The Rear-View Mirror: Rango (2011)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

Gore Verbinski has a lot to answer for.

Rango
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Birds, rats and iron giants

I like Pixar movies, by and large, but I’m not as over the moon with them as many others. For one thing, I got extremely annoyed with John Lasseter when I got the Studio Ghibli films on DVD and had to sit through his patronising “My dear friend, Miyazaki-san…” and “You are very lucky…” intros; but also, I felt around Monsters Inc. and especially Finding Nemo that they were getting way too sentimental for their own good.

However, I loved The Incredibles. Yes, it also had that “family is the best” vibe that Nemo had, but it was done a lot less sappily. It was sweet but stayed quirky at the same time – and it was a lot darker in parts than Nemo – which basically did the Bambi thing by killing off Nemo’s mother, but apart from that there was little to no edge to the film. The Incredibles, on the other hand? Remember the scene when Mr. Incredible finds out what’s been happening to all the supers? Or the one where he almost kills Mirage? Also, there’s something very real about Mrs. Incredible’s fears that her husband is cheating on her – which is a fear you won’t find in many movies produced by Disney, I’d wager.

I also liked Ratatouille a lot – and there’s a subtle, quiet scene late in the film that brought a lump to my throat. I remembered that lump from another film by the same director: The Iron Giant. More than most directors of animated movies, Brad Bird is a deft hand at mixing the sentimental and the funny, real pathos and sheer goofiness. While Ratatouille is a very different film from The Iron Giant and indeed The Incredibles (the latter two go much more for the iconic, namely ’50s cold war paranoia and superheroes), all three of these films show a subtlety that is rare in American animation, so that a short, simple scene can break your heart.

The Iron Giant

I also liked Lifted, the Pixar short that was shown before Ratatouille. I hadn’t been that mad about For the Birds (shown before Monsters Inc., I think) or the jackalope one (Boundin’), since both of these got on my nerves after roughly one minute (they weren’t quite as clever or loveable as they thought they were, as far as I’m concerned), Lifted had a simplicity of story and design that worked very well for me. So, courtesy of YouTube, here’s Lifted:

What do you mean, I’m a funny guy?

Okay, lots of work today, so this blog entry will be short on me and long on my favouritest Internet video service ever – YouTube!

Just a couple of clips you may or may not have seen – but if you’re into films, subversion and felt puppets, give these a try:

Or how about this one – computer-generated misery, courtesy of Pixar and Darren Aronofsky:

(If the embedded video doesn’t work for you, try the direct link.)

And thanks to these crazy kids I can pretty much take the day off from blogging – and do the heaps of work that need to be done… Bye!

Quick P.S.: I got a kick out of reading The Onion‘s AV Club blog entry on the Madonna sex vehicle Body of Evidence. (It’s part of their “My Year of Flops” series.) Here’s a quote to get you all wet (why do I think that I’ve just lost 3/4 of my readership?):

”[Madonna’s character] is a beautiful woman. But when the trial is over you will see her no differently than a gun or a knife. Or any other instrument used as a weapon. She is a killer and the worst kind—a killer who disguised herself as a loving partner,” Mantegna thunders to the jury. Now, far be it from me to challenge the veracity of anything said by a character played by Joe Mantegna, but I would argue that the worst kind of killer is one who wears a necklace made out of puppy skulls and a rain poncho made out of the stitched-together torsos of murdered kittens. That, to me, is worse than a killer disguising herself as a loving partner.