Moving Forward (Part 1)

It's my firm belief that two studios out of what I call the "big three", Walt Disney Animation Studios and DreamWorks Animation SKG, have been stepping up their game in terms of storytelling and writing. As such, these two studios are still doing well alongside Pixar. Other studios in the past six years or so have came and went, with only a few studios actually staying in the playing field (Blue Sky, Illumination and Sony Pictures Animation).

With Disney's Wreck-It Ralph and DreamWorks' Rise of the Guardians hitting theaters this November, I felt that I would review the films that I personally believe began their "uphill streaks". With Disney, I believe things got better with 2007's Meet The Robinsons. For DreamWorks, I believe they got better with 2008's Kung Fu Panda. So here we go, part one, where I take a look at Meet The Robinsons and Bolt.

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Meet The Robinsons

Directed by Stephen J. Anderson

Written by Jon A. Bernstein, Nathan Greno and Michelle Spritz

Produced by Dorothy McKim and John Lasseter

Released on March 30, 2007

When an adaptation of William Joyce’s A Day with Wilbur Robinson began pre-production at Walt Disney Feature Animation (prior to being renamed Walt Disney Animation Studios), the studio was slowly plummeting to its demise in the wake of the computer animation fad and the critical success of Pixar's films, followed by DreamWorks' successes. Disney’s then recent films (Brother Bear, Home on the Range) disappointed many, and it seemed as if all was lost for the studio that was once one of the crown jewels of the world of animated features. The executives felt that switching to computer animation would solve all these problems and put them back up against the heavies. They announced that hand-drawn animation production had been phased out, and the studio would enter the computer animation world with Chicken Little in 2005. To them, traditional animation was dead, along with DreamWorks. It wasn't dead, people just avoided those poorly-written films.

Of course, then-CEO Michael Eisner stepped down. Disney bought Pixar, as they were close to losing them, and with that, John Lasseter had a lot of things revised. The A Day with Wilbur Robinson project underwent several revisions, and the result? A rather inconsistent film that was a sign that Disney was going back to good story-telling. Instead of doing what the other non-Pixar companies were doing (stupid romps with pop culture jokes and juvenile toilet humor), they opted for a simply good film with a good message. Meet The Robinsons’ biggest problem is how the two versions are balanced. A lot of the sugar rush, zany antics of the original project were kept since it was too late to undo most of this. It isn’t pandering or insulting, it's never only funny to younger audiences, but going against the more heartfelt, Pixar-like tone of the revised story, it makes everything seem a bit awkward.

The story is very heartfelt, and the characters are all very likable with cute designs. The film’s antagonist, the Bowler Hat Guy, is a hoot. It’s a very nice plot with some wonderful characters. It’s all well done and well told, but the two tones constantly battle each other. This was something the writers tried their best to overcome, and for the most part, the sugary side works. Sometimes, however, it gets tiring. There’s lots of “random” humor that would be more in line with what some high schoolers may joke about. Other bits are out of place. Fortunately, the film takes some time to wind down, despite the talky script.

When Disney entered the computer animation field, Chicken Little didn't look too bad, but it seemed to look similar to the more cartoony computer animated films produced at the time such as DreamWorks' Madagascar and Sony's Open Season. Meet The Robinsons goes for a more Pixar-esque look, and it's very colorful. The vision of the future is a bit saccharine, but it has a child-like wonder to it with a dash of Tomorrowland. The characters are instantly appealing, with googly designs. Only Lewis and Wilbur look normal, everyone else only adds to the setting and tone of the film. The art direction does take a shift for the film's third act climax, and the Bowler Hat Guy does look sinister at times. Visually, this is a very appealing film that works alongside the story.

It was nice to see this amidst the bland CGI films that preceded it in 2006, with only a few examples sticking out. It goes to show that the animators cared and wanted you to love the look of the film. I can't say the same about some of the other computer animated films that polluted the market at the time. Meet The Robinsons may not be overtly ambitious, but it is a pretty good film that has a bit of trouble picking a mood. Luckily, the writers do their best to use the humorous side to their advantage. It borders on tearjerker in the film’s closing minutes, and the idea of Walt Disney’s “Keep moving forward” quote being the core of the story was a lovely bonus, though it is pushed a little too much onto the audience.

