MY MOVIE SHELF: WALL-E

The Task: Watch and write about every movie on my shelf, in order (Blu-rays are sorted after DVDs), by June 10, 2015.  Remaining movies: 7 Days to go: 9

Movie #433:  WALL-E

My toddler likes to play robots. She marches up and down the hall saying “beep-boop, beep-boop” and articulating her wrists forward and back. It’s adorable, and not just because she’s my baby and I’m biased. When WALL-E (voiced by Ben Burtt) does his eye-goggle adjustments, it reminds me of her (or she reminds me of him, whichever), with its sort of basic robotics aesthetic. It’s very old school, and that’s a theme that repeats pretty often in WALL-E, in the most wonderful ways.

The first third of the movie is reminiscent of an old silent film, with this lonely little trash robot wheeling through the barren wasteland that is the abandoned Earth finding curiosities among the trash and delighting himself with simple items like Zippos and sporks and light bulbs. And he has a very special place in his heart for Hello, Dolly! Then an incredibly modern robot — EVE, voiced by Elissa Knight — shows up and turns his world upside down. She’s sleek, powerful, pristine and she flies — completely different from anything WALL-E has ever known or seen before. And his developing crush on her plays out in delightful dialogue-free scenes with physical comedy and sweetness in the style of Buster Keaton that positively warms the heart.

When they reach the Axiom, however, it becomes an action comedy. WALL-E has to navigate the scary and rigidly automated structure of the space community in order to stay with EVE, wreaking all kinds of havoc along the way, including inciting all sorts of little rebellions by knocking John (John Ratzenberger) and Mary (Kathy Najimy) off their automated traveling lounge chairs, forcing M-O (Ben Burtt) to leave the pre-determined travel lanes in order to clean up WALL-E’s mess, and teaching any number of robots how to wave. And once the captain (Jeff Garlin) discovers the plant missing from EVE’s storage unit, EVE and WALL-E are launched into a slew of obstacles they have to overcome in order to find and retrieve the plