Pixar Filmography, Volume 4: "Incredibles 2" The Rescue (Or, Super Mom, Mr. Mom, and Screen Time)

Superheroes have come a long way into the 21st Century. In the past decade alone, there's been an undeniable oversaturation of comic-book-related feature films that either crossed over (we're looking at you, Marvel) or merely played off the success of one or more groundbreaking hits (Dark Knight, anyone?). 

Back in the early-2000s, the subgenre--or rather, sub-medium--was in its relative infancy. Certainly as far as standalone entries or series were concerned. But while most other franchises were mere adaptations of previously-published source material, along came writer-director Brad Bird with an original concept: a computer-animated action-adventure-comedy about a family of superheroes in a world where heroics and superpowers are outlawed, and in which the family patriarch has a midlife crisis. 

Okay, so a few similarities could be drawn from Watchmen and The Fantastic Four. But the execution and distinct wit of Bird's screenplay and direction were enough to win audiences and critics over with The Incredibles when it was released in November of 2004. And then some. 

Bird had been brainstorming ideas for a sequel since then. The real question, though, was how to do something fresh in an era where Hollywood has exponentially been turning out numerous tentpole movies. Said the former Disney animator in 2018, 

(L-r) Frozone, Elastigirl, and Mr. Incredible in Incredibles 2

[Back in 2004] The field was lush. It was well manicured. No one had played on it much. Spider-Man was over there, and then way on the other side was X-Men. There was room for us to move. It was really nice . . . And now it’s like a crowded subway with no air. . . . [For the second film] I was sitting there going, ‘In two years are people going to be sick to death of having superheroes every two seconds?' . . . And then I thought, ‘Well, wait a minute, the reason I made the first movie was not to do superpowers, but to comment on family. And that’s still very rich. So once I sort of reassured myself that that was really the core of the movie, I felt like there’s a lot of new stuff to explore there.

Picking up exactly where its predecessor left off, 2018's Incredibles 2 marks the fourth Pixar sequel in which a main and supporting character switch roles. For Cars 2, the star was Mater instead of Lightning McQueen. For Monsters University, it was Mike instead of Sully. For Finding Dory, it was the titular blue tang instead of Marlin the clown fish and his son Nemo. (You get the idea.) And now for Bird's follow-up, the spotlight turns to Helen Parr a.k.a. Elastigirl (voiced by Holly Hunter), who's called into action by a rich businessman and superhero enthusiast, who intends to change the general public's perception on superheroes. (Other costumed figures from around the world, like the over-excited and dimension-opening Void, have additional roles.) 

Meanwhile, her husband, Bob a.k.a. Mr. Incredible (voiced by Craig T. Nelson), plays Mr. Mom for their three kids at home, including force-field-weilding daughter Violet (currently experiencing teenage romance and angst) and fast-running son Dash (whose grade school has been integrating new math into their curriculum).

But it's the adorable baby of the clan, Jack-Jack, who--spoiler alert--revealed his superpowers by the end of the last movie and steals the show this time around. As amusing and unpredictable of a character that he is, Jack-Jack is also a metaphor for how unpredictable and adaptable parenthood can be, and how important it is to get help from others when necessary. 

(L-r) Elastigirl, Jack-Jack, Violet, Mr. Incredible, and Dash in Incredibles 2

The story takes a gripping turn with its central antagonist: the hypnotic, manipulative, and enigmatic Screenslaver, who dupes countless unsuspecting victims that apparently rely on superheroes--and technology and media, for that matter--to do all their good work. (After the film was first released, several theaters posted disclaimers about certain scenes that had flashing lights, especially for photosensitive audience members who have epilepsy.) 

Incredibles 2 feels a bit low-key when compared with its predecessor. On the other hand, it should be commended for promoting healthy lifestyle choices when it comes to eating and school work. (How often do mainstream movies do that?) And while it could've used a better (more risky) payoff in its otherwise exciting climax, the film stands on its own as an entertaining, action-packed, and exceptional entry, with Bird's trademark wit, attention-to-detail, and emphasis on family. 

As an added bonus, the old school supers (a.k.a. Mr. Incredible, Elastigirl, and Frozone) finally get their own catchy theme songs. Move over, Spider-Man and Batman. 

Pixar Filmography: Back to the Shorts (Second Edition)--Part 2

WRITER'S NOTE: The following was originally published on November 13, 2015. Only original theatrical shorts will be discussed, while spin-offs of Pixar's feature films are in a category of their own. (The following short films can be viewed on Disney+ or on the three "Pixar Short Films Collection" DVD/bluray discs.) 

La Luna (2011) 

A lovely fable about three generations of an Italian family, centered on a little boy travels with his father and grandfather to the moon to collect shooting stars. Directed by Enrico Casarosa and featuring a Fellini-esque score by Michael Giaachino, this wonderful story is about discovering our place in our family and in the world. It also honors a family heritage and illustrates the theme of passing the baton from one generation to the next. (Preceded Brave in theaters in 2012.) 