In fact, had Disney solved their management issues much earlier (say around 2003 or 2004), Lasseter and the crew could've essentially made Meet The Robinsons even better and eliminate what really wasn't working and keep the tone consistent. That said, this is a very John Lasseter-esque film. It has the heart, the sincerity and the storytelling that defines a good Disney animated feature. If only they didn't have such little time to overhaul it, it would've been the first return to form, but it's still amazing that they were able to take the mess and turn it into a satisfying film in a matter of months.

B-

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Bolt

Directed by Byron Howard and Chris Williams

Written by Dan Fogelman and Chris Williams

Produced by Clark Spencer and John Lasseter

Released on November 21, 2008

Like Meet The Robinsons before it, Bolt began life as a project that was problematic and was in need of an overhaul. Fortunately, John Lasseter and the crew at Walt Disney Animation Studios were working off of something that already had some strengths. The project was originally American Dog, the next big film from Chris Sanders (Lilo & Stitch), a quirky and risky story that ultimately suffered from story problems.

With him out, Lasseter had the project overhauled. Instead of working off of a goofy, pandering film (the early version of Meet The Robinsons), they were working off of something that was already something a little more serious. However, Bolt is much simpler than Chris Sanders’ original story and goes for a traditional route. This was enough to scare off most Disney fans, but the film turned out to be better than expected despite the skepticism. It isn't the quirky, daring film that Sanders envisioned. Instead, it's a modest but well-told effort that's one that you can sit back, relax and enjoy. Like Meet The Robinsons, it's just plain good. This doesn't have the trouble of balancing two ideas, though.

Our leads are likable, Bolt (voiced by John Travolta) is essentially a canine version of Truman Burbank from The Truman Show. He believes the show he’s the star of is real, as the editors and crew make sure he believes so. When he experiences the outside world, he is with a street-smart cat with a rather sad past named Mittens (voiced masterfully by Susie Essman) and Rhino (voiced by a hilarious Mark Walton), a hamster who is obsessed with Bolt’s show. These three leads are already very likable, while the supporting cast appears from time to time. Bolt’s owner Penny (played by an okay Miley Cyrus, obviously phoned in to sell tickets to the Disney Channel teenybopper crowd) is somewhat important in the first act, but she’s not in it as much as the advertising lead people to believe. Other characters that populate Bolt’s television world are a nice poke at the entertainment industry.

With that, Bolt focuses on what makes the films of Pixar so good: Heart. Bolt is someone you root for early on, but halfway through the film, we see that we are in the middle of a touching buddy comedy much like the original Toy Story. It never feels overtly derivative, just similar. There are other elements here from other films, but it’s these charming characters and wit that elevate the film. The screenplay, however, is a bit flat.

There is some cringeworthy dialogue here and there, but it’s mostly under control. The film's funniest jokes (particularly the scenes involving Rhino) are absolutely hilarious, so it mostly knocks it out of the park in the comedy department. It isn’t a masterful screenplay by any means, but one that dutifully supports the story. Our characters shine here, and the heart is right in line with a Pixar film. Combine this with crisp animation and you’ve got a winner. The animation did break some new ground, as the art direction takes on a painterly look. It was the first stepping stone in Disney Animation’s quest to find a style that will effectively blend both hand-drawn beauty and computer animation (see John Kahrs' upcoming short film, Paperman). On top of that, we also get flat animated map montage scenes set to "Barking at the Moon", a wonderful scene where Bolt, Mittens and Rhino see the sights across the country.

Bolt is essentially classic Disney, but in computer animation form. It's not daring or up to Pixar's levels, but it's a refreshing break from what Disney had put out before it. Gone were forced jokes, humor that pandered to kids and wildly inconsistent writing. Bolt, like a Pixar film or Walt Disney's films, is for adults, children and everyone else. It's simply good old fashioned entertainment with surprises along the way.
B+

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Stepping Stones

When John Lasseter got on board at Walt Disney Feature Animation, he had a mess on his hands. A Day with Wilbur Robinson looked like it was going to be another disaster from the studio, coming off of the critically panned but commercially successful Chicken Little. With that, he was going to make sure that the studio would return to their roots and make good films again after disappointments like Brother Bear and Home on the Range. At the same time, he had the studio's name changed to Walt Disney Animation Studios, a much more suitable name. The release date was moved from fall 2006 to March 30, 2007.

