Review: "Christopher Robin"

by Chris Feil

Off in the Hundred Acre Wood, Winnie the Pooh and friends haven’t changed all that much over the decades. Our Christopher Robin however is all grown up in the real world, having lost his father at a young age before fighting in the war and never returning to visit his childhood daydream oasis. Like the rest of us, he’s grown rigid in adulthood while the rest of the beloved characters remain made of plush.

With Ewan McGregor taking on the adult Christopher, his namesake film presents something as soft as his friends in both its demeanor and its substance. Unlike its recent live action Disney brethren, this film follows its own narrative and is free to explore the characters as it sees fit. And yet it chooses the most obvious one, turning Christopher into an overworked businessman devoting more of his energy to his job than his wife and daughter. Send in Pooh’s implacable chill to play savior to his once kneesocked companion’s soul.

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Soundtracking: "The Lion King"

by Chris Feil

When The Lion King arrived in 1994, it felt like the first Disney film fully developed in its post-Little Mermaid resurrected era. Whereas the genius of Beauty and the Beast and Aladdin feel like passion projects born of new financial fluidity, this film rings like a triumphant self-actualization of its return to dominance. It’s right there in the in the rising sun and thunderous opening incantation of “Circle of Life” - Disney reclaiming with force what they had lost and owning the cyclical nature of creative power.

It’s arresting stuff on a meta level, but that’s still incomparable to the song’s visceral gut level impact. Paired with the imagery of a convening animal kingdom both too fantastical to be true and rendered with breathtaking reality, “Circle of Life” feels so monumental that even immersive IMAX screens and sound systems can’t do its scale justice...

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"Dumbo" Teases

by Nathaniel R

click to enlargePrediction: By 2040 Disney will have remade all of their animated features as "live-action" movies. Well, maybe not Song of the South or The Three Caballeros. Live-action is in quotes because some of the remake titles are basically still half animated -- like The Jungle Book in 2016, or Beauty and the Beast in 2017. Next up in the Disney remakes department is Tim Burton's take on Dumbo. 

The name Tim Burton used to automatically thrill but he lost his mojo at exactly the turn of the century (just after Sleepy Hollow in '99) and hasn't been able to get it back. He's made 10 features since and the only uncompromised / totally satisfying artistic success among them, I'd argue, is the animated features Corpse Bride (2005). And to a lesser extent Frankenweenie (2012) if we're feeling a bit generous...

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I Have Altered The Auteur, Pray I Do Not Alter It Further

by Salim Garami

What's good? This is opening weekend for Solo: A Star Wars Story, a Disney/Lucasfilm production that saw a bit of behind-the-scenes drama. It's hardly the first production of the space opera franchise to be so contentious: Rogue One had Tony Gilroy take over post-production in lieu of director Gareth Edwards and the still in-production Star Wars Episode IX interrupted its development when Colin Trevorrow stepped down as director to J.J. Abrams, returning from Star Wars: The Force Awakens.

After the jump, more on Solo and five films that had survived such a director change to a decent reception after the jump...

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1970: The Aristocats

Our year of the month is 1970. Here's Tim Brayton...

From the standpoint of 1970, we find ourselves at the dawn of what is almost certainly the least-interesting decade in the history of American animation. Television screens were then dominated by the flat, cheap nonsense of Hanna-Barbera while Warner Bros. and MGM had abandoned their short film programs. Just about the only person trying to do anything with the medium was Ralph Bakshi, whose vulgar cartoons for adults were very often "fascinating," but almost never "good." The problem, in all likelihood, is that for 40 years, American animation had been primarily a matter of people reacting to the things Walt Disney had done; and in 1970, Walt Disney had been dead for four years.

This left his namesake studio in a state of full panic and confusion, looking to find any sort of project that felt like it might be "what Walt would have done." The first of these, released for Christmas, was The Aristocats, based on the last story (by Tom McGowan & Tom Rowe) that Walt had briefly glanced at and given his vague blessing to before his death...

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