Only Pixar regularly impresses on viewers that just because you’re the hero of your story doesn’t mean you’re right about everything: that you may make serious mistakes, there may be consequences, and you must take responsibility.
Above all, it’s the story of the incredible lengths to which the Make-a-Wish staff and volunteers go in order to create special experiences for long-suffering children to make up in some way for their lost childhood.
“The earth, our home, is beginning to look more and more like an immense pile of filth,” Pope Francis writes. “In many parts of the planet, the elderly lament that once beautiful landscapes are now covered with rubbish” (LS 21). From the outset Wall-E looks as if it had been created with these words in mind, projecting them into a dystopian future in which rubbish has expanded to cover the entire planet, even surrounding the Earth in a halo of space debris.
Inside Out is a rare family film for so many reasons: a story with no villain, for one thing, centering on an imperfect but basically happy intact family going through a tough time. It is a wise and wounding depiction of growing up, a story of growth and loss, with real stakes and real consequences.
Sir Christopher Lee, who died on June 7 at the age of 93, had an extraordinary career and an extraordinary life. To speak only of his film work, while it’s impossible to sum up his incredibly prolific and varied output — IMDb.com credits him with more than 280 acting roles over a nearly 70-year career — Lee’s lean, towering build (he stood five inches over six feet) and sonorous baritone voice were well suited to playing villains and monsters.
Pratt more than delivers. You could almost say he manages to stand in for Sam Neill, Jeff Goldblum and Laura Dern. He’s got Neill’s toughness, Goldblum’s humor and Dern’s down-to-earthness. His character, Owen Grady, is Jurassic World’s velociraptor trainer, and in a terrific early set piece Pratt persuades me that he’s capable of standing up to three raptors armed with nothing but charisma and nerve.
You could almost watch Bicycle Thieves and Roman Holiday back to back and never realize they were shot in the same city only five years apart.
In the twenty-odd years since Jurassic Park pioneered the use of photorealistic computer-animated living creatures integrated into a live-action film, computer animation has become even more prevalent. Yet in all that time, it’s hard to think of a single blockbuster spectacle that uses computer imagery to achieve a similar sense of awe and grandeur.
In the first act of Mad Max: Fury Road, Tom Hardy’s Max spends more time than you might expect strapped helplessly to the front of a turbo-charged Chevy coupe, maniacally driven by a fanatic through a hellish landscape, an unwilling witness to the chaos ensuing around him. Sitting in the theater, I felt about the same way, I think.
The recent beatification of Óscar Romero, Archbishop of San Salvador from 1977 until his assassination in 1980, has drawn new attention to the gap between public perception and reality regarding this popular but controverted figure in El Salvador’s turbulent history. For those interested in beginning to understand who Blessed Archbishop Romero really was, the Christopher Award–winning 1989 film Romero, starring Raúl Juliá, isn’t a bad place to start.
Copyright © 2000– Steven D. Greydanus. All rights reserved.