When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.
Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his lifelong dream to see the wilds of South America. Russell, a wilderness explorer 70 years younger, inadvertently becomes a stowaway.
The tale of three unlikely heroes - a misfit mouse who prefers reading books to eating them, an unhappy rat who schemes to leave the darkness of the dungeon, and a bumbling servant girl with cauliflower ears - whose fates are intertwined with that of the castle's princess.
While Andy is away at summer camp Woody has been toynapped by Al McWiggin, a greedy collector and proprietor of "Al's Toy Barn"! In this all-out rescue mission, Buzz and his friends Mr. Potato Head, Slinky Dog, Rex and Hamm springs into action to rescue Woody from winding up as a museum piece. They must find a way to save him before he gets sold in Japan forever and they'll never see him again! Written by
Anthony Pereyra <firstname.lastname@example.org>
When Hamm is flipping though the channels looking for the Al's Toy Barn commercial, all the other stations show clips from shorts and commercials Pixar produced through the years including Luxo Jr., Red's Dream, Tin Toy, and Knick Knack. There is also a logo for the NeXT computer developed by Pixar's then CEO, Steve Jobs. See more »
When the toys cross the road under construction cones, they cause a semi to jackknife and a multiple car pile up. Not very much later, when Al and the toys drive back across the street to his apartment, the traffic is flowing free on the road. See more »
[landing on Zurg's planet]
Buzz Lightyear to mission log: All signs point to this planet as location of Zurg's fortress, but there seems to be no signs of intelligent life anywhere...
See more »
The names of 29 children born to crew members during the 3 year production are listed. See more »
Shucks, my original comment for this was deleted. Here is a replacement.
My admiration for Pixar to date is significant, on the order of rat filmmakers that seem to care about ideas in film. There aren't enough of these, so if you find one (here a collective) that not only has intelligent notions of cinema but also make successful movies, you have to celebrate.
Overall, I think this is the weakest of the Pixar films, because it is the least visually adventuresome. What they did instead was explore what I call folding and did so in the written bits, following a pattern where films include the dynamics of other films in some way. "Blue Velvet" and "2001" are sort of landmark films along these lines, where film types become actual characters. Here the folding is just as radical, perhaps more so because the story overtly mirrors what they are doing.
Here's the setup. Buzz actually an army of Buzzes draws his existence from space movies, specifically "Star Wars." Woody draws his from cowboy movies (actually TeeVee shows) specifically "Howdy Doody." Each prototype "doll" gets pulled into his original cosmology. That's the background, what usually serves as the establishing world for a movie. Pixar even uses this in the first shots where other movies work to introduce us to a world.
Within this movie in the movie context is a foreground story: about the value of "play" which we are reminded is a re-enacting or borrowing of stories. Its what life is, I think and we are reminded in the script. They'd trade one day of human play (meaning recovered movies) for an eternity in a sterile heaven.
I know that there are many in Hollywood who talk about this sort of story dynamic. There are few that would dare to build a film around it, and very, very few who could do it, make it as visible, overt as it is here, and have audiences be happy for such immersion in reflective dynamics.
Interestingly, the original comment was tossed by IMDb along with a couple hundred others of mine because I failed in a similar enterprise. Someone complained because the original included an observation about religion being recovered narrative and increasingly recovered cinematic narrative. That reader at least did not like such baptism.
Ted's Evaluation -- 3 of 3: Worth watching.
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