 2? I'm kidding, don't ruin Wall-E by trying to make a sequel or a prequel, please. (Image Courtesy of: rotoscopers.com)
3. Toy Story
4. The Incredibles
Director and screenwriter: Brad Bird
Premise: Superheroes have all been forced into regular suburban life which means the prolific Parr family must be normal which does not sit well with the former Mr. Incredible who finds a new mission to suit his skills.
Most of the Pixar films are collaborative process, moving through multiple hands to find the finished product. That's why The Incredibles stands out. It's entirely one man's work: Brad Bird. This film is as smart as any Pixar film and as vibrant, but you can tell it comes from a unique voice.
I have reviewed this film fully already, but it is important to say just how relevant this feels in the current superhero landscape. It's a film that humanizes superheroes and comic book action while commenting on their purpose in a relevant manner that resonates even stronger today.
Premise: Superheroes have all been forced into regular suburban life which means the prolific Parr family must be normal which does not sit well with the former Mr. Incredible who finds a new mission to suit his skills.
Most of the Pixar films are collaborative process, moving through multiple hands to find the finished product. That's why The Incredibles stands out. It's entirely one man's work: Brad Bird. This film is as smart as any Pixar film and as vibrant, but you can tell it comes from a unique voice.
I have reviewed this film fully already, but it is important to say just how relevant this feels in the current superhero landscape. It's a film that humanizes superheroes and comic book action while commenting on their purpose in a relevant manner that resonates even stronger today.
Director: John Lasseter
Screenwriters: Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolov
Premise: Cowboy Woody is the favorite toy of Andy and leader of all the toys until a brand new toy crashes onto his spot on the bed, space ranger Buzz Lightyear, forcing Woody to question if he's being replaced.
How do you beat the original classic? Everything was riding on this film to make Pixar, and it was such a success it still defines the studio. A tale of growing friendship and growing character realizations, what makes this film stand out strongest is that the protagonists are also the antagonists of the film.
Woody especially defines the movie through his inability to let go of his preconceived notions. It's wonderful storytelling that cannot be explored in just a few paragraphs. That's why I went in-depth with my review of the movie here. So much is packed into this short kid's film.
Screenwriters: Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolov
Premise: Cowboy Woody is the favorite toy of Andy and leader of all the toys until a brand new toy crashes onto his spot on the bed, space ranger Buzz Lightyear, forcing Woody to question if he's being replaced.
How do you beat the original classic? Everything was riding on this film to make Pixar, and it was such a success it still defines the studio. A tale of growing friendship and growing character realizations, what makes this film stand out strongest is that the protagonists are also the antagonists of the film.
Woody especially defines the movie through his inability to let go of his preconceived notions. It's wonderful storytelling that cannot be explored in just a few paragraphs. That's why I went in-depth with my review of the movie here. So much is packed into this short kid's film.
2. Toy Story 2
Director: John Lasseter, Lee Unkrich, and Ash Brannon
Screenwriters: Andrew Stanton, Rita Hsiao, Doug Chamberlin, and Chris Webb
Premise: A toy collector steals Woody to sell as the key part of a special collection, and Buzz is forced to lead a rescue operation to save Woody who may not want to be saved.
I often feel like I am in the minority in thinking that the second Toy Story is the strongest, but so much of what the sequel does resonates with me. I explored the film already in a review, but this is a far more action-packed and complex movie than its predecessor.
It's a story about loss and the fear of being discarded. It's just about the most important ideas you could explore when focusing on anthropomorphic toys. The line between who is right and wrong is still complex before resolving in a satisfying way with the best action and physical comedy in the series.
Screenwriters: Andrew Stanton, Rita Hsiao, Doug Chamberlin, and Chris Webb
Premise: A toy collector steals Woody to sell as the key part of a special collection, and Buzz is forced to lead a rescue operation to save Woody who may not want to be saved.
I often feel like I am in the minority in thinking that the second Toy Story is the strongest, but so much of what the sequel does resonates with me. I explored the film already in a review, but this is a far more action-packed and complex movie than its predecessor.
It's a story about loss and the fear of being discarded. It's just about the most important ideas you could explore when focusing on anthropomorphic toys. The line between who is right and wrong is still complex before resolving in a satisfying way with the best action and physical comedy in the series.
1. Wall-E
Director: Andrew Stanton
Screenwriters: Andrew Stanton and Jim Reardon
Premise: Wall-E is a trash compactor robot on the remnants of an abandoned Earth, living a lonely life until a probe Eve is sent down to assess the state of the planet.
I adore Wall-E. From start to finish, it is a masterpiece of environmental and cultural commentary that is also just beautiful to behold. While the nearly silent first half is stronger than the second, it all comes together in a wonderful package of science fiction space opera romance.
I could praise the film all day, but that's why I wrote a review about it. It is my second favorite film ever made, and I stand by that because it does so much with so little. Plus Wall-E is one of the best characters ever conceived and developed beautifully without saying more than two words.
Screenwriters: Andrew Stanton and Jim Reardon
Premise: Wall-E is a trash compactor robot on the remnants of an abandoned Earth, living a lonely life until a probe Eve is sent down to assess the state of the planet.
I adore Wall-E. From start to finish, it is a masterpiece of environmental and cultural commentary that is also just beautiful to behold. While the nearly silent first half is stronger than the second, it all comes together in a wonderful package of science fiction space opera romance.
I could praise the film all day, but that's why I wrote a review about it. It is my second favorite film ever made, and I stand by that because it does so much with so little. Plus Wall-E is one of the best characters ever conceived and developed beautifully without saying more than two words.
