$UCCESSFU! FILMS SERIES: 2015, A "Universal" Year at the Movies?

August 31, 2015

This past weekend, Universal Pictures officially had three films that grossed over $1 billion worldwide at the box-office so far this year. This is yet another benchmark in an already record-breaking year for the film studio, known for such classic blockbusters as Jaws (1975), E.T. (1982), and Jurassic Park (1993). While said films were original during their initial releases (not to mention the most popular films at one point in cinema history), this year's slate of hits were each part of different franchises. From fast cars to dinosaurs to little yellow men, Furious 7 (released in April), Jurassic World (June), and Minions (July), respectfully, all contained variety and style, as well as international and, shall we say, universal appeal, to be sure.

But what did they leave us with? Let's take a look back.

(l-r) Dwayne Johnson, Michelle Rodriguez, Paul Walker, Vin Deisel,
Tyrese Gibson, Chris "Ludacris" Bridges, and Jordana Brewster are the Furious 7

Furious 7 

Arguably, this series should of just ended after Fast Five (2011). Nevertheless, Vin Deisel, Paul Walker, and company return in this seventh outing (the film's title is possibly an homage to The Magnificent Seven or The Seven Samurai) and on a mission to stop a vengeful Special Forces assassin. As the tagline above suggests, "vengeance hits home".

What's unexpected this time around is a better story where the main "heroes" aren't out for a heist or a getaway, but to stop an adversary that threatens their familial bonds. Recurring players return in an international cast that has perhaps helped this series become popular worldwide. There's even a worthy and respectful farewell to the now-late Walker, who died tragically in a car accident in December of 2013, and who was digitally inserted back into half of the finished film in post-production.

What is expected (obviously, and perhaps more than audiences bargained for) are images of sexuality, sequences of insane and sometimes merciless action, frentic car chases, and much more mayhem and destruction to compete with Avengers: Age of Ultron (Joss Whedon's equally record-breaking installment in the Marvel series) and Mad Max: Fury Road.

Interesting fact:
Prior to the film's theatrical release, star and co-producer Vin Deisel predicted (and I quote), "[This film] will probably win best picture at the Oscars, unless the Oscars don't want to be relevant ever."

Chris Pratt (center) is a raptor whisperer in Jurassic World

Jurassic World 

For some audiences, this third sequel in the prehistoric-meets-present-day series brought back nostalgia of Steven Spielberg's 1993 original in which modern scientists bring dinosaurs back from extinction via genetics. That initial comes true in a fully-functioning theme park, with Bryce Dallas Howard as CEO and Chris Pratt (fresh off of last year's Guardians of the Galaxy) as the everyman leading hero when a newly-created hybrid dino breaks out of containment and runs amok.

There was criticism directed at Howard's character (one of which came from Joss Whedon on social media) regarding a supposed anti-feminist message, considering she spends the whole movie wearing high-heels. On the other hand, it's one of the film's many elements that illustrates the contrast as well as transition from a corporate mindset to a realistic one--no different than what the original film illustrated. Some of the violence and perilous situations in the film, however, should be discerned in terms of what should be considered "entertaining" and what shouldn't.

It may not be an instant classic as the first Park. But still, Jurassic World is visually and viscerally thrilling and a roller-coaster ride of a movie.

A few interesting facts:
Last year's highest grossing film globally was Michael Bay's Transformers: Age of Extinction, which featured robotic dinosaurs. World, which also features dinosaurs, is by far this year's most successful film globally.

In 2011, Michael Bay's previous installment, Transformers: Dark of the Moon, was one of that year's most successful, only to be outranked the following year by Marvel's The Avengers as the most popular film of 2012.

Even more, Avengers was only Whedon's second film as director (following Serenity in 2005), as World is Colin Trevorrow's second film as director. (His first, Safety Not Guaranteed, was also released in 2012.)

(l-r) Minions Kevin, Stuart and Bob at Buckingham Palace

Minions 

The inevitably-silly prequel to Despicable Me chronicles where those Twinkie-shaped, gibberish-talking henchmen came from and what they did before they met Gru in the 2010 original. The story (though that's not really the film's main concern) follows Kevin, Stuart and Bob, as they venture out into the world to find the "biggest, baddest villain" for their tribe to serve. They find one in Scarlett Overkill (voiced by Sandra Bullock), but only just.

