Tonight I went to see Ratatouille during a preview offered to Myspace
users in Boston. Overall the movie was GREAT! It was really funny,
often in unexpected places, the storyline kept you engaged the entire
time and the overall mood was lighthearted and inspiring. A real
"feel-good" movie. I admit I was a bit skeptical going in, I mean the
idea of a rat in a kitchen kind of left me queasy, but I left the
theater excited to see it again when it is released. The voice actors
are excellent and the animation is amazing. I've been to Paris before
and the overall views were very accurate. At times I could tell exactly
where in the city the events were taking place. Overall a fabulous
movie, I highly recommend it!.
ishangr8 watch The Spy Who Loved Me movie
ishangr8 watch Unbreakable movie
inception:absolutely awesum! ratatouil:good 1.
matt252007 watch Charlotte Sometimes movie
I have to admit, I was thoroughly impressed with this movie. I put off watching it for some time, thinking that there was no way it could possibly live up to the hype. Finally friends convinced me to watch it, and I was pleasantly surprised. It has just the right amount of humor thrown into a story that we can all relate to. You don't have to be a top class food critic to see that the Rat really knows his stuff! If you are looking for a family friendly movie with a surprising twist at the end, give Ratatouille a shot!.
frigate watch The Shaggy Dog movie
annacatrena watch Mexican Gold movie
This is really a fantastic movie! Amazing!.
heard its a superb movie...Dying to watch.
great movie, very acurate.
Turns out that Black Swan is a breathtaking, intense, horrifying and beautiful cinematic essay on obsession, maturity and the fine line between reality and fantasy, and it's well worth seeing, regardless of whether you're interested in ballet. .
Its easy to see how this story came about. Animators are puppeteers
first. So if you asked an animator to come up with a story, naturally
you will find two features: one would involve two on-screen characters,
one the animator of the other. We have many jokes associated with how
imperfectly the on-screen animator (our hero) works his puppet at
first. Incidentally, this movie is preceded in the theater by a short:
"Lifting." It features a novice "animator" of precisely this type,
being graded. Notice the infinite panel of switches in that short.
Count on Pixar to find yet another way to fold introspection into the
form. This is elaborated by the character of a critic. We see him first
in a coffin-like office. He's only capable of destruction it seems.
Voiced by Peter O'Toole in a stentorian voice-about-theater, he likes
what he sees (tastes). Its a great trick you see. Usually this trick is
in the form of an on screen audience watching some sort of climactic
performance. When they cheer, we do too, as we become folded into the
In this case, that is handled by a place made for us and occupied by
"the critic." So we have a place in the story for the animator and the
viewer. What else? We'll need a place for the animation, right? And we
It appears first as a book by a now dead, corpulent chef. This book,
natch, comes alive. Look how "Ted's law" is followed: the distance
between the "real" world of ourselves and the animated movie is the
same as that from the animated movie and the "living cartoon" within.
Its an explicit fold. And the fact that the inner cartoon has an open,
personal feel to it conveys to the personal feel we are intended to
have with the Pixar movie.
So these three folds: in the story is the story, the animator and the
viewer. And the introductory short sets this up too.
Having said that, there are a couple noteworthy segments. In terms of
the actual craft, Pixar has two areas in which it innovates.
One of these in how space is handled. The Pixar guys realized early on
that if the three dimensions are going to be modeled anyway, you can
zip the camera around in new ways. Early in the game they did this in
an overt way. That's been picked up by the summer action films, the
best of them, including the Depp pirate business. (Another Disney
project benefiting from the eye motion lab.)
You can see this throughout the project: there are both all sorts of
well managed, unusual perspectives, and a constant overlay of new
shots. By this I mean that every shot is just a little different than
what you've seen. Just a little canted. A little closer perhaps. A
little movement that a physical camera cannot do well.
But there are some big production sequences as well. I'm particularly
interested in architectural water. Its a unique cinematic challenge.
Its not one done well in animation because the mathematics of simply
making water look real is daunting. Pixar has done what needs to be
done: they have made water hyper-real, dramatic. There's a sequence
here that is something like that Pinnochio sequence of 67 years ago
with the whale. But its so new and fresh and exciting. Look at the
water and see that it has a million tiny agents all seeking to be angry
to do damage but never reaching consensus on just how to attack. This
alone is worth the admission.
There's another thing that is uniquely Pixar: how characters move. Its
a tricky thing, that. As with the water, it is not ever enough that
they move realistically. You can make realistic movements by outfitting
actors with sensors and translating that to the created beings. It
captures nuance. And if you have a particularly skilled source actor,
he or she will move not as a real person would, but as an actor would
to convey reality. Real isn't real. We need hyperreal in special ways
to get- read the reality.
The credits of this movie ostentatiously say that ""Our Quality
Assurance Guarantee: 100% Genuine Animation! No motion capture or any
other performance shortcuts were used in the production of this film."
You can see it. We are entering a new era where both the cameras and
the characters can use dramatic motions not possible with human eyes
Its a challenge for viewers. What do we accept as embodiment? So far,
the answer is that the non-natural movements must always be in the
service of conveying or seeming natural. But I imagine at the speed
this is developing, we may soon see something more.
One character note: Colette is voiced by the remarkable Janeane
Garofalo. As with our hero, she has that French nose. As the love
develops between these two, she becomes decidedly more sexy, both in
voice and appearance. Its the appearance that I remark on here. Its all
done with postures and a motorcycle. That motorcycle is there in part
to allow her to bend forward, and change her lower anatomy.
These folks at Pixar are good. Darn good. Glad its Steve Jobs as the
creative inspiration instead of that evil other guy.
Ted's Evaluation -- 3 of 3: Worth watching..