The Blue Umbrella (2013) 

A bittersweet and captivating story (and possibly an homage to the classic Oscar-winning 1956 short film, The Red Balloon) about two inanimate objects who meet on a rainy night in New York City. Directed by Saschka Unseld and featuring a creative score by Jon Brion, as well as delightful animation of anthropomorphized objects and buildings. (Preceded Monsters University in theaters in 2013.) 

Lava (2014) 

Another captivating love story (and fitting companion piece to the full-length film it preceded), in which two volcanoes long for companionship over thousands of years. Directed by James Ford Murphy as a loving homage to the late beloved musician Israel Kamakawiwoʻole, the results are beautiful and universal. (Preceded Inside Out in theaters in 2015.) 

Sanjay’s Super Team (2015) 

An Indian boy is torn between childhood fantasies and his family's religion, until he imagines Hindu gods as superheroes. A semi-autobiography of director Sanjay Patel's own childhood, this colorful and mesmerizing short features daring themes that Pixar had never tackled before. (Preceded The Good Dinosaur in theaters in 2015.) 

Piper (2016) 

Another wonderful companion piece to the feature film it preceded, this charming short tells the story of a baby sandpiper who overcomes its fear of the ocean waves and forms an unlikely friendship with a tiny crab. Directed by Alan Barillaro, the attention-to-detail in the animation (from sand to bubbles) and characters is incredible. (Preceded Finding Dory in theaters in 2016.) 

Lou (2017) 

This inventive story centers on an anthropomorphic assortment of lost-and-found items and a toy-snatching schoolyard bully. Directed by Dave Mullins, the short is also energetic and poetic as it captures a particular part of elementary school adolescence. (Preceded Cars 3 in theaters in 2017.) 

Bao (2018) 

Domee Shi's original short follows a Chinese immigrant (and empty nester) in Canada, and a small dumpling that comes to life. Groundbreaking for its cultural significance, the premise may be weird, but it's also genuine and relatable. (Preceded Incredibles 2 in theaters in 2018.) 

Pixar Filmography: "Toy Story Toons"

When Toy Story 3 made it to the big screen in 2010, it was instantly hailed by many as a perfect conclusion to the emotional arc of Woody, Buzz Lightyear, and the rest of the remaining gang. At the same time, it represented a new chapter for the ever-popular ensemble, and eventually opened the doors for other stories into the next decade. So imagine the original voice cast's delight when they got the chance to reprise their respective roles (with the exception of at least one) in not one, but three theatrical shorts, followed by two television specials. 

Hawaiian Vacation (2011) 

Beginning in 2011, Woody and company worked together to give Barbie and Ken their dream trip to Hawaii. Director Gary Rydstrom and his team succeeded in giving each character a moment to shine--and all within the span of five minutes--including a reappearance by "Spanish Buzz." (Played before Cars 2 in theaters in 2011.) 

Small Fry (2011) 

An egocentric Happy Meal version of Buzz switches places with the real one during a visit to a local fast food restaurant. The real Buzz eventually stumbles into a support group for discarded kid's meal playthings, a side of toys we've never seen on screen before. Director Angus Maclane was influenced by his family's background in human psychology, and it gives the short its own distinct identity and strength. Arguably the best of the Toy Story shorts. (Played before The Muppets in theaters in 2011.) 

Partysaurus Rex (2012) 

The last of these theatrical shorts put Rex the timid dinosaur front and center (and for the first time since, maybe, the 1999 sequel) as he encountered a collection of bath toys who use the house tub as a neon-lit,  sud-soaked dance party. Directed by Mark Walsh, this wild short also shows how insecurities and the need for acceptance can get the best of us if we're not careful. (Played before the 3D re-released of Finding Nemo in theaters--and in eye-popping 3D.) 

Toy Story of Terror (2013) 

One of two made-for-TV specials that premiered on the ABC Network, this clever homage to Alfred Hitchcock (and other classic horror-thrillers from the early-20th Century) finds Woody, Buzz, Jessie, Mr. Potato Head, Trixie, Mr. Pricklepants, and Rex travelling with Bonnie to a small motel where things go bump in the night. This installment (from Small Fry director Angus Maclane) marked the first physical appearance of the G.I Joe-esque Combat Carl (who was only referenced in the 1995 original movie), and a stroke-of-genius casting choice for actor Carl Weathers (also a parody of the veteran actor's role from Predator?). And while it recalls certain elements from the first two films (i.e., Sid's bedroom, Al's the greedy toy collector), Toy Story of Terror takes the series in a clever and thrilling new direction, all while keeping its themes of courage and determination intact and worthwhile. 

Toy Story That Time Forgot (2014) 

The same goes for this "time-travelling" adventure, in which Bonnie's creative imagination gives Trixie the triceratops a major role, while Bonnie visits a friend during the holidays. The main gang soon find themselves in a giant prehistoric playset (think Land of the Lost-meets-The Dark Crystal) of delusional dinosaur action figures. Directed by Steve Purcell, this special shines a light on the difference between screen time and playtime, as well as characters being more than they think they are. 