Set primarily in the late-sixties, there are plenty of fun nods to music and trends of the time for adults to catch. (Interestingly, 2015 has been an exceptional year for 60s-era action-adventures, spy films in particular, including Mission: Impossible--Rogue Nation, The Man from U.N.C.L.E. and, later this year, Spectre.) For everybody else, the sheer silliness and ridiculousness of these characters' antics should recall the classic slapstick mayhem of Three Stooges films and Looney Tunes cartoons. Plus, the aforementioned gibberish language of these characters has made them accessible and cute around the world.

But perhaps that's also the film's greatest weakness, making it more about style and comedy than a story, as well as a little more questionable in its elements of "rude humor" than the previous Despicable Mes.

Interesting fact:
This past weekend (August 28-30), this Illumination Entertainment-produced flick became the third animated film in history to cross the $1 billion global mark, following Pixar's Toy Story 3 (2010) and Disney's Frozen (2013).

What do all of these films have in common?
1. They're big. It is, after all, the nature of many sequels and franchises to be bigger than the last film, and have more elements in them than the last. Sometimes it works, sometimes it doesn't. The former two, however, paid respects to previous installments while progressing in story, respectfully. The latter was an origin story.

2. Family. They each include themes of family, one way or another. And all three were commendable in that regard.

3. Perhaps they're too big. This is where all three suffered the most, in terms of action and style. (Although, Jurassic World's visuals and action were arguably consistent with the story being told, even if a couple of sequences were overdone.)


What do you think? Were these films big, or perhaps too big? Did they leave you with anything, for better or worse? Do you think they'll be around for years to come?

In my opinion, it's too soon to tell on that last one.

Pixar Filmography: Major "Emotion" Pictures

August 31, 2015

As a companion piece to my review of Inside Out (which you can read here), here’s a look back at some of Pixar’s previous films, particularly those that deal emotionally with childhood and/or growing up.

Toy Story series (1995, 1999, 2010)

Jessie and Woody in Toy Story 2

This series chronicles the relationships between toys and their owners, as well as the fear of being outgrown and forgotten (much as Bing Bong experiences in “Inside Out”). Yet, there’s the theme of taking advantage of the time spent with children while it’s given. Says Woody (in a worthy proclamation for father figures everywhere), “I can’t stop Andy from growing up. But I wouldn’t miss it for the world.”

a bug’s life (1998)

Flik and Dot

Young ant princess Dot feels held back from doing impossible things, like trying to fly. Flik, a shunned worker ant in the same colony, and whom she looks up to, encourages her to think of herself as a “seed” who just needs some time to grow, and have patience that one day she will do great things. She even returns the favor later on.

Monsters, Inc. (2001)

Boo and Sulley

After a little girl from the human world named Boo stumbles into the monster world through her bedroom closet, and into the lives of buddies Mike and Sully, the latter eventually becomes a surrogate father figure and protector for her as they try to return her to her home. Sully soon learns there are better things in life than becoming the most popular “scarer” in the world, and chooses humility and friendship over pride and recognition.

Finding Nemo (2003)

Nemo and Marlin

Marlin the clownfish loses his son Nemo one day and sets out on a journey to find him. Along the way (and with the help of a forgetful but lovable fish named Dory), he learns to be a better, less protective, father, and allows his son to grow and discover life.

The Incredibles (2004)

Dash and Violet

The Par children, Violet and Dash, struggle with keeping their true identities a secret (e.g., Dash’s speed and Violet’s invisibility and force fields), as well as angst in being persuaded to try and live “normal” lives. (Dad Bob Parr, at the same time, has a personal distaste for mediocrity.) Dash desires to be on the track team but is held back by his mother, Helen. He argues,

“You always say, ‘Do your best,’ but you don’t really mean it. Why can’t I do the best I can do?”
Mom: “Honey, right now, the world just wants us to fit in. And to fit in, we just have to be like everybody else.”

Dash: “But Dad always said our powers were nothing to be ashamed of. Our powers are what make us special.”

Mom: “Everyone’s special, Dash.”

Dash: “Which is another way of saying no one is.” (Wow.)

As for Violet:

“What do you know about normal? What does anyone in this family know about [it]?!? . . . We act normal, mom! I want to be normal!”