Though there wasn't enough time to really overhaul the project, the crew did what they could in such a short timeframe. The Bowler Hat Guy was made into a much more interesting, and threatening villain. He was also given his sidekick, Doris. The ending was significantly changed to become much more effective, and the sequence where the villain gets a dinosaur to chase Lewis was added. That scene would become the core of the marketing in the United States.

The marketing sold it as a silly comedy, like Disney's marketing department tended to do. True, Meet The Robinsons is a wacky comedy at many times, but it's also a heartfelt story. The marketing failed to establish this, whereas a superior Japanese trailer got it right. Meet The Robinsons had a hard time at the domestic box office upon release. The marketing probably reminded audiences more of Chicken Little and the annoying animated features released in 2006. The general belief was that Disney stopped making good films since the Renaissance, but that doesn't explain how Chicken Little did so well. Perhaps it left a bad taste in audiences' mouths, combined with the trailers for the film.

Reviewers weren't very enthusiastic about it, but some did praise the deeper themes and the emotional side of the story. It opened with a rather disappointing $25 million, but something happened... This happened to every Disney animated film since then... It spawned great legs thanks to good word of mouth. Meet The Robinsons quietly climbed its way up to $97 million domestically, though that was still much less than what Chicken Little made. The executives probably weren't too thrilled about that. Worldwide, it took in a modest $169 million. It was a bit of an underperformer. Disney's live action/animation hybrid, Enchanted, outgrossed it significantly.

By 2007, people became more choosy with big release animated films. This is why something good like Sony Animation's Surf's Up had a hard time at the box office, looking derivative of certain other animated films despite being pretty original. People normally attend the Pixar films, and even Pixar's entry for the year posted a low opening despite the incredible word of mouth it got. It ended up grossing less than the dreadful Alvin and the Chipmunks domestically. It was a weird year, coming off of 2006, a very weak year for animation.

After finishing Meet The Robinsons, the next Disney film was going to be American Dog, which would be a much more serious return to form. Problems arose around December 2006, when Chris Sanders' story wasn't working. American Dog, much like Sanders' own Lilo & Stitch, was quirky with character designs that weren't your typical Disney character designs. The story involved Henry, a smoking and drinking canine star (you won't see that in a Disney film nowadays given their surrender to the anti-smoking craze at the time) of a James Bond-style TV show who believes everything on the show is real. He winds up lost, miles away from home, where he meets a one-eyed cat and a radioactive rabbit. They're looking for homes, but Henry is still deluded.

Sanders rejected Lasseter's notes, and things ultimately did not work out. Lasseter noted his talent, but he felt that the story needed work. A screening at the studio went over badly. Chris Sanders was out and the story was overhauled immediately. Lasseter kept the dog TV star being deluded, but changed the show to an action-packed story where the protagonist (renamed Bolt) is a super dog. The characters were radically redesigned. The one-eyed cat became a regular cat who doesn't trust humans. The radioactive rabbit would be replaced by Rhino.

The story was simplified, but Lasseter didn't want this to be a dud. He made sure that it had the heart, the wit and the sparkle that define the Pixar films. It's no surprise the story has similarities with Toy Story and Cars. It feels like a Lasseter film. Chris Williams and Byron Howard became the new directors of the project. The animation wouldn't be like the other films on the market, as the film introduced a painterly look that gave a traditional animation quality to the film's backgrounds.

Bolt wasn't easy to sell from the start. The Disney brand name was toxic, as their animated films hadn't caught on at the box office amidst the Pixar, DreamWorks and Blue Sky films. With the success of Enchanted however, Bolt could change that. The animation community was already upset over not getting Sanders' film, and the marketing sold it as a derivative, generic film. Something we've seen before. There was no punch to the marketing, which, in a DreamWorks fashion, kept telling us that John Travolta and Miley Cyrus were the leads in the film. The posters gave off an Incredibles vibe. The marketing was uninteresting and lazy.

Opening on November 21, 2008, it was going up against a certain film that was obviously going to be a huge hit. Bolt only took in a rather disappointing $26 million on its opening weekend, despite great critical reception. Then, it got excellent word of mouth and pulled a 4.3x multiplier. It climbed its way to $114 million domestically against all odds. Worldwide, it took in $309 million for its final total. However, this gross was less than Chicken Little and Enchanted. The film could've done better with a bigger opening (it's also upsetting since DreamWorks' inferior Madagascar: Escape 2 Africa made more than twice that amount on its opening weekend just two weeks earlier) and better marketing that worked alongside the word of mouth. It didn't happen, and this return to form was lost in the shuffle.

