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Best Picture The Artist The Descendants Hugo Midnight in Paris War Horse
What could sneak in: The Help, Moneyball
Best Director Martin Scorsese, Hugo Woody Allen, Midnight in Paris Michel Hazanavicius, The Artist Alexander Payne, The Descendants Terrence Malick, The Tree of Life
What could sneak in: Steven Spielberg, War Horse; Bennett Miller, Moneyball
Best Actor Jean Dujardin, The Artist Michael Fassbender, Shame Brad Pitt, Moneyball George Clooney, The Descendants Gary Oldman, Tinker Tailor Soldier Spy
What could sneak in: Leonardo DiCaprio, J. Edgar; Michael Shannon, Take Shelter
Best Actress Meryl Streep, The Iron Lady Rooney Mara, The Girl with the Dragon Tattoo Viola Davis, The Help Michele Williams, My Week with Marilyn Tilda Swinton, We Need to Talk About Kevin
What could sneak in: Elizabeth Olsen, Martha Marcy May Marlene; Glenn Close, Albert Nobbs
Best Supporting Actor Albert Brooks, Drive Christopher Plummer, Beginners Kenneth Branagh, My Week with Marilyn Jonah Hill, Moneyball Patton Oswalt, Young Adult
What Could Sneak in: Nick Nolte, Warrior; Max Von Sydow, Extremely Loud and Incredibly Close
Best Supporting Actress Octavia Spencer, The Help Berenice Bejo, The Artist Jessica Chastain, The Help Shailene Woodley, The Descendants Melissa McCarthy, Bridesmaids
What could sneak in: Janet McTeer, Albert Nobbs; Carey Mulligan, Shame
Best Original Screenplay The Artist Midnight in Paris 50/50 Margin Call A Separation
What could sneak in: Win Win, Young Adult
Best Adapted Screenplay The Descendants Moneyball Hugo War Horse The Help
What Could Sneak in: The Girl with the Dragon Tattoo, Tinker Tailor Soldier Spy
Best Cinematography The Tree of Life War Horse Hugo The Artist Melancholia
What could sneak in: Harry Potter and the Deathly Hallows Pt. 2, The Girl with the Dragon Tattoo
Best Art Direction Hugo War Horse The Artist Harry Potter and the Deathly Hallows Tinker Tailor Soldier Spy
What could sneak in: J. Edgar, The Girl with the Dragon Tattoo
Best Costume Design Jane Eyre Hugo Anonymous The Artist A Dangerous Method
What could sneak in: My Week with Marilyn, The Help
Best Editing The Artist War Horse Hugo The Girl with the Dragon Tattoo The Tree of Life
What could sneak in: The Descendants, Drive
Best Sound Mixing War Horse Harry Potter and the Deathly Hallows Pt. 2 Rise of the Planet of the Apes Super 8 Mission Impossible: Ghost Protocol
What could sneak in: Transformers 3: Dark of the Moon, The Adventures of Tin Tin
Best Sound Editing War Horse Mission Impossible: Ghost Protocol Rise of the Planet of the Apes Harry Potter and the Deathly Hallows Pt. 2 Rango
What could sneak in: The Adventures of Tin Tin, Super 8
Best Visual Effects Rise of the Planet of the Apes Harry Potter and the Deathly Hallows Pt. 2 Super 8 Captain America: The First Avenger Transformer: Dark of the Moon
What could sneak in: Pirates of the Caribbean: On Stranger Tides, Cowboys and Aliens
Best Original Score War Horse The Girl with the Dragon Tattoo The Artist The Tree of Life Hugo
What could sneak in: Drive, The Adventures of Tin Tin
Best Original Song The Muppets (Life's a Happy Song) The Muppets (Man or Muppet) Albert Nobbs (Lay Down Your Head) Captain America: The First Avenger (Star Spangled Man) The Help (The Living Proof)
What could sneak in: Cars 2 (Collision of Worlds), Gnomeo and Juliet (Hello, Hello)
Best Make-Up J. Edgar The Iron Lady Albert Nobbs
What could sneak in: Pirates of the Caribbean: On Stranger Tides, Anonymous
Best Animated Feature Arthur Christmas Rango The Adventured of Tin Tin: Secret of the Unicorn Winnie the Pooh Puss in Boots
What could sneak in: Rio, Kung Fu Panda 2
The Crowning Jewel of Milos Forman's Career
As well done as "One Flew Over the Cuckoo's Nest" is, my pick for Milos Forman's best movie and my personal favorite movie to date is "Amadeus." Yes it is not historically accurate. Yes it is Americans and British actors playing foreign roles with no accents. Yes it is a "stuffy period piece." You know what? It is also an absolute masterpiece of a movie! The story manages to work on multiple levels. Yes the surface message deals with the "price of revenge," but it is so much more personal than that. We see that Sallieri has become his own worst enemy purely because he cannot let go of his jealousy. He cannot just accept the skills of others and move on with his own already successful career. This is also paralleled in the life of Mozart, shown here as a childish genius who is trapped in his own prison of inflated ego in no small part because of his father. The film covers topics of faith, the fear of failure, the dark side of entertainment, the way class and talents are not in stone and more. It works organically and manages to be incredibly captivating.