Pixar Filmography: Back to the Shorts (Second Edition)--Part 1

WRITER'S NOTE: The following was originally published on November 13, 2015. Only original theatrical shorts will be discussed, while spin-offs of Pixar's feature films are in a category of their own. (The following short films can be viewed on Disney+ or on the three "Pixar Short Films Collection" DVD/bluray discs.) 

Following the success of 1995's Toy Story, Pixar Animation Studios went back to making short films for the first time since 1989. Beginning in 1997, these entertaining vignettes have become a tradition with nearly every theatrical release from the studio. They, in turn, have given up-and-coming filmmakers opportunities to showcase their creative talents. (Company co-founder John Lasseter did the same in the feature film division, beginning with 2001's Monsters, Inc., by giving other Pixar veterans directing reigns.) 

Geri’s Game (1997) 

Set in a park during the fall, an elderly man plays chess with himself—literally showing split personalities between his current self and him in his prime. The animation of human characters, as well as leaves, took director Jan Pinkava (who later conceived the idea for Ratatouille) a year-and-a-half to create. (Preceded a bug's life in theaters in 1998.) 

For the Birds (2001) 

A group of snooty little birds is ironically pestered by a stork while on a high wire, with silly and riotous results. Helmed by art director Ralph Eggelston, this was the last short to be produced at the studio’s former headquarters in Point Richmond, CA, before relocating to their now-famous studio in Emeryville. The sound effects, and the animation of the feathers, are cute and funny. (Preceded Monsters, Inc. in theaters in 2001.) 

Boundin’ (2003) 

Written and directed by character designer Bud Luckey (the artist responsible for making Woody a cowboy), this folk tale centers on a dancing lamb on a high mountain plain who, one day, gets his wool shaved, leaving the poor critter depressed. That's when an old jackalope appears with words of wisdom. This was the first Pixar short to feature dialogue between characters, which later happened with short spin-offs of such hits as Monsters, Inc. and Cars. (Preceded The Incredibles in theaters in 2004.) 

One Man Band (2006) 

Two rival European street musicians compete for a little girl’s money. Directed by Mark Andrews (story supervisor for The Incredibles) and Andrew Jimenez, this short is driven by various musical styles thanks to a stupendous and brilliant score by composer Michael Giacchino. (Preceded Cars in theaters in 2006.) 

Lifted (2007) 

A Spielberg-esque parody of flying saucer adventures, with a twist on an alien abduction that turns out to be a test—thanks to a complex control console. Directed by veteran sound designer Gary Rydstrom (who worked on Spielberg classics like Jurassic Park), the pantomime and deadpan results are a stroke of comedic genius. (Preceded Ratatouille in theaters in 2007.) 

Presto (2008) 

Playing with the old “magician-pulls-a-rabbit-out-of-the-hat” trick, this Chuck Jones/Three Stooges-style comedy of slapstick proportions (set in real time) follows a world-class magician and a carrot-addicted bunny. Directed by veteran Pixar animator Doug Sweetland. The opening credits pay wonderful homage to classic Walt Disney cartoons from the 1950s. (Preceded WALL*E in theaters in 2008.) 

Partly Cloudy (2009) 

The age-old idea of babies coming from storks is reimagined in this charming and hysterical short. Only here, the storks deliver the babies a la postal service, but it’s the clouds that make them. The story centers on the relationship between a dark cloud and a worn-down bird who delivers the former’s pain-inducing creations. Director Peter Sohn was inspired by the famous opening sequence in the Disney classic Dumbo, as well as his relationship with his Korean mother growing up. The expressions of panic, anger, sadness, and joy are understandable without a single word of dialogue. (Preceded Up in theaters in 2009.) 

Day and Night (2010) 

A creative, clever, and meticulous combination of 2D and 3D animation, this is one of the Pixar’s most complex shorts. Directed by Teddy Newton, the story centers on anthropomorphized representations of daytime and nighttime, both in the same world but with different perspectives. The high point comes from an audio excerpt by motivational speaker, Dr. Wayne Dyer. (Preceded Toy Story 3 in theaters in 2010.) 

SHORT RETROSPECT: "Amsterdam" (2022)

Let me talk about one of the year's most critically-panned films, but from an angle that most probably haven't even considered. Not yet, at least. David O. Russell's ensemble period caper, Amsterdam, got a lot of flack from critics since it was first released in the fall of 2022. Despite an impressive cast of A-listers and impeccable period design, the story has been criticized for being convoluted and uneven. Even so, the film scores a 62% audience rating on Rotten Tomatoes (compared with a 33% "rotten" score by critics), as well as a 6.1/10 user rating on IMDb, making this film one of the year's most divisive and intriguing. Plus, it didn't receive a single nomination from the Golden Raspberry Awards this season. So that's saying something. 

Consider me one of the few who really appreciated the film's thoroughly immersive setting, its quirky humor, and the consistent dedication of its roster cast--headed by Christian Bale, John David Washington, and Margot Robbie, as three WWI friends who get tangled up in a framed plot involving murder and political turmoil. Sure, it gets a little too heavy-handed in its final act, but the rest of the film makes up for it. I believe this will be one of those initial flops that'll be re-evaluated and appreciated years later for what it is. Give it time, and another shot. 

Oscars 2023 (or, "Oscars 95"): Collaboration, Everywhere All At Once

If last night's Academy Awards had one thing in common, it was an enormous amount of team effort and acknowledgement among the many nominees and recipients. And not just because of this year's Best Picture winner, which became the most-awarded film since Slumdog Millionaire back in 2009. 

In addition, two major studios or companies received the most Oscar statues during what was arguably one of the most incredible televised ceremonies in the Academy's now-95-year history: streaming service Netflix and independent studio A24. 

Returning Master of Ceremonies Jimmy Kimmel (who hosted in 2017 and 2018) helped start the show off with a bang, with plenty of cinematic/movie-going throwbacks as well as laughs (despite inevitable jabs at last year's infamous "slap"), before Guillermo del Toro's Pinocchio picked up the first award, for Best Animated Feature Film. The Netflix-produced take on Carlo Collodi's classic story is the most recent example of animation (including the film's stop-motion) as a transcending art form, as championed by del Toro (who now joins the same ranks as previous winners George Miller and Gore Verbinski) and co-director Mark Gustafson. It also marks the first such film since Sony Animation's "Spider-Man: Into the Spider-Verse" to not be produced by Disney, Pixar, or DreamWorks. (The latter studio's 2005 feature film, Wallace & Gromit: The Curse of the Were-Rabbit, was the last stop-motion picture to win the award.) 

Edward Berger's All Quiet on the Western Front (adapted from Erich Maria Remarque's book of the same name) became a surprising front runner when the nominees were announced last month. The harrowing WWII drama, told from the perspective of German soldiers, became the most-awarded film produced by the streaming service to date, with well-earned wins for Best International Feature (Germany), Best Original Score (Volker Bertelmann), Cinematography, and Production Design. Alfonso Cauron's semi-autobiographical Roma held the previous record (with three wins) four years ago. 

A24 also set a new record with their genre-bending multiverse flick, Everything Everywhere All At Once. In a new move by the Academy (and as an interesting way to bookend the telecast), the acting categories were each presented back-to-back. For the supporting players, last year's recipients, Troy Kotsur (CODA) and Ariana Dubois (West Side Story), presented the respective awards to EEAAO costars Ke Yuy Quan (a former child actor who's been experiencing an incredible resurgence in his career) and Jamie Lee Curtis (arguably the biggest surprise of the night, even for the veteran scream queen herself). Previous Best Actress winner Halle Berry (Monster's Ball in 2002) and last year's recipient Jessica Chastain (The Eyes of Tammy Faye) delivered the respective leading trophies to Best Actor Brendan Fraser (another amazing comeback story, for his harrowing career-defining performance in The Whale, which also won for its cutting-edge makeup effects) and to Best Actress Michelle Yeoh (who became the first Asian performer to win for a leading role, in EEAAO). 

Even more astounding is that all but one of the acting wins were for the same film, yet all were released by the same studio. Plus, not only are these screen veterans all fan favorites, but they were also first-time nominees. Whoever from my generation thought that two guys from Encino Man would one day be commended and awarded at the Oscars?! As Humphrey Bogart's Sam Spade once famously said, "It's the stuff that dreams are made of." And, I can only imagine how thrilled Steven Spielberg (nominated in multiple categories for his semi-autobiographical The Fabelmans) must have been to see Indiana Jones (Best Picture presenter Harrison Ford) and Short Round (Quan's iconic role from 1984's Temple of Doom) reunited onstage. 

These fan favorites of screen (and current alums of studio A24) are now official Oscar-winners!
(l-r) Ke Huy Quan (Best Supporting Actor), Michelle Yeoh (Best Actress),
Brendan Fraser (Best Actor), and Jamie Lee Curtis (Best Supporting Actress) 

During her acceptance speech, Yeoh stating that her historic win represented "a beacon of hope and possibilities." On the flip side, EEAAO co-writer/-producer/-director Daniel Kwan expressed genuine humility and excitement as he dedicated his award to his son and his family.  Kwan and collaborator Daniel Scheinert (a.k.a. the Daniels) became the third duo in the show's history to win Best Director (the others being Robert Wise and Jerome Robbins for West Side Story in 1962, and Joel Coen and Ethan Coen for No Country For Old Men in 2008). And the Daniels' triple wins (including Best Original Screenplay) have helped elevate their film outside the arthouse crowd and into the mainstream (EEAAO is A24's highest-grossing film to date), bursting with new levels of creativity, originality, and ultimate weirdness. (The film also won for its insane editing.) Not bad for a team that previously directed Daniel Radcliffe as a farting corpse. 

While the telecast went by amazingly well, and without any major mishaps, we can't talk about the Oscars without mentioning a few potential upsets. Several multiple-nominated films went home empty-handed, including Martin McDonagh's endearing tragicomedy The Banshees of Inisherin, Spielberg's aforermentioned The Fabelmans, Baz Lurhmann's music biopic Elvis, and Ruben Ostlund's dark satire Triangle of Sadness. However, Jenny the donkey (one of the breakout stars of Banshees) made a surprise show appearance, while Kimmel commended Supporting Actor nominee Judd Hirsch (one of the host's favorite actors). 