Bolt found new life on Blu-ray and DVD, but it could've been a much bigger success in theaters. More and more people are experiencing it, so maybe one day people will look back on this film and see that it was one of the building blocks that would lead to Disney's comeback.

In part two, I'll take a look at Disney's return to hand-drawn animation, The Princess and the Frog!

Another Home Run

As usual, Pixar topped the box office for the weekend. Brave took in $66.3 million, itching past Cars 2's $66.1 million opening last year. This makes it the fifth biggest opening weekend for a Pixar film, although it should've gone a little higher because of its big opening day. Still, $66 million is not too bad. Now, we have to see what its legs will be like. With an "A" on CinemaScore, it looks as if audiences really enjoyed this new Pixar film. I know my audience did, so good word of mouth is definitely going to carry this past $200 million.

Worst case scenario, it scores a 3.5x multiplier (much like WALL-E) and grosses a little over $230 million, which would still be pretty damn good. A 4.0x multiplier is also very possible, but $300 million does seem out of reach. Also, don't forget the family friendly competition from Ice Age: Continental Drift. The Amazing Spider-Man may also affect Brave.

In other animation news, Madagascar 3: Europe's Most Wanted held very well. Usually a 3D release in animation will significantly drop when a new animated release comes along, but Madagascar 3 wasn't affected. It took in $19 million, only dropping 42%. It's currently #2, which is great because we have two animated films in the top two. Amazing, isn't it? The film has now grossed $157 million domestically. It is destined to outgross both of its predecessors and take in $200 million.

With that, we'll have three $200 million animated films already. Box office is at an all-time high, and it looks as if this will be 2010 all over again. By the time Toy Story 3 opened in June, How to Train Your Dragon and Shrek Forever After had already cleared $200 million. Now if Wreck-It Ralph and Rise of the Guardians were to gross $200 million, then we'll be tied with 2010. 5 animated films grossing $200 million. On top of that, Ice Age: Continental Drift could surprise audiences and take in $200 million. This will all make 2011's animation box office grosses look like a bump in the road.

The only mishap so far this year, box office-wise, is Aardman's The Pirates! Band of Misfits. It should've been a small success, but Sony Pictures Animation and Columbia dropped the ball with the marketing and made it come off as a kiddie version of Pirates of the Carribean. It's only mustered up $29 million domestically, which is even less than what Arthur Christmas made. On a lighter note, it has made $114 million worldwide. It's a small success for Aardman, as usual for their films.

What do you think? How much do you think Brave can make in the long run? Do you think anything else has a shot at making $200 million this year? Sound off!

DreamWorks' "Happy Smekday!", Cast and Crew

Based on Adam Rex's novel The True Meaning of Smekday, DreamWorks' Happy Smekday! was on the list of upcoming projects. Now, it's slated to follow How to Train Your Dragon 2 for a late 2014 release.

Tim Johnson (the director of Antz and Over the Hedge) will direct, and Chris Jenkins and Suzanne Buirgy will produce. The Get Smart writers Tom J. Astle and Matt Ember will pen the screenplay, as they will with the March 2014 release Me and My Shadow.

Two members of the cast were announced, Jim Parsons of The Big Bang Theory and Rihanna. Hmmmm, not too sure about this. While I'm sure Parsons is fine for this story, but Rihanna... I mean, DreamWorks is essentially going back to their star-studded cast routine.

Anyways, the plot of the book involves an alien invasion where a young girl's mother is taken away by an alien race called the Boov. The aliens land on Christmas Day, renaming the holiday "Smekday". Sounds exciting. Hopefully it's not wasted on a mediocre script, and hopefully the entire cast make it good.

Are you looking forward to this? What do you think? Sound off!

"Brave": Emotional, Surprising and Just Plain Beautiful

QUICK FLICK REVIEW

Brave

Directed by Mark Andrews, Brenda Chapman

and Steve Purcell

Written by Mark Andrews, Brenda Chapman

Irene Mecchi and Steve Purcell

Produced by Katherine Sarafian

Distributor: Walt Disney Pictures

Studio: Pixar Animation Studios

Well, here we are! Every summer, we get our Pixar fix, and this summer's big Pixar event is Brenda Chapman and Mark Andrews' Brave. Of course, prior to its release, a lot of folks were probably wondering, "Will this be a Pixar masterpiece? Or will it indicate that the great studio has lost its touch?" Fortunately Brave is the former, but why? Simple enough. It's a very well-made film that hits all the right notes, showcasing Pixar's ability to combine comedy and drama while also telling a good story with characters that you care about, and on top of that, giving audiences something beautiful to look at and listen to.

Princess Merida (wonderfully voiced by Kelly Macdonald) is quite possibly one of the most immediately likable leads in a Pixar film, let alone any film. She's spunky, energetic and free-thinking. We've seen that in some rebellious Disney heroines of the past (Ariel and Mulan come to mind), but the story is compelling and that these similarities are just... Well.. Similarities. Nothing wrong with that, because Merida is a fantastic character. Her design is also great, especially her hair, which defines her attitude, along with her rather quirky mannerisms. What really elevates the film (aside from the intriguing and sometimes unpredictable story) is the relationship between Merida and her very proper mother Queen Elinor (voiced by Emma Thompson). Both represent two sides, Queen Elinor doesn't like to venture out and essentially be ordinary, whereas Merida is all about adventure and doing what she wants to do, regardless of traditions. The relationship between the two is the film's emotional core, and one that isn't a far cry from the core of Finding Nemo.

The story is about the importance of family, as the marketing alone has pushed, but it's never in your face or preachy. It's a fantastic message, and one that aims for the heart and pulls at the strings like the other great Pixar films. With that, you're immediately hooked. When Merida and her mother have a rather heated argument in the film's first act, the emotion is there. It's right there on the surface, and yes, this film is a tearjerker. It's not shy of Pixar's way of making audiences cry, which is for the better. Brave's other main theme is challenging tradition. As said before, Queen Elinor is essentially someone who sticks with status quo. At the same time, we see how staying the course hasn't really done much good for her or the kingdom, but we're also shown how Merida's rebellious nature could possibly backfire, which sets up the climactic third act.

Most of the criticism this film has been getting was directed towards the second and third acts, when things start to take an unusual turn in terms of the storytelling. Not unusual in a bad way, just something completely unexpected. I was a bit surprised at first at how they handled Queen Elinor turning into bear. I was a bit put off at first, but then once we started getting back into the whole emotional core of the story, these slight problems were washed away with grace. After these scenes, Brave essentially becomes what it is: A mother-daughter bonding tale where both of their ways of thinking change. Then the film starts getting dark, and it never pulls punches. The scene where Merida encounters the demonic bear Mor'du is pretty intense, and it's sure to upset some children (because Pixar does not make films for a specific target audience). What happens in the third act is fairly pulse-pounding on both an emotional level. This film didn't get the PG rating for nothing.

Speaking of the rating, the writers lace the comical side of the story with some humor that's more on the rude side while also going for broad slapstick with the three lords (Lord Macintosh, Lord MacGuffin and Lord Dingwall, voiced by Craig Ferguson, Kevin McKidd and Robbie Coltrane respectively) and King Fergus (voiced by a hilarious Billy Connoly). However, it's funnier than something in say... One of the DreamWorks films or whatever. Never forced, and always funny, the humor is a treat. The audience howled with laughter throughout. Some of the jokes pretty much show why this film got a PG rating, aside from the darker content that is usually in Pixar's films. At the same time, it's very witty and it never stoops down and resorts to being cheap. Best of all, the triplets, Hamish, Hubert and Harris, are hilarious. Silent (which is good) and sneaky, they steal the show. When they become bear cubs (not much of a spoiler since the trailers showed these scenes), it was actually very funny and clever. I was afraid that would be a scene that was shoe-horned into the film for laughs. Fortunately, it wasn't.

Of course, every Pixar film has some form of drama in it. Here, like the other Pixar tearjerkers, Brave fills its first act with the mother-daughter relationship with scenes that already have you getting misty eyed. It's all beautifully done and well-told, so it definitely strikes the emotional chords. This makes the second act, despite some flimsy pacing, soar. The third act had me in tears, I'll admit it. In addition to having tearjerker moments, the film is not afraid to be dark. Pixar's films have had their fair share of dark and sometimes intense moments, some of the more recent efforts come to mind like Toy Story 3's masterful and intense incinerator scene. Some moments in Brave equal that intensity, while adding an action film flair to them.