Forman manages to keep the story entertaining by running his characters through plenty of emotional gamuts. At times the movie is very dramatic. Then there will be incredibly funny moments. Then there will be incredibly thoughtful moments. There is never one monotonous tone and it keeps you on your toes to see how a scene will play out. He also manages to keep an optimistic tone in spite of the darker elements. This is not just a tragic and depressing look at the decline of Mozart's career. It is a celebration of the man and the time period, with all of their faults. We know Mozart's memory still thrives through his music so why just be sad about it.
A lot of credit must be given to Tom Hulce as Mozart for that. Portraying Mozart as a boorish delinquent with a brilliant talent is not only pretty accurate (We know these people in real life), but the right counterbalance to the drama. Even as he drifts into insanity and ill health, Mozart is shown as a sympathetic character who has a consistent love for creating great music if not much else.
We cannot forget F. Murray Abraham as Antonio Sallieri though. The heart of the movie, Abraham brings emotional weight and human traits to a character who could simply be a typical envious character. his character also has pure intentions for making music, but he never learned how to accept humility for other talented people. Sallieri is a controlled and calculating force of envy and self-loathing and we see it all on Abraham's face and through his line delivery. Also the fact he can effortlessly pull off playing both the young and old Sallieri is an admirable feat.
The rest of the supporting cast works excellently in the film, but it is Jeffrey Jones playing Emperor Joseph II that steals the show. Though not nearly in the film enough, he carries a presence both as a royal figure and being a general music illiterate. He also works as a great foil for Hulce's more comedic scenes.
There is so much more that can be said about this film. The cinematography is eye popping, the sets are lavishly ornate, the costumes are all precise designed, the editing moves at a comfortable clip, the make-up work is spot-on and the performances of Mozart's classics are first rate.
I just could go on, but needless to say I wholeheartedly recommend this film. It is a stunning piece of work and well worth the time of any film buff or Mozart fan!
The Wolf and the Ewe (2012)
Evokes the Best Qualities of Pan's Labyrinth Though Falls Short of Some Key Technical Details
I was fortunate enough to catch this film at the Final Cut Film Festival at BYU Provo. Like most of the films there, I had no expectations or references to base my opinion of the film on so I had a clear mind to judge it. Reading the synopsis in the pamphlet, my curiosity began to be aroused. Mythical creatures? Characters speaking Romanian? Father and daughter bonding? It screamed Grimm fairy tale. Sure enough, what we got was very much like that.
As I mentioned in the title, the film that this made me think of the most was Pan's Labyrinth. We follow a young girl who is too curious for her own good. We have lavish visuals creating a surreal yet balanced tone to the story. We have a mystical monster who inspires just as much fear as he does awe. The film structures itself like Pan's Labyrinth to be some form of haunting tale about the dangers of the world and how we deal with them. For the most part, I would say that it works very well.
The technical work manages to overcome its small budget to create a sense of location and tone. There are no buildings or sets used in the film, but well used location shots create scope and a sense of movement as we go from one place to another. The camera-work utilizes lighting and shot composition effectively to capture the contrast between the protection of the day and the haunting presence of the night. Other details like costume manage to give the impression of a foreign film without needing to be overly lavish or detailed. On a whole, the look of the film is well made.
There is a very poetic style to the way the film is written and acted. The dialogue is simple yet substantial to allow audience to feel the emotional resonance of what is being said. The plot is not very complicated either, but manages to establish its own unique lore particularly in the third act. The lead actors playing the father and daughter are finely underplayed to give a grounded tone to the surrealism surrounding them.
However, it is the haunting presence of the wolf-like Pricolici that is the film's highlight. Drenched in shadow (to hide the budget limitations of course) and voiced with menace by Jeff Dickamore, there is no doubt that this creature is not of an Earthly nature. Its taunting dialogue will unnerve plenty of viewers as it spins the creepy tale of its creation and purpose. The fact that the scene is so memorable despite being so short shows its power.
Unfortunately, I did have some issues with the production. As great as the story is, I did feel that the actual ending was a bit...confusing. Not that it was a bad ending, but it felt like I did not understand the point they were trying to make by the event that happened. Call me dumb, but I think it could have been portrayed a slightly different way to make the point more clearly while retaining its artistic value.
The biggest offender, however, is the sound design. As good as the music is, it rarely ever peaks or intensifies even in the most tense scenes. We are often just hearing the same measures on repeat, which can only sustain a film for so long. The sound effects were worst however. Most of them were just fine, but key moments of sound design like the climax lack intensity or emphasis. It makes it hard for me to care if someone gets tackled if it sounds like the man hit a pillow! With a few more powerful effects, those scenes would have played strong in my opinion.
While certainly lacking in a few qualities, this was still the second best film I saw at the festival just behind Mr. Bellpond. Haunting, smartly produced, well written and visually striking, the director should be proud of the production and we can only hope he comes up with even better work in the future.
Superheroes via "The Blair Witch Project"
Three teenagers stumble across a meteorite that gives them telekinetic powers and each react differently to their growing abilities. This is a very simple premise and the films eighty three minute run time is a testament to that. What will surprise you, however, is how much each minute counts to making "Chronicle" a distinct entry in the found footage genre and the superhero genre.
The writing and direction are top notch in this, especially for the newcomers behind them. We are always focused on the main characters and what they are going through. There is no dizzying camera-work or choppy editing to try and disorientate us. This actually feels like a naturally shot faux-documentary. There is a lot of great dialogue in the film, particularly because it actually feels written for teenage characters. It has those semi-juvenile lines mixed in with attempts at more mature comments that feels like teens preparing to leave high school. The pace and tone are well controlled too, combining elements of an action film, a "Blair Witch" style documentary, a teen comedy, a dysfunctional family drama and a "high school massacre" style tragedy (particularly through the starting scenes of the third act). Best of all, it never breaks the found footage illusion. We are always immersed firsthand into the scenario and aside from some seemingly inconsistent moments, there is almost always a plausible way to maintain the documentary style.
The actors really needed to be top notch to make this believable and thankfully they chose some very talented unknowns. There is Michael B. Jordan as Steve, who really feels like a popular kid who gained his fame from being a great guy rather than an attention seeker. There is Alex Russell as Matt, who blends the right amount of "too cool for school" swagger with genuine good guy qualities. Then there is Dane DeHaan as Andrew, who seems all too comfortable playing the reclusive and increasingly disturbed character. He is really the lead character and while his arc may seem strange at first, it feels like the only way he could have gone with his quirks and defects. Each of these actors work great on their own, but it is their great chemistry that drives the film. They really feel like guys who became great friends through a unique circumstance and it makes the eventual drama all the more hard hitting.
The effects lend to some truly incredible scenes. Thanks to the aforementioned camera-work and editing mixed with some great visuals, we get moments that work great because it is done found footage style. On one end of the spectrum, we get terrific scenes of awe like the guys playing football thirty thousand feet in the air. On the other, we get some great comedy bits as they use their powers to cause mischief in a toy store. Somewhere in between, we get some great action scenes like the finale caught on multiple types of cameras one shot after the other. It is unfortunate that this brings up one of my biggest gripes with the film. As great and subtle as a lot of the effects were, there were several scenes where highlighted moments of effects looked badly rendered. Among them are a scene with Lego blocks and some of the character models during action scenes. While the film is working with a smaller budget, the fact most of the effects looked so good makes those moments stand out.
I had so much fun with this movie. It had more going on in eighty three minutes than many movies do that run over two hours. A great film to lead the way for 2012 possibly being a great year in cinema.
Not Great But Not Bad
Obviously only Ed, Edd n Eddy fans review this movie based on the scores. Do not get me wrong, I adore the first three or so seasons of the show a lot even now that I am older. Sadly, somewhere around the fourth season it took the goofy qualities too far and just kind of became obnoxious. Having just discovered the movie on Youtube today though, I thought I would try to be as objective in my opinion as possible for this finale. My opinion? Better than those last few seasons, but still lacking.
