Finding Nemo 2: Jumping the Shark

By now you've heard the news that Pixar is working on a Finding Nemo 2 with director Andrew Stanton (John Carter) returning to the fold. Someone really needs to give little Nemo a compass, poor thing. 

More distressing is the persistent rumor (not fact as far as I can tell) that Toy Story 4 is being developed. If they make it, I honestly believe that they should revoke all of Toy Story 3's reviews and its Best Picture nomination; its massive success and emotional wallop hinged on it being the finale, the moment you, like Andy, had to say a tearful final goodbye. If they make Toy Story 4 it was a lie. (It already was a fib given that the characters lived on in short films immediately thereafter.)

The Hollywood Reporter doesn't mention Toy Story 4 in their roundup of what's going on with Pixar but they do say this very very odd thing:

The move is also a safe one by Pixar, the company that once was praised for cranking out original film after original film, but now seems to trying to balance commercial prospects with unique creations.

What is there to balance?

Pixar IS the safe commercial prospect. Sequels are redundant since people go because the movies are Pixar. They don't go because they love the characters/singular franchise. Most of the time they haven't met the characters yet. All Pixar movies are already "safe commercial prospects" by virtue of the studio's reputation and marketability. So why not make original movies and keep the reputation intact, keep the legacy and critical sheen as The Greatest Movie Studio Ever?

PrincesssSS$$$$$$$$$$$$$$$$$$$$$$

Frankly I don't get it. Yes, Finding Nemo 2 will make more than Brave but why sacrifice your reputation and legacy for an extra ½ billion when everything you release makes at least that much? Brave, an original that was seen as a risk given its female protagonist, has earned $244 million globally and is still going strong and Merida herself will surely generate 100s of millions more in merchandising by virtue of that billion dollar Disney Princess branding. Ratatouille, an original that was seen as a risk due to its subject matter (ewww!), earned $623 million globally. Up, an original that was seen as a risk given its old man protagonist,  earned $731 million globally and a Best Picture nomination. WALL•E, which was seen as a risk given its nearly silent movieisms, earned $521 million globally along with an instant reputation as a masterpiece and did more than most Pixar pictures to cement their reputation as a commercially minded company that also indisputably produces great art.

Didn't Cars 2 do enough to sully their reputation, making them appear as Profits-First driven as every other studio?

12 Word Reviews: "Brave", "Beasts of Southern Wild", "Moonrise Kingdom"

My 1000+ word review of Magic Mike will be up tomorrow but in the meantime, let's clear the cache with a few words, a dozen in point of fact, on movies I didn't review properly.

Beasts of the Southern Wild (Benh Zeitlin)
A six year old girl learns survival lessons from her father in a drowned world. But synopsis won't due its real poetry any justice. See it!
10WR: Overwhelming sense of loss tempered by vivid originality, guileless acting, flexible allegory.  A-
Oscar? I doubted it at an Oscar contender at first (defiantly weird and filled with first timers) but it has tremendous critical approval, and there's nothing else even remotely like it on the filmscape. It's very difficult to shake once you've experienced it. Could factor in across the board or, more likely, fight for a few key nods. Adapted Screenplay might be the safest bet (so far).

Brave (Mark Andrews, Brenda Chapman, and Steve Purcell)
A Scottish princess seeks to transform her fate but the magic she calls on has dangerous repercussions.
10WR: Refreshing steps outside Pixar comfort zones but oddly disjointed. Still... that hair! B
Oscar? A good bet in the Animated Feature category (Pixar has only missed that nomination once -- just last year with Cars 2) but anything beyond that and the music categories will be a tough sell.

What kind of bird are you?

Moonrise Kingdom (Wes Anderson)
Troubled pen pals run away from home (and scout camp) in this darkly sweet tale of adolescent (and adult) loneliness.
10WR: Amusing affectations are balm and escape from real pain.Anderson's second best! B+
Oscar? That brilliant last movement in the end credits, with the narration of Desplat's music could go a long way for selling Best Original Score. But how about Screenplay and Art Direction? Too affected or just right?

People Like Us (Alex Kurtzman)
A young man (Chris Pine) discovers a half sister (Elizabeth Banks) he didn't know existed but keeps the truth from her and his angry recently widowed mother (Michelle Pfeiffer. 
10WR: Strong actresses but uncomfortably incestuous plot bizarrely filmed like an action flick. C-
Oscar? If it's an unlikely hit, Pfeiffer could win traction in Supporting Actress.

poll by twiigs.com

Peace , Love & Misunderstanding (Bruce Beresford)
An uptight depressed lawyer visits her estranged hippie mother and their cultures clash... again.
10WR: Kindhearted with enjoyable if obvious performances. Too programmatic when complexity is needed. C
Oscar? No. Though it sure is nice to see Jane Fonda back onscreen.

Prometheus (Ridley Scott)
A team of scientists seeks our genetic ancestors on a far away planet and discovers the diabolical origins of those pesky acid-blooded creepy crawlies instead.
10WR: Tremendously visual. Intermittently heart-stopping --  that abortion sequence!. Plot is a tough sell.  B
Oscar? We discussed this! 