Singers Lady Gaga and Rihanna delivered profound and moving performances of their respective Original Song nominees (Gaga for "Hold My Hand," from Top Gun: Maverick; Rihanna for "Lift Me Up," from Black Panther: Wakanda Forever). But it was the show-stopping "Naatu Naatu" (from the Indian sensation RRR) that took home the prize. 

Other multiple-nominated films managed to walk away with at least one award. These included Sarah Polley's adapted screenplay for Women Talking (the first win for an Orion Pictures release since The Silence of the Lambs in 1992) and Ruth Carter's diverse costume designs for Wakanda Forever. Even the two highest-grossing films of 2022 received at least one win of their own, including the the soaring sound design for Top Gun: Maverick, and the groundbreaking underwater VFX for Avatar: The Way of Water.  

Finally, I have a message for the infamous Jobu Tupaki (the cross-dimensional antagonist from Everything Everywhere All At Once). To paraphrase OG Ghostbuster Ray Stantz: 

As a duly designated representative of the Southwest Metro region of the state of Minnesota, I order you to cease any and all multiverse and Academy Awards activity and return forthwith to your place of origin, or to the nearest convenient parallel dimension. 

That ought to do it. 

REVIEW COLLECTION: Warner Bros Feature Animation

The following reviews were originally posted on my Instagram page @film_freeq in February 2023. They represent the brief but intriguing history of one of the major film studios' animation divisions. 

Space Jam (1996) 

There are very few movies that truly define the 1990s as much as Warner Bros' live-action/animated sports comedy Space Jam, in both good ways and not-so-good. 

As a kid, I thought this creative, clever, and high concept was the coolest thing in the world. I mean, was there any young boy or girl who didn't love seeing NBA superstar Michael Jordan--or, at least, a fictionalized version of himself--playing basketball with the Looney Tunes against a gang of space invaders (a.k.a. Monstars)? Plus, any movie that effectively combined animation with live-action (Roger Rabbit, anybody?) was my personal, ahem, jam. Simply put, this was one of our favorites. 

As an adult, Space Jam clearly stands more as a fast-paced, studio-driven product (and phenomenon) than an actual movie. On top of that, it unevenly mixes classic cartoon stars (criticized by some historians and even legends, like Chuck Jones, for uncharacteristic depictions) with an out-of-place hip-hop soundtrack and some dated sensibilities, not to mention a few insensitive stereotypes. 

That's not to say said album has its hits (that Quad City DJs title track is still dope, and Seal's rendition of Steve Miller's "Fly Like An Eagle" is exceptional). The movie does have its moments, along with first-rate animation (courtesy Bruce W. Smith and Tony Cervone) and a brilliant excuse for Bill Murray to show up. (After all, the man was friends with the film's producer, the late Ivan Reitman.) That's all for now, folks! But, in the mean time, check out the 2021 Teen Titans Go! parody/commentary on HBO Max. 

Quest for Camelot (1998) 

Warner Bros attempted to capitalize on the Disney musical formula with this animated retelling of the legend of King Arthur. Based on the novel, The King's Damousel, Quest for Camelot follows a young farm girl, a blind warrior, a two-headed dragon, a sadistic villain, and even an axe-beaked chicken, all on a quest to find the sword of Excalibur and change the course of the land, one way or another. 

The film does have some colorful animation and a stacked voice cast (Cary Elwes is a standout as the heroic Garrett, whose animators deserve credit for an authentic portrayal of a blind man). But this heavily-marketed, studio-driven effort tries too hard and falls really short. Its narrative is rushed, generic, and passive. Its comedy and pop culture references feel random and out-of-place. The songs are overproduced and forgettable--with the exceptions of the Oscar-nominated "The Prayer" (performed by Celine Dion and Andrea Bocelli, respectively) and the popular love track "Looking Through Your Eyes" (by LeAnn Rimes). And the character arcs are a result of lazy writing. (Gary Oldman's villainous Ruber is over-the-top. And a complete psychopath.) Disney's The Sword in the Stone did all of this much better. 

TRIVIAL FACTS: Kayley's singing voice was done by Andrea Corr (lead singer of the Irish band The Corrs). Co-writer David Seidler would win an Oscar thirteen years later, for his original screenplay for The King's Speech. Quest, meanwhile, would be Warner's last G-rated animated feature, up until the motion-capture spectacle, The Polar Express, six years later. 

The Iron Giant (1999) 

Of all the films in this particular library, none had more creative freedom, nor were more daring, as Brad Bird's directorial debut. Based on Ted Hughes' book, The Iron Man (not to be confused with the Marvel Comics hero), this period coming-of-age adventure (set in the 1950s) follows a lonely young boy who befriends a giant robot from another world. (Sound familiar?) 

The Iron Giant was not a box-office hit upon its initial release; Bird blamed it on the studio's apparently mismanaged marketing. It did, however, win nine Annie Awards, and was immediately--and still is--hailed by many critics, historians, and fans as one of the greatest animated films ever made. It currently ranks in IMDb's "Top 250" highest-rated films of all time. And it's not hard to see why. 