Some of my biggest complaints over the years has been the over exaggeration of the voice acting and the lack of genuine conversation and quieter moments. Sadly, they still persist here. Everyone talks by shouting their lungs out most of the time and I could hardly find a minute of the show that did not have people falling on or crashing into something. Sometimes it was humorous and sometimes it was just filler. The funniest bits were from the side jokes strewn about about the mayhem (my favorite was the dialogue used in a scene with a peanut). Do not give me the "but they always did goofy physical gags" argument because the early seasons actually had quite clever writing, character development and simplicity that made it rather smart. Even Ed's phrases were more clever and less random than here (usually they were word plays or bits that somewhat related to whatever was in the scene).
I will say that this definitely had a lot more plot than most of the last few seasons. After a clever intro credits and a ludicrous but entertaining car chase, the movie keeps the various threads moving at a consistent pace. Admittedly, sometimes the journeys are more fun than the results. The Ed's journey is overall entertaining to follow if a bit overwrought (could have used a bit more substance to the obligatory "friendship strained" bit). Rolf's plot had some potential, but kind of meandered about a lot of dumb gags to a non-ending. Jonny's plot was a serious waste of time and should have been integrated into Rolf's thread for some better character development (especially with the lame ending to his story). I enjoyed the bits with Sarah, Jimmy and the Kankers for what screen time they had. The best of the threads, however, involved Kevin and Nazz. At least here they were trying to do character development and it had some nice moments. All of these threads, however, suffer from just not having the heart of the first few seasons. The show is just trying to be goofy without simplicity, but at least here it is not trying to hide that anymore.
The best segment occurs at the very end with a surprise reveal of....Eddy's Brother! Although it feels a little short (if it had more to do with the plot, I could see it having a lot more heart and appeal), it added a different dimension to the story that actually made me care.
Big Picture Show is not the series at its finest, but for a finale it could have been a lot worse.
Once Upon a Time (2011)
A decent idea with mediocre execution
I do not think this idea had zero potential. Fairy tales have an immediate charm that could have served well for an intriguing series. Unfortunately, it has been squandered by the show's shortcomings. The first is the writing, which is almost straightforward to a fault. The dialogue has no snap or charm, with many lines just being mentally tuned out of my ears. The character are not fleshed out very well and are only distinguishable by bare bones traits, appearances or the fact they are a certain fairy tale character. There is also no emotion to the script, with many of the "sad moments" coming off so limply that they are clearly artificial.
The show also has a sense of cheapness that could have been a nice artistic touch had it not seemed like it was not intentional. The effects are shoddy, the costumes are store bought, there are apparently a very limited number of sets and it lacks artistry despite its belief that it looks fairy tale like. I think the directing is a huge problem there as to much of the pace and style play it too safe to be interesting. The pilot is a terrific example of the flatness with a terribly handled chase scene with a completely out of place song choice that just ends abruptly. This structure repeats quite often of start and stop.
One of my biggest gripes is the cast. There are some talented actors in the cast (Raphael Sbarge, Robert Carlyle, etc) but they are all mishandled and underused. The crying/emotional moments ring false, the line delivery is flat and overacting from people like Carlyle completely ruins certain scenes. Most of these people just lack charisma or screen presence despite how much the show attempts to manufacture it.
I cannot say it was just terrible, but it was completely dull. I never had a moment of excitement, humor or thrills at any point and I just had a sinking feeling that it would not improve. If it just was not so clumsy blending fantasy and reality, it could have performed better.
Justice League (2001)
The culmination of everything that makes superhero cartoons awesome
Bruce Timm has changed a lot of how we perceive superhero cartoons. He removed the campiness of the predecessors and instead gave the stories the intelligent yet entertaining tone that their source materials aim for. Batman:TAS is hailed as one of the greatest all time cartoons for not only its sharp writing, animation and voice acting, but it even influenced the Batman mythology. Superman:TAS followed the same qualities though in the shadows and Batman Beyond managed to overcome its flip-floppy quality to provide some standout segments. My personal favorite, however, goes to this fantastically compelling series that juggles several fully fleshed characters with suspenseful plots, top notch voice acting, measured pace and entertaining action.
Each of the seven lead heroes has a personality that is expanded bit by bit with each of their featured episodes. Rather than have a bunch of lone guns posing as a team, they are written to actually interact with each other in a way that they feel needed. People banter off one another, friendships build and break, romances kindle and it overall feels like a team effort. Paired with great actors that capture their qualities, each person feels alive and expressive.