So with a story that's filled to the brim of heart, comedy, drama and the occasional intense moments, what else is there to admire? The characters, of course. Aside from Merida and Queen Elinor, you got Merida's hilarious father, King Fergus. The three lords are also a hoot, along with the triplets. The supporting cast is just as interesting, and don't forget to look for John Ratzenberger's cameo in the film. Last but not least, the witch (voiced by Julie Walters), who is a very giddy and off-the-wall character. I won't say more, but she is pretty funny. It's too bad she's not in it that much.

To say the animation looks great is unnecessary because this is a Pixar film, but I will say, they captured the Scottish highlands very well. It's beautiful, breathtaking and it ultimately compliments the emotional story. The character designs? Wonderful. Very caricatured, while also feeling realistic, which Pixar had mastered in Ratatouille and Up. This film experiments with even more abstract and often wacky character designs, and as a result, the film has a unique visual appeal.

In total, Brave is pretty much why Pixar films leave you satisfied. The audience loved it, and one of the folks I went with said something along the lines of "I'm starting to like animation better than regular movies." Now that says a lot. I am not sure why a lot of the critics weren't too crazy about it, as I felt it was just as good as the other Pixar films. Sure it has some unexpected moments, but it's not enough to ruin the story completely. It has what every good Pixar film has.

One last thing: The title. To me, The Bear and the Bow was a much better title. Sure, Merida is brave enough to go up against status quo and traditions, sure she is brave enough to undo what she done against all odds (even in the face of death), but I personally feel that The Bear and the Bow is a much more suitable title because it really says a lot about the characters, the mother-daughter relationship and it's also enigmatic in a way. Oh well, it's another short and sweet title.

A+. It's a different film from Pixar but one that succeeds. It tows the fine line between being a crowd-pleasing fun time at the movies and a thoughtful, heartfelt experience. Also, keep your eyes peeled for Pixar in-jokes. I caught the Pizza Planet Truck, but no A113 or anything else.

Pixar Short: Enrico Casarosa's La Luna, a quiet and pretty short film. Not much to say about this one, but it's got the laughs while also being a charmer. The animation is lovely to look at, almost resembling something painterly in a way.

Trailer Recap

Saw this in 2D, and we happened to get some pretty good trailers.

The Oogieloves in the Big Balloon Adventure - Some awkward kids' only film with Muppet wannabes. Apparently it's from the creators of the Teletubbies... That is all. Moving on! - Opens ummm... I don't know and I don't care!

Despicable Me 2 - Same teaser with the Minions singing "Barbara Ann". Got lots of laughs. - Opens July 3rd, 2013

Ice Age: Continental Drift - A fun trailer, but little else. Forced jokes and all. This is sure to explode overseas so Blue Sky Studios will be happy. This one got some laughs. - Opens July 13th

Hotel Transylvania - Got some laughs. This looks fun, as I said when this trailer was posted. - Opens September 28th

The Hobbit: An Unexpected Journey - Haven't seen a trailer for this since I saw The Adventure of Tintin back in January. Looks good, despite the controversy over the decision to shoot it in 48fps. - Opens December 14th

Wreck-It Ralph - Didn't get much laughs, as the jokes probably went over most folks' heads. I enjoyed every second of it of course (can't you tell?). - Opens November 2nd

Finding Nemo 3D - Messy trailer, but the film is fantastic, so... - Opens September 14th

Monsters University - This one got laughs. This was the "Pony Made the Dean's List" version of the teaser. - Opens June 21st, 2013

So that ends the review for Pixar's newest film. Next up? I want to say Madagascar 3: Europe's Most Wanted, since I need to see it. Otherwise, my next review will probably be The Amazing Spider-Man.

'Winnie the Pooh and the Blustery Day' Jigsaw Puzzle

 

The year was 1968. Walt Disney Studios was in a bit of a funk when it came to the category that they had dominated over 30 years ago. Between 1954 and 1967, they received eight nominations in the Best Animated Short category, but Disney could do nothing but watch as films from other studios and later independent studios took home the Oscar. They had not won since Toot, Whistle, Plunk, and Boom won in 1953. They hadn't even been nominated since A Symposium of Popular Songs in 1962. And it had been two years since Disney himself had died from complications of lung cancer in 1966. Yet before he died he oversaw productions of three final projects: The Jungle Book, The Happiest Millionaire, and Winnie the Pooh and the Blustery Day. The latter was the second film based off of A.A. Milne's classic Winnie the Pooh series, following Winnie the Pooh and the Honey Tree in 1966. Blustery Day saw the introduction of the energetic Tigger, and the re-introduction of Pooh's very best friend Piglet. It also featured a half dozen wonderful songs from Richard and Robert Sherman. And when the Academy Awards came around in early 1969, Blustery Day beat out a NFB film, a Murakami-Wolf film, and a Hubley film for the Oscar. Disney was credited posthumously with the win for being the executive producer. It was his 22nd Oscar win, a record which may never be broken, and his final one.

Read more »

"Brave" Takes In an Estimated $24.5 million

That's right, $24.5 million. This opening day, if the estimates line up, is the third biggest opening day for a Pixar film, behind Toy Story 3 ($41 million) and Cars 2 ($25 million).

With the word of mouth this is getting, it's possible that it will clear $70 million for the opening weekend, or maybe top $80 million, and have the biggest opening weekend for a non-sequel Pixar film. Overall, this is a great start for Pixar's new film. $300 million domestically is still not out of the question.

What are your thoughts?

Final Thoughts on the Marketing for "Brave"

Of course, today is the big day. After a long wait (being announced way back in 2008! Remember those days?), Pixar's Brave has opened in theaters nationwide!

Now that it's out, I felt I would comment on the film's pre-release marketing. It seems like Disney's marketing for Pixar's Brave was essentially the antithesis of the controversial and deservedly criticized marketing for Andrew Stanton's John Carter. It's amazing how two marketing campaigns for Disney releases in one year could be both the polar opposite.

John Carter had lazy marketing all around, three lackluster trailers that failed to sell the film, a terrible title, underwhelming TV spots (including a dreadful Super Bowl spot) and a surprising lack of merchandise. Brave on the other hand has had four trailers, one of which was a scene from the actual film much like The Lion King's "Circle of Life" trailer. The teaser was dark and devoid of humor, which is odd for a teaser for a Pixar film. The final trailer ("Family Legends") was a surprisingly good trailer that wasn't a mess like the usual trailers for Pixar films. There was also some cross-promotion with the NFL. Also, for the first time in years, Disney joined forces with a fast food chain (Subway) to do a promotional tie-in. AMC Theaters played four Pixar films (Ratatouille, WALL-E, Up and Toy Story 3) in theaters over Memorial Day weekend with an exclusive featurette attached to the screenings. Then you've got merchandising out the wazoo, and tons of TV spots and featurettes, some of which were considered silly (The "Kilt" and "Freedom Broch" featurettes, for instance).

This campaign has gotten some criticism, as some think it was a little too aggressive. It seems as if Disney was over marketing this one, but methinks they want another Finding Nemo-sized success since Up (Pixar's first film in 3D) came close. Toy Story 3 inevitably cleared it, being a sequel. Cars 2 didn't, but I'm guessing Disney wants an original Pixar film to top $300 million at the domestic box office.

Personally, I've liked everything I've seen of it so far. The trailer showing the two-minute sequence from the film's first act ("The Prize") was breathtaking, the "Family Legends" trailer is one of the best trailers for a Pixar film, and the Mother's Day clip is absolutely beautiful. The TV spots are the usual, a clustercuss of chaos. The more goofy featurettes ("Kilt", "Freedom Broch", "Witches Brew") were amusing. I've avoided most of the promo materials they've put out in the last few weeks since I don't want to see anymore things that could be spoilers.

As for the box office, early projections have it in the mid 60s for the opening weekend. Personally, I think it could go higher. Box Office Mojo's forecast predicted that Cars 2 would make $59 million, it made $66 million. You never know, but with all this marketing, there is no way this will make less than Dr. Seuss' The Lorax on its opening weekend. For a while, I've been saying it should gross around the mid-to-late 70s, but we'll see on Monday. As for the final domestic total, I'm going to say $300 million, something I've been predicting since 2010 or so. Yes, $300 million... According to those who have seen it and other non-critic reviews, this one is quite the crowd-pleaser that is sure to entertain nearly everyone. Up almost got there, this should clear it. Worldwide, it should explode given the setting and 3D.

What are your box office projections for Brave? What did you think of the marketing as a whole? Sound off!