YOUR TURN in the comments

Box Office: Princess Merida, Bear Hunter

Princess Merida's aim was true, hitting the Pixar bullseye this weekend. $60 million plus means BRAVE can stand proudly with the studio's most successful opening weekends. Some worried that Pixar's first female lead might not prove nearly as big of an immediate draw as cars, toys and boy robots... forgetting that Princesses have never exactly hurt parent co's Disney's box office tallies. Abraham Lincoln's box office aim was messier but then axes can miss their mark and still do bloody damage.

TOP TEN PRIDE WEEKEND
01 BRAVE new $66.7
02 MADAGASCAR 3  $20.2 (cum. $157.5)
03 ABRAHAM LINCOLN, VAMPIRE HUNTER  new $16.5 
04 PROMETHEUS  $10 (cum. $108.5) Oscar Chances?
05 ROCK OF AGES $8 (cum. $28.7) Review
06 SNOW WHITE AND THE HUNTSMAN $8 (cum $137.1) Review 
07 THAT'S MY BOY $7.9  (cum $28.1)
08 THE AVENGERS  $7 (cum $598.3) Review
09 MIB 3 $5.6 (cum. $163.3)
10 SEEKING A FRIEND AT THE END OF THE WORLD  new $3.8 

Talking Points: To Rome With Love was strangely timid about its opening weekend given the renewed Woody Allen love post Midnight in Paris but had a strong per screen average anyway. Had it opened wider it surely would have outperformed Seeking a Friend... which couldn't find an audience; Moonrise Kingdom continues to be a strong performer in limited release just outside the top ten; Two months into its run The Avengers is finally losing screens but should cross the astounding $600 million mark by Tuesday, only the third film in history to do so (when not adjusted for inflation). 

Regarding The Avengers. Given the screen loss it'll be tough to pass Titanic to claim the all time #2 spot -- another $60 million is required. I was just at brunch at Harlem's Red Rooster and a little tiny barely verbal boy at the next table was veritably surrounded by superheroes -- Thor lunch box to the left of him, Spider-Man backpack to the right of him, as he excitedly pointed at an ancient comic book in glass behind him in the restaurant's wall of historic memorabilia. They indoctrinate them young into Marvel Mania. When he's a teenager he'll be buying opening weekend tickets to The Avengers holographic reboot (2025)

What did you see this weekend?

Or is your weekend still raging? If so, Happy Pride!

Link Highway

Scanners on the tributes to legendary film critic Andrew Sarris (RIP) who helped make the auteur theory the big deal it still is with movie buffs.
NPR Monkey See says goodbye to Matt Groenig's hugely funny and enduring "Life is Hell" comic strip (RIP... so many endings lately) 
The Playlist Aw, look at who's suddenly ambitious. Mr. Ryan Phillipe. He's planning to direct his first feature Shreveport (about a has been movie star who is kidnapped and tortured) and he'll star in it, too. We hope it's a metaphor for his actual career because what would be more awesome than a elaborated staged celebrity pity party in the shape of a "Riveting Thriller"
Rope of Silicon Pixar unloads Monsters University concept art 

24 Frames August: Osage County is really going to happen I guess. George Clooney is producing now and he gets things done.
Movies.Com unexpected appearances of Presidents in Movies 
In Contention Kris Tapley picks the 10 best Pixar films on the eve of Brave's release. It's as good a time as any though I might practically flip the whole rankings 180˚
My New Plaid Pants Barbarella as a TV series? I don't know what to say...
The Mary Sue fashion ilustrations inspired by The Avengers
Awards Daily has the winners of the Broadcast Television Critics Awards... i.e. the counterpart to those "Critics Choice" awards. Showtime's Homeland is the clear favorite this past year 
Comics Alliance What if Blade Runner (1982) were entirely animated in watercolor?  

And in another auteurial revision... "What if David Lynch had directed Rock of Ages?" Ha! Very well executed imaginings here, particularly the Paul Giamatti riddles.

...would you see that movie?

Burning Questions: When Will America Get Animation For Adults?

Day of the Dead comes with Lively ColorMichael C. here. Eyebrows were raised when Pixar recently announced their slate of upcoming films. After two projects we already knew about – a dinosaur focused film now titled “The Good Dinosaur” (May 30th, 2014) and the film that takes place inside the mind – there was a new project, intriguingly described as Untitled Pixar Movie About Dia De Los Muertos.

The idea of the full resources of Pixar set to work on an animated film about the Mexican Day of the Dead is enough to get any film lover’s expectations soaring. Obviously, there is no promise the film will be any more artistically daring than the spooky yet family-friendly likes of Henry Sellick’s Coraline. But for now it is reason enough to hope we will soon have an affirmative answer to the question animation lovers have asked for decades:

When will mainstream American cinema finally accept adult animation?

I will not subject you to another rendition of that familiar tune about the rest of the world not holding our country’s prejudices about cartoons being just for kids. Suffice it to say the end of American animation’s extended adolescence is long overdue. 

Disney appeared poised to take the plunge back in the Nineties. I am still stunned anything as mature as the tortured Catholicism of Hunchback’s “Hellfire” sequence found its way into a film with Happy Meal tie-ins. More after the jump

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