The plots build over the course of forty-five or so minutes in a calculated way that builds tension with well timed reveals, conflict establishment and resolutions. You actually see a constructed arc put in place rather than scattered events tied together. It helps that there are interesting villains pulling off the schemes, but it would be nothing without them doing something truly menacing. Maybe not every episode's scheme is "end of the world" scale, but the variety of schemes both small and big keep things from feeling monotonous. Even the episodes where seemingly nothing happens (like the Christmas episode) are interesting because like the others they are built around the characters and not solely the plot.
The art is vivid and expressive, matching the comic book feel to the tone of Timm's more literate superhero universe. The music is epic and booming, particularly that opening theme! The directing is top notch too, with events flowing smoothly from one scene to the next. It is just a well put together project.
Sure, not every episode is a smash hit and it does do a few things that will either intrigue those accepting Timm's interpretation or infuriate purists of the characters. Nevertheless, it is a high benchmark for the superhero cartoon and despite Justice League Unlimited's best attempts to screw it over, the original stands strong.
Another reason why the original Justice League is superior
Unlimited was a radical and unfortunate turn for what was possibly one of the greatest superhero cartoons (or just flat out cartoons) ever. It sucked most of what made the original series good and gave us flat episodes that are bad not because of completely bad quality, but because they squander so much potential. This is no exception.
Essentially the plot of this episode is about a jerk who gets bullied by the other heroes because he is not popular. He is not even that much of a jerk (in fact he is somewhat likable despite some cockiness) but the heroes seem to have some unknown grudge against him for no good reason. Even the civilians could care less, often mistaking him for Green Lantern (for no reason other than he also wears a big padded suit). Apparently Booster also found a way to turn Fry from Futurama into a bite size super intelligent robot who helps him in oh so convenient ways. Anyways, while the heroes are off fighting some generic super powerful bad guy, Booster also stumbles on one of those "the universe will end if this is not stopped" plots that provides a series of coincidences and inconveniences that stop him from stopping it after a minute.
The writing is poor because, along with flat dialog and comedy attempts, it cannot make the two plots even the least bit suspenseful on either front. Things just happen with no build up and very little payoff. We do not even see the main heroes for most of the story and they are written so uncharacteristically that we are almost glad for that! Booster Gold and Skeets could be a really interesting duo to follow, but Booster's dialog is not snappy enough to give him the edge the actor is trying for. The love interest is shallow as well, barely developed enough to feel natural. It is also hard to make inanimate disasters compelling since it has no personality to attach to and it is either something that cannot realistically be stopped or can be stop too easily with a convenient plot detail. All these complaints are mostly under the one criticism I have for the entirety of Justice League Unlimited: too much stuff in too little time. Half an hour is not enough time to try and do the same level of plot development with over fifty or something new characters thrown into the mix. It gives us little incentive to care!
It is animated just as well as any of the Bruce Timm cartoons, the voice actors are clearly trying to make the material work and there is so much potential to expand on. Sadly, like the whole show, this episode plays it too safe and cannot carry enough momentum to keep our attention for long. Plus, it makes our favorite heroes look like unjustified jerks and we should never feel that way about Batman or any of them.
The Office: Blood Drive (2009)
Perhaps not as funny, but a great step in the right direction
I will hand it that this episode didn't have a whole lot of laughs, but I consider this the rehab episode The Office has needed after a string of less-than-good to awful episodes before it.
The biggest improvement is making the show feel real again. The thing I HATED most about the last few episodes was the complete abandonment from reality that they took with the humor and tone. Here, however, the characters are actually behaving more like humans again and doing a lot better acting than they had been lately. Kudos to the writers too for giving them some good dialogue to work with again.
I also love that they're trying to really develop the characters as well, particularly with Kevin since he's one of the supporting players I like the most. There feels like there is a progression of a plot again and the focus is more controlled to impromptu and natural laughs rather than bizzaro comedy. Hopefully we can see more developments with some of the other characters since they really butchered some of the great story lines during episodes like The Duel.
I think I just love how touched I was with this episode. Yes I know, this isn't supposed to be a drama or anything. However, I think the best comedies are the ones that can make you laugh and cry and that's what I felt happened with this episode. Heck, I think the drama gave the comedy in this a little more impact since it felt like a natural relief of tension.