When Bob (secretly Mr. Incredible) goes missing, Helen (secretly ElastiGirl) and her stowaway children set out to get him back. Along the way, Helen learns to really value her children for their “powers” and their identities.

Up (2009)

Russell and Carl

A young Carl Frederickson and friend Ellie (whom he later marries) make a promise to go to South America and have amazing adventures. As they get older, though, life gets the best of them, from insurance payments to infertility and eventually to Ellie’s death. On Carl’s self-quest to South America, stowaway Boy Scout Russell becomes a surrogate son to him, and he eventually learns that the greatest adventures are with the ones we love.

Brave (2012)

Merida (left) and an unexpected companion

Princess Merida’s relationship with her stern and demanding queen mother are put to the test when she defies tradition, changes her destiny, and soon has to reverse a curse she has brought not only upon her mother but her entire kingdom as well. Present in this medieval period adventure are themes of not only mother-daughter relationships, but also of identity, responsibility and, yes, bravery.

Inside Out (2015)

Riley goes through a rocky stage in life when she and her family move from the Midwest to San Francisco. Internally, Joy and Sadness get sucked out of Headquarters, leaving Anger, Disgust and Fear in charge. As they try to get back, they (and audiences) discover how each of our emotions—even the ones we believe don’t mean anything—play a significant role in our lives, including the fact that happiness isn’t everything.

The Good Dinosaur (2015)

It’ll be another couple of months before this film comes out. But according to the recent trailer (watch below), we not only get a “what if” scenario of dinosaurs still living on earth, but also an unlikely friendship between a young Apatosaurus and a human boy (think a twist on a boy and his dog), and a glorious portrayal of the relationship between species and nature.

Pixar Filmography, Volume 4: Childhood and Growing Up--"Inside Out" Retains Pixar's Portraits of Life and Maturity

August 29, 2015

The year’s best movie by far doesn’t feature dinosaurs or superheroes or fast cars or even Minions. It centers on the emotions inside the mind of an eleven-year-old girl and the rocky phase she goes through as she and her family move from the Midwest to San Francisco. Inside Out is the fifteenth animated feature film from Pixar Animation Studios, as well as perhaps its most ambitious. And yet, it retains the same emotional heart strings that made director Pete Docter’s previous film, Up, a daring winner.

This year also marks twenty years since the release of the studio’s original milestone, Toy Story, which practically changed the face of animation just as Walt Disney’s perennial Snow White had nearly eight decades earlier. That being said, you could say the emotions in Inside Out stand as Pixar’s own version of the Seven Dwarfs. Only here, there are five—Joy (voiced by Amy Poehler), Sadness (Phyliss Smith), Anger (Lewis Black), Disgust (Mindy Kaling), and Fear (Bill Hader)—all assuming personified adult roles in the “headquarters” of Riley’s mind as she experiences life with laughter, caution, and sometimes angst. Surrounding this tower are distinct “islands of personality” that make up Riley’s character traits, from goofiness to hockey-loving to family, friendship and honesty. Completing this internal structure, if you will, are theme park-like attractions full of stuffed animals and giant French fries, movie studios that produce and create dreams at night, and a maze of shelves full of marbles with video memories of Riley’s experiences growing up. (Who ever knew the mind could be this imaginative and creative?)

Riley

. . . and "inside" her mind

Pixar has had a long reputation for not only dazzling audiences with mere CGI ingenuity, but also in getting emotionally invested in the stories they tell and in the characters that occupy them. In fact, half of their films focus on memories of childhood, what it means to be a parental figure, and growing up. Some of the best stories in film are those that not only allow us to escape from reality for a few moments, but also challenge and inspire us with ways in which we can deal with reality. Pixar has done so with stories involving the relationships between toys and their child owners, a father clownfish searching for his son under the sea, monsters in children’s closets, a family of superheroes, and an old man flying his house via balloons to another part of the world.

Inside Out centers specifically on the challenges of growing up and experiencing life in new ways, as well as learning to let go of certain insecurities and child-like ambitions in the process, including the fact that happiness isn’t everything. (I should note that this movie deals with some pretty sad subject matter at times and may be too much for sensitive viewers, particularly younger children.) On a deeper level, it’s a journey for Joy, Sadness and of course Riley, when the former two get accidentally sucked out of the headquarters station into long-term memory, leaving Anger, Disgust and Fear, in charge but to no avail. As they try to get back, they (and audiences) discover how each of our emotions—even the ones we believe don’t mean anything—play a significant role in how we grow, develop, and work or interact with other people. Ergo, Pixar’s retaining (and rewarding) theme of emotional investment and maturity.

ANIMATION FILMOGRAPHY: Illumination of Family or, Not Just Minion Mayhem

July 13, 2015 

Bob, Kevin and Stuart in Minions

This past weekend’s release of Illumination Entertainment’s Minions chronicles the origins of the Twinkie-shaped henchman of the Despicable Me universe, as three main characters (Kevin, Stuart and Bob) venture out into the world to find the most diabolical villain to serve. As the ads mention, this story takes place in 1968, 42 years before they meet and team up with main baddie Gru. 

To be honest, Minions lacks depth in its “story,” but certainly offers plenty of side-splitting absurdity and down-right silliness that echoes back to comic slapstick mayhem of Three Stooges films and Looney Tunes cartoons. On the other hand, for all these little guys’ often naughty faults—they can be rude as little kids sometimes, mind you—there’s an inherent charm, sweetness, camaraderie and sense of family, that makes them caring, in addition to universally-appealing icons in today’s pop culture. In fact, it’s this notion of family and finding somebody to serve that sets the pace for the 2010 original that launched the now ever-growing, Universal Studios-owned animation company. 

(Clockwise from center) Gru, Margo, Agnes, and Edith

Despicable Me emphasizes and plays with the roles of supervillains, particularly that of a schemer who plots to steal the moon to become the "world's greatest villain,” and by adopting three orphaned girls to help him in the process. There are no heroes per se in this story. (At least, there aren’t any at first.)  You could say Gru is rather a wanna-be villain, considering his lackluster preceding plots. Still, he is somebody who loves making peoples' lives miserable.

Gru is obviously not what the three girls (Margo, Edith, and Agnes) expect at first. Yet there's understanding when he's vulnerable. Slowly but surely, they begin to impact him better than expected, much to the dismay of his scientist sidekick Dr. Nefario, who tries to keep him focused on Gru’s lifelong dream to be "somebody".

Gru's transition from "superbad" to "superdad" became the focus of the first film. In the 2013 sequel, Despicable Me 2, he goes from "superdad" to "super" (or secret) agent, as the Anti-Villain League organization hires him to track down a current villain at large.

Gru (Steve Carell) and Agent Lucy Wilde (Kristen Wiig)

Gru shares some exciting news with the girls.

Even though the minions are the true scene stealers in both films, it is clear that Gru's relationship with his adopted daughters matures, but not without its flaws. Margo experiences first-love instincts. Edith's tomboyish attitude is a bit trouble-making. Agnes longs to have a mother figure in her family, while Gru is sometimes pressured to get out of his single-man status by a nosy neighbor lady who tries to set him up on dates. On the other hand, his girls believe he should be more out-going, while the villainous El Macho tries to get Gru back into a life of crime. ("Men like you, men like me, we should be ruling the world"). Even Dr. Nefario misses his own villainy, yet comes back to stand by his colleague in a time of need. 

The minions have a more prominent role in this sequel, which may have been one reason for its success, as well as the recent spinoff/prequel. Nevertheless, they and the other main characters illustrate the importance of family, growing and working together, and having fun together.

REVIEWS: Discovery and Adventure in "Interstellar" and "Big Hero 6"

July 5, 2015

The weekend of November 7-9, 2014, was arguably one of the best weekends for movies in quite a long while. Both major films released that weekend were anticipated science-fiction/action-adventures--one, a live-action ambitious epic from director Christopher Nolan; the other, a CGI ride from Disney Animation.

A friend of mine insisted on not reading or watching anything about the former (well, mostly anything) before seeing it. And Nolan has been notorious for keeping his film projects under wraps--at least until they're finished and/or are close to their release dates. At the same time, it allows audiences to anticipate the kind of story and adventure they’ll discover on the big screen.

"To Boldly Go . . ."

There are arguably four kinds of people represented in Interstellar: farmers, pilots, engineers, and explorers. While the former is represented during scenes on earth, the latter three represent an evocative sense of exploration and the aforementioned discovery. The film’s teaser trailer, as follows, conveys this very well.

It certainly is a different kind of film than anything the director has done. Memento was a detective story in reverse, while the Dark Knight trilogy gave a DC Comics character new life, grounded in reality; and Inception took place in the labyrinth minds of its deceptive characters. But while all of these films often contain cerebral, cold, and bleak elements, Interstellar tackles science-fiction and physics, as well as space-travel for the sake of a dying earth. This concept of discovering new worlds via a wormhole in the cosmos and searching for a hope for mankind is secular and humanistic as far as the film’s worldview is concerned. On the other hand, it does leave audiences with much to discuss and debate in terms of not only scientific perspectives, but spiritual as well. In fact, the slogan on the film's teaser poster states, "Mankind was born on earth. It was never meant to die here."

In addition, it’s suggested that it’s not technology that's the enemy (like HAL 9000 in 2001: A Space Odyssey), but time itself. In other words, what may seem like an hour on one planet is twenty years on another.

At it's heart, Interstellar is a father-daughter story.

Furthermore, time itself becomes a key element in the central relationship between Cooper (Matthew McConaghey) and his daughter Murph (played at different ages by McKenzie Foy, Jessica Chastain, and Ellen Burstyn, respectfully). This father-daughter aspect illustrates love across generations, including science and all living things. "When you're a parent, you're the ghost of your children's future,” Cooper tells us. Adds astronaut Brand (Anne Hathaway), "Love is the one thing we are capable of preserving beyond dimensions of time and space.”

Perhaps McConaghey's Cooper not only echoes the everyman we can identify with, but also Nolan's role as a filmmaker, discovering new things, new places, and new possibilities for audiences to explore, to experience, to discuss, and to debate.

Indeed, Nolan breaks new ground with an out-of-this-world story. And the technology and tools he uses (from IMAX cameras to real locations and practical effects, and a mesmerizing score by Hans Zimmer) give us a whole new experience.

"Suiting (and Plushing) Up for Action and Emotion"

Disney Animation, on the other hand, explores a different kind of territory with an obscure Marvel comic book series about a group of science kids (and an inflatable robot) who inadvertently become superheroes. And while these kids aren’t out to leave earth and find new planets through wormholes, they do become heroes for each other and for their world.

Set in the fictional San Fransokyo (a creative mending of San Franciscan and Japanese architecture), Hiro Hamada is a high-school kid and robotics prodigy who sees nothing better in life than battle-bot competitions and hustling. His older brother Tadashi challenges and encourages him to put his scientific and creative skills to good use by applying to the local tech college. The characters we meet there include the cautious though slightly neurotic Wasabi, tough-as-nails Gogo, chemistry enthusiast Honey Lemon, the mascot-dressed Fred, and the endearing plush robot Baymax.

Clockwise from top: Tadashi, Wasabi,
Honey Lemon, Hiro, GoGo, and Fred

There is plenty of action and humor in Big Hero 6, as well as an amazing level of artistry, creativity, and ingenuity that further displays the animation studio’s growing and reviving reputation in recent years (thanks to films like Tangled, Wreck-It Ralph and, yes, Frozen). But story and characters are still central, and Hiro's journey in life and what he discovers about himself and those around him (Baymax, in particular) showcase the importance of accountability and family, even in the face of tragedy. And they don’t even use superpowers, but rather their unique skills, knowledge, and team effort, to get the job done.

REVIEWING CLASSICS: "Rain Man" (1988)

March 31, 2015

Two basic definitions of the term "savant" (according to i.word.com) include "a person who knows a lot about a particular subject," or "a person who does not have normal intelligence but who has very unusual mental abilities that other people do not have." Many individuals on the autism spectrum, according to Stephen M. Edelson, Ph.D. (www.autism.com), "have extraordinary skills not exhibited by most persons," including but not limited to skills in math, art, music, and memory. A disadvantage, however, includes lack of social communication or expression towards others.

The 1988 movie Rain Man tells the story of two people who live in their own "worlds"--one with a condition that's been placed on him, the other with a condition (or rather, worldview) he's placed on himself. 

The three central characters are quite compelling. Charlie Babbitt (Tom Cruise, in one of his signature roles) is a self-centered wheeler-dealer who puts himself as his first priority over others. (And it's hard to have any sympathy for him at first.) Charlie learns that he has not only been left out of his recently-deceased father's inheritance, but that he also has an institutionalized autistic brother, Raymond, he never knew about.

Raymond (Dustin Hoffman, in an Oscar-winning performance) has lived at the institution known as Walbrook for half of his life. He demonstrates unique and significant memory skills when it comes to, for instance, reading phone books or calculating random mathematics (much to a doctor's and Charlie's amazement in one scene). He is also used to specific routines, such as watching "Judge Wapner" on T.V. every day and getting to bed by 11:00 p.m., and lacks the aforementioned social communication, save for some emotional outbursts when said routines are tampered with. As one aide puts it, "I don't think people are his first priority."

Susanna (Valeria Golino), Charlie's girlfriend and co-worker, is from a different part of the world, and is one of the only characters willing to understand (or try to understand) Charlie's life as well as Raymond's. "When I was a kid and I got scared, the 'Rain Man' would come and sing to me," says Charlie, referring to the childhood he had forgotten and grown out of.

Tom Cruise and Dustin Hoffman

Charlie eventually kidnaps his brother from Walbrook in an attempt to get his share of his father's inheritance. But soon, their road trip goes from an act of selfishness to a challenge and test for Charlie. It not only pushes him to his emotional limits, but pulls him back to life, and challenges him (and audiences) to consider what is best for one's well-being than for our own well-being.

In a small way, Charlie Babbitt is the prodigal son who learns to live again through his brother. As a young man, he left home and estranged himself from his father. But through his brother, he learns to communicate and live for something better. A turning point comes at a hotel one night when Charlie learns who the "Rain Man" was. It isn't directly mentioned (and one of my high school teachers explained this to me the first time I saw this film), but there was an incident where Raymond unintentionally hurt his baby brother (Charlie) while trying to give him a bath. Only when he realizes this does Charlie slowly but surely begin to have a different viewpoint from here on, and eventually acknowledges Raymond as the only "family" he has left. And it's this aspect--how we communicate and connect with other people--that makes Rain Man a unique, often funny, heartbreaking, and emotional experience.

REVIEW: "The SpongeBob Movie: Sponge Out of Water" (2015)

March 29, 2015

In The SpongeBob Movie: Sponge Out of Water, SpongeBob and company (including best friend Patrick, grouchy neighbor Squidward, miserly boss Mr. Krabs, squirrel Sandy, and culinary nemesis Plankton) go on a quest to find and bring back the secret formula for the infamous Krabby Patty. To do so, they go to the surface, and thereby change from cell-animated creatures to CGI counterparts. Thus, the film is a mending (and, in a way, a transition) of animation styles, from 2D to 3D, with a little stop-motion thrown in, along with live-action segments featuring Antonio Banderas as the villainous pirate Burger Beard. The film is not only a creative mending of said styles of animation and filmmaking, but also something of a commercially- and critically-successful return for the hand-drawn feature to the silver screen.

Though the medium of hand-drawn animation became popularized in and since the 1920s by way of Disney, Warner Brothers, MGM, and Paramount (to name a few), it has become a scarce entity throughout the last decade due to the rise in popularity of 3D animation. In fact, Disney itself had not had a major hand-drawn success (financially and receptively) since The Lion King over twenty years ago. Warner Brothers has not had a feature film starring its popular Looney Tunes characters in over ten years. Twentieth Century Fox opened a new animation division in the mid 90s with the success of their first feature (Anastasia, 1997), only to be closed down after the financial failure of their second feature (Titan A.E., 2000). Even DreamWorks, which began making hand-drawn films and CGI films simultaneously, shut down its former division in the early 2000s and dedicated itself solely to the latter.

Most of the success of hand-drawn animation in recent years has been found on television, from shows like Adventure Time (Cartoon Network) to Phineas and Ferb (Disney) to Avatar: The Last Airbender (Nickelodeon). That's not to say there haven't been acclaimed feature films on the critical and awards-season circuit. Tokyo-based Studio Ghibli (creators of The Secret World of Arriety and the Oscar-nominated The Wind Rises) and the equally-successful GKids (the independent studio behind The Secret of Kells, Ernest and Celestine, and last year's Oscar-nominated Song of the Sea) have amazed audiences and critics with captivating stories full of fantasy, adventure and drama.

But it's been years since Hollywood has produced a hand-drawn feature that was both a commercial and critical success. The last feature to do so was probably The Simpsons Movie (2007), a Twentieth Century Fox-produced comedy based on the long-running T.V. series (which celebrated its twenty-fifth anniversary last year). And Disney (the studio that pioneered the animated feature with the unparalleled Snow White in the 1930s) returned to form with The Princess and the Frog (2009), yet has not made a 2D animated feature since the under-appreciated Winnie the Pooh (2011). I long for the day when hand-drawn features--particularly from Disney--make an impression at and beyond the box-office like they used to, and much the same way recent films like Frozen and The Lego Movie have. For the time being, though, it is fun to see the medium on screen in the form of the adventures of a "little square dude" (as Sandy Cheeks initially called him) and company.

The main characters under water in 2D (top),
and on land in 3D (bottom).

"SpongeBob SquarePants" made his debut in the spring of 1999 on Nickelodeon. After two years on the air, it soon became the highest-rated "kids" show on television, and eventually the longest-running animated series on Nickelodeon (besting the former record-breaking "Rugrats"). I was an obsessive fan of the show in middle school and particularly high school, and have enjoyed (most of) the silly, offbeat, and sometimes crazy adventures of Mr. SquarePants and company.

In recent years, due to my ever-growing observant, informative, and discerning worldview toward pop culture and media, I've lost interest in the series and leaned towards stories (particularly movies) that focused more on longevity and timelessness, and less on clueless hilarity and over-the-top ridiculousness (qualities I accuse the Nickelodeon and Disney Channels for doing nowadays). That being said, I was surprised by how this fifteen-year-old invertebrate still held up in today's digital age, and how his strange-but-cheerful optimism still endured.

According to IMDb, many of the staff from seasons one through three of the show returned to work on this film. And the indication of the show's earlier appeal is on display, while embracing a better approach to the material than in previous seasons (a large majority of which I, myself, have not absorbed, so to speak). There are even some clever homages to a few episodes from those earlier seasons.

Weeks after initially seeing the film, I considered its structure and concluded that it works almost like three segments (or episodes) into one feature. Episode One includes Bikini Bottom as we know it. (This part of the film is a bit slow, and feels more like an episode than anything else.) The turning point comes when Mr. Krabs' business rival Plankton's latest attempt to steal the secret Krabby Patty formula backfires as said formula miraculously disappears, sending the town into a Mad Max-style, post-apocalyptic frenzy.

Episode Two includes SpongeBob and Plankton unexpectedly teaming up to try and set right what has been wrong. (Easier said than done, obviously.) In the process, they build a time machine and encounter a galactic dolphin. This is where the film truly gets entertaining and hilarious from hereon. And the turning point: "I smells Krabby Patties!"

Episode Three consists of SpongeBob and the gang--actually, just him and the aforementioned characters--going to the surface (with some mystical help), landing on a beach in never-before-seen 3D form, and becoming superheroes who make due with Burger Beard and his pirate ship/food truck. In the process, characters come together a la Toy Story 3 and learn (if only for a moment) what "teamwork" is.

Possibly a parody of The Avengers?: 
Sour Note (Squidward), the Rodent (Sandy), Sir Pinch-A-Lot (Mr. Krabs), 
Plank-Ton (Plankton), Invincibubble (SpongeBob), and Mr. Superawesomeness (Patrick).

Unlike its predecessor, which had its moments though a darker context and some questionably-suggestive sight gags, this follow-up is more fun, more unexpected, and more recommendable. And other than helping make February a successful month for animated features for a second year in a row, The SpongeBob Movie has another thing in common with The Lego Movie. It works as a culmination of high art and low art, blending the most absurd elements and surprises (post-apocalyptic mayhem, time travel, superheroes battling pirates) while paying silly homage to action/adventures from Pirates of the Caribbean to 2001: A Space Odyssey and even possibly The Avengers, without getting very serious or unsettling. Even current music icon Pharrell Williams, thanks to his successful contributions to the Despicable Me franchise, adds colorful tunes to the mix.

While it may not bear the title of "Greatest Movie Ever Made" or become a classic anytime soon (nor appealing to everyone, for that matter), The SpongeBob Movie doesn't lack for creativity, silliness, or idiosyncrasy.