With Bird's skillful filmmaking, Tony Fucile's terrific character designs, clever homages to Max Fleisher's Superman cartoons of the 1940s (ditto DC Comics from the same era), and an impeccable voice cast (including Jennifer Aniston as Hogarth's single mother; Harry Connick, Jr., as a beatnik architect; Christopher McDonald as a government agent; and Vin Deisel as the titular machine), The Iron Giant transcends its hand-drawn medium. 

More specifically, it tackles mature themes involving Cold War paranoia, as well as death and destruction. Not exactly themes you would want to subject younger kids to. (Not yet, at least.) There are also scenes of intense violence and some language issues. Still, The Iron Giant has strong, genuine morals about friendship, tolerance, sacrifice, the meaning of souls, and choosing to do what's right. 

TRIVIAL FACTS: The two train conductors are none other than late Disney animators Frank Thomas and Ollie Johnson. Also, a "Signature Edition" of the film was released in 2015, with two newly-animated scenes expanding the Giant's backstory. Most of all, The Iron Giant was the first and only movie to showcase the custom-made "Warner Bros Feature Animation" logo. 

Osmosis Jones (2001) 

At the turn of the century, Warner Bros decided to do another live-action/animated hybrid with this clever, eye-popping, and unlikely buddy-cop comedy. Set inside the body of who else but Bill Murray, a white blood cell (voiced by none other than Chris Rock) teams up with a cold capsule (David Hyde Pierce) to stop a deadly virus (Laurence Fishburne) from killing Murray's slobby and lazy zookeeper Frank. 

Recalling the animation style of Fox's Ferngully, Osmosis Jones is, perhaps, more like a hip lesson in biology and anatomy--with many witty and humorous references thrown in (i.e., "popping a pimple without a permit"). The film also highlights the consequences of poor hygiene and the value of a healthy lifestyle. But despite its PG-rating (for "bodily humor," no less), the movie is edgier and more violent than its marketing suggests. Add to that some suggestive imagery and references, and at least two truly gross-out moments (one involving oysters and vomiting; the other, a zit), and we have another ambitious-if-forgettable cinematic oddity. 

TRIVIAL FACTS: The colorful and creative animation was directed by Piet Kroon and Tom Sito, while the lesser live-action segments were done by broad comedy duo Peter and Bobby Farrelly. This movie also reunited Murray and co-star Chris Elliott for the first time since 1993's Groundhog Day. 

Looney Tunes: Back in Action! (2003) 

If you look at the history of Looney Tunes films made for the big screen (apart from the countless cartoon shorts made since the 1930s), they're mostly packaged features assembled in respectively narrative formats. It wasn't until the mid-1990s when they were given as close to a conventional feature-length treatment as possible, when they teamed up with Michael Jordan in Space Jam.  

Warner Bros had hoped to revive the public's interest in the iconic characters coming into the new millennium (or should I say, "Mi-Looney-um"?). In the 2003 meta feature, Looney Tunes: Back in Action, Daffy Duck is fired from the studio lot, while Bugs Bunny joins a comedy executive (a miscast Jenna Elfman) and a security guard (a fitting Brendan Fraser, who occasionally laughs at his own career) on a cross-country and globe-tropping trip to bring him back. 

Director Joe Dante doesn't look back fondly on this live-action/animated adventure comedy, as it resulted from a reportedly troubled production, significant studio interference, and a supposed lack of creativity. It also led to the studio officially closing its "Feature Animation" division. Ironically, many fans and critics regard Back in Action as one of the best screen efforts from the Looney Tunes gang. And it shows. Where the movie really falls short is in its wooden human subplots (Steve Martin plays a goofy chairman), as well as some unnecessary innuendo (one sequence takes place at a Las Vegas show). 

Dante took the job for two reasons: 1) he was not a fan of Space Jam and 2) he did it as a dedication to animator and friend Chuck Jones (who passed away in 2001). In terms of preserving the classic characterizations and personalities of the Tunes (courtesy animation director Eric Goldberg), they've succeeded. Stay through the credits on this one. 

TRIVIAL FACTS: This was legendary composer Jerry Goldsmith's last screen credit. As for Warner Bros, they spent the next decade releasing at least three other animated features (George Miller's Happy Feet duology and Zack Snyder's Legend of the Guardians, all CGI) before reestablishing a new division in 2014, titled "Warner Animation Group." 

REVIEW: "Creed III" (2023)

Coming up on fifty years, the Rocky film franchise continues to endure. And now, after two successful spinoff entries, the baton has officially been passed from Sylvester Stallone's "Italian Stallion" to Michael B. Jordan's determined Adonis Creed. And, in another parallel between both series, Jordan steps into the director's chair for the first time. To get right to the point, the first-time filmmaker pulls it off with flying colors. Although Creed III is the first installment to not feature Rocky himself (Stallone does remain a producer, alongside 2015 helmer Ryan Coogler), Adonis' story continues as he balances fame, family life, and the re-emergence of an old childhood friend. 

I've noticed that many filmmakers and actors in recent years have been reverting back to the practical element of physical transformations, made most popular in the 1970s (a.k.a. Arnold Schwarzenegger's bodybuilding days) and the 1980s (when Stallone's Rambo, Arnold's Terminator, and Jean Claude Van Damme's roundhouse kicks reigned supreme in the action genre). Everyone from Henry Cavill--or anybody in Zack Snyder's DC universe, for that matter--to Jordan and now Jonathan Majors have significantly remolded themselves while never sacrificing character or story. 

While more recent opponents have been forgettable to say the least, Majors more than holds his own as a former inmate with lost dreams and big ambitions. Having just pulled off the incredible role of Kang the Conquerer in the MCU (with two new Avengers movies in the pipeline), Majors conveys an enormous amount of quiet pain and sorrow, as well as rage, betrayal, and a little bit of sly humor. It's just one of the film's many examples of strong character building and relationships. With the possible exception of Tommy Gunn in 1990's Rocky V and Ivan Drago in 2018's Creed II, this is the first time where the protagonist has already has a personal connection to his opponent. 

Likewise, Adonis's relationships with his music-producing significant other, Bianca (Tessa Thompson), and deaf daughter Amara (an engrossing Mila Davis-Kent), are heartfelt and tender. Nearly half of their scenes together are in ASL, an inspiring showcase for onscreen representation. That goes just as well for the film's boxing scenes, filmed with IMAX cameras (the first for a sports movie) and featuring characters in primal, sometimes grueling, beast mode. Said moments are jarring, while select soundtrack titles are occasionally rough. 

Creed III does rush a bit during its third act, but it maintains a real character-driven battle between the past and the present. Other worthwhile themes include the challenges of parenting, dealing with handicaps or mental health, and being really open and honest with each other. This winning combination of sound and imagery, body and soul, is poetic, powerful, and already one of this year's standout achievements. "Let go of whatever was, and walk into what is." 

REVIEW COLLECTION: The Films of Don Bluth, Part 2

The following reviews were originally posted on my Instagram page @film_freeq in early 2023. This is the second half of a look back at the career of one of contemporary animation's most influential directors (featuring Gary Goldman, John Pomerey, and company). 

Rock'a'Doodle (1991) 

If you ever wondered what Elvis Presley's life and career would look like as an animated musical, look no further than Don Bluth's 1991 feature film, Rock’a’Doodle, which pictures the King of Rock'n'roll as a singing rooster. But the real plot follows a human boy who is turned into a cartoon cat by an evil owl (voiced with menacing gusto by Christopher Plummer) and soon joins a trio of quirky farm animals on a quest to find the titular Chantecler (voiced and sung by country music legend Glen Campbell) and bring back the sun. 

While this live-action/animated hybrid seems kid-friendly enough (some of the Elvis parodies are amusing, as is the nerdy mouse Peepers), its tone is actually darker and more unpleasant than its simple and generic premise lets on. Add to that some unnecessary narration (this was Disney veteran Phil Harris's last screen credit), and Rock'a'Doodle is a convoluted, lowbrow story. As the King would say, Oh mercy.

Thumbelina (1994) 

Based on Hans Christian Andersen's classic fairy tale, Don Bluth and Gary Goldman's animated adaptation follows the titular thumb-sized girl (voiced and sung by Jodi Benson) who believes she is the only one of her kind in the world, until she meets the charming prince of the fairies, Cornelius. And then, she is suddenly stolen away by greedy critters in a bigger world than she thought possible. 

Thumbelina does have some terrific attention-to-detail animation (particularly fairy dust and the plausible physics of different-sized characters), art direction and character designs, and a promising first act. This film also marked Bluth's first collaboration with singer Barry Manilow (who co‐wrote the songs with Jack Feldman and Bruce Sussman). And some of the voice talents are noteworthy; along with Benson, there's Gilbert Gottfreid's Mr. Beetle, John Hurt's Mr. Mole, and Barbara Cook's kindhearted mother. But the writing is lazy, and the story is rushed, not to mention sappy and contrived. Even Bluth admitted (in his 2022 autobiography) that this 1994 release wasn't as good as it could have been.

A Troll in Central Park (1994) 

Even though Dom DeLuise voiced characters in many animated films throughout the '80s and '90s, he only ever got to headline one of them. In retrospect, perhaps that's the one good thing that 1994's A Troll in Central Park had going for it. DeLuise plays Stanley, a good-natured (and plenty-likeable) troll who, like Ferdinand the bull, loves to smell the roses and grow flowers, much to the chagrin of the evil queen Gnorga. Stanley is thereby banished to, of all places, New York City (perhaps a connection-of-sorts to An American Tail?) and befriends a little boy and his baby sister. 

Made simultaneously as Thumbelina and initially released under Warner Bros' "Family Entertainment" banner, A Troll in Central Park was, like Hans Christian Andersen's tiny character, in need of a better story. The film itself, despite an effective and intense climax, wallows in overt sentimentality and environmentalist themes, while Gloris Leachman hams it up as the wicked Gnorga (a knock-off of Ursula from Disney's The Little Mermaid). This movie was even joked about in a 2001 "Actor's Studio" sketch on SNL, in which Will Ferrell's "James Lipton" interviewed Alec Baldwin's "Charles Nelson Reilly" (the voice of the dimwitted King Llort, and a Bluth regular). 

The Pebble and the Penguin (1995) 

I'll admit, this one was a bit of a guilty pleasure for my siblings and I--at least when we were kids. Probably the most interesting thing about the much-maligned The Pebble and the Penguin is that it preceded George Miller's Happy Feet by more than a decade, as it is essentially an animated musical about singing and dancing penguins. The main difference is Pebble's central love triangle between the stuttering Hubie (voiced by Martin Short), the beautiful Marina (voiced by Annie Golden), and the menacing Drake (voiced by Tim Curry). 

The thing is, the film's music (written by Barry Manilow and Bruce Sussman) and storyline are thin, lazy, overblown, vulgarized, and try too hard from the opening number onward. Plus, Drake (a carbon copy of Gaston from Disney's Beauty and the Beast) is basically a one-note villain--the very definition of toxic masculinity on steroids. Jim Belushi is a standout as a smart aleck, flying-enthusiast rockhopper. Notorious for changing directors near the end of its production (Don Bluth and Gary Goldman's names, as they reportedly demanded, remain uncredited), Pebble was the final film for Sullivan Bluth Studios in Ireland. Then, 20th Century Fox came knocking . . . 

Anastasia (1997) 

In the late-1990s, 20th Century Fox decided to compete with Disney by opening its own new animation studio, with directors Don Bluth and Gary Goldman (following the closing of their own studio in Ireland) to spearheading the charge (based out of Phoenix, AZ, no less). For the division's debut film, they drew from the famous mystery (and tragedy) of the Romanov family line during the Russian Revolution, and the young Grand Duchess who disappeared without a trace. In fact, this animated musical from 1997 marks the second adaptation of Anastasia since the acclaimed live-action film from 1956, as well as the first reported use of CinemaScope since 1967. The result was an amazing comeback for Bluth and Goldman, and their best film since 1989's All Dogs Go to Heaven.

Of course, many creative liberties were taken in telling this more mythical "fairy tale" version, which follows the orphaned Anya (voiced by Meg Ryan) on a search to find her family in Paris. She soon joins a pair of con men (John Cusack and Kelsey Grammer) who try to pass her off as the real deal, while the mystical and vengeful sorcerer Rasputin (Christopher Lloyd) and his albino bat Bartok (a scene-stealing Hank Azaria) are hot on their trail, resulting in an unexpected battle between good and evil, and a story of identity, memory, and finding home. Then again, if this film helps keep the Grand Duchess's memory alive (with support from its reportedly-accurate art direction and costuming), then it serves its purpose. 

The voice cast (headed by Ryan's scrappy, sassy, and smart Anya, and her singing vocals by Liz Callaway) really give their respective characters depth. But it's the music by the award-winning songwriting team of Lynn Ahrens and Stephen Flaghtery (the duo behind the stage musicals Lucky Stiff, Ragtime, and Seussical), and composer David Newman, that help make this a modern classic. Standout numbers include the bittersweet lullaby "Once Upon a December" and the Oscar-nominated "Journey to the Past." Anastasia led to a spin-off short film, Bartok the Magnificent, two years later, and a stage musical in 2016. 

Titan A.E. (2000) 

The planet earth has exploded, and surviving humans search for a new planet in space to colonize while battling world-destroying extra-terrestrials. That's the summary of the 2000 2D/3D hybrid Titan A.E. (A.E. meaning "After Earth." Sorry, M. Night Shyamalan, Fox did it first). In fact, this sci-fi/action spectacle may be the most, shall we say, non-Bluthian film ever helmed by Don Bluth and Gary Goldman. When the flick's original director backed out, the longtime duo reportedly only had 18 months to redo the entire thing from scratch, working from a script by John August, Ben Edlund, and Joss Whedon. (Story credit goes to Hans Bauer and Randall McCormick.) 

Despite being a massive box-office flop that led Fox to closing its animation division after only two films (the other being 1997's Anastasia) and turning to the up-and-coming 3D studio Blue Sky for a new start, Titan A.E. is actually a pretty decent--if familiar and forgettable--movie, and the filmmakers get credit for working with what they got. Although the CGI effects haven't aged well (ditto the heavy metal soundtrack), they were nevertheless ahead of their time. (Bluth states in his 2022 autobiography that the film wouldn't have worked as well in live-action.) It also benefits from a more mature story with human and alien characters, a stellar voice cast (including Matt Damon, Drew Barrymore, Bill Pullman, and John Leguizamo), and explosive action that gives Star Trek a run for its money. It's only downsides include some brief-but-highly-suggestive imagery and an antagonist getting his neck snapped. 

Titan A.E. would mark Bluth and Goldman's last film, and the last hand-drawn feature from Fox until the long-awaited Simpsons Movie in 2007. It also reunited the directing duo with producer David Kirschner for the first time since 1986's An American Tail. The film even has an intriguing connection-of-sorts to Bluth's 1983 interactive video game, Dragon's Lair, which is currently being developed as a live-action movie starring Ryan Reynolds.