If things continue to improve with the next few episodes, we may just have a return to form with The Office. I've tried to say that previous episodes were a step in the right direction, but this truly is one because it captures what The Office is supposed to be: a look at real life with a slight comedic spin. It makes me glad I didn't give up hope on the show.
What a Delightful Toon!
Pixar is the new Disney (as in the good Disney of old). They continue to make quality stories, push boundaries of visual design capabilities and, above all, charm audiences young and old. The same holds with Presto, the team's latest short cartoon which played before each screening of Wall-E. In it, a hungry rabbit, upset his magician owner will not give him the carrot promised to him, decides to sabotage the show in a variety of increasingly humorous ways until he gets it. What makes this simple premise shine is the clever slapstick gags, great characters and the overall sweet tone throughout the film. It's just pure and simple cartoon fun that sets the right tone for the film after it. The absence of dialogue actually makes the whole thing funnier, as their are no corny lines to ruin the enjoyment like in most non-Pixar cartoons. I highly recommend buying it on iTunes or seeing Wall-E just to make sure yo get to experience it.
Whimsical, humorous and thought provoking. In other words, pure Pixar!
Face it, where would Disney be without Pixar? Not only does the company continually push the boundaries of CGI imagery and craft incredible movies, but they do it on such a continual basis that it defies modern film-making. Surely they must have one bad movie that would merit a Disney license? If Wall-E is any indication, it's not going to happen for a very long time.
Now there have been quite a few people complaining that Wall-E's political undertones (or overtones, I can never tell which one) are too blatant or overbearing. To them, I say lighten up. Sure, the fear of corporate control and human's causing their own downfall through waste themes have been covered before. However, none of them were presented in such a unique and approachable way as in this film. In fact, I say the film benefits greatly from these themes because it helps expand the film to an adult audience. This could have easily been a mindless romp with cute robots (much like the miscreant animated films Robots), but the messages beneath give the film brains to match its heart.
And boy does heart really mean something here. It still surprises me that Pixar can create such deep and involving stories on simplest of premises. A robot, yearning for companionship, finally finds a chance for romance in the form of a sleek, Macintosh white female robot. That's pretty much all the actual plot is about, despite the political themes. What carries the plot so far is the in depth characterization, effective use of nonverbal communication and a surprising range in emotion. The boys at Pixar follow the philosophy of Walt Disney to the bone hear, matching every laugh with equal amounts of tears. But not tears of sorrow mind you, but tears of joy. There are so many tender moments in this film that its hard not to let out a tear when everything comes to a close. Classic Disney.
Really though, Wall-E is all about...well, Wall-E. He is by far one of the most likable lead characters to come out of a Disney film in a very long time. For one thing, he hardly says a word, which is an improvement from the Disney characters that never shut-up. Two, the fact that an artificial being can develop emotions and desires and maintain our sympathies is a triumph to itself. And three, he's just such a little trooper. He faces the cold emptiness of space, menacing robots, malfunctions and all sorts of perils all for the robot he loves. I dare say he's braver than any of the Incredibles. Plus, you just got to love his speech, which is a delightful range of electric boops combined with a sort of garbled Microsoft Speech voice when attempting words.
All of Wall-E's characters are equally as deep as the lead. Eve is more than just a typical love interest, expressing moments of short tempered anger as well as compassion. Though it takes her a while to truly respond to Wall-E's advances, the progression of their romance feels natural. And again, there is no sappy dialog to ruin the experience, so the romance feels pure and simple to understand. The human characters, who are all morbidly obese due to their use of hover chairs and almost trance like existence under corporate control, actually stand on their own too. Even As more humans become aware of their existence and past one by one, we are just as sympathetic to their curiosity of what they missed all this time. I chuckled to myself as two "freed" people splash happily in a pool they never realized existed, only to realize perhaps this is the first time they have ever truly experienced such a leisure. Perhaps one of my favorite moments is when the captain of the humans' ship begins probing the computer over human history. As hours fly by (or so we assume between the intervals), he innocently continues this quest with a childlike curiosity, fascinated by simple things like pizza, farming, dancing and such. It really made me treasure the simple pleasures of my life so much more.
Maybe Wall-E isn't the best movie of all time. Then again, I bet people said that about The Godfather, Lord of the Rings, The Shawshank Redemption and even the first Toy Story. If so, then I will have to say that by Pixar standards, Wall-E is by far their most ambitious, simple and heartfelt outings yet and definitely the best of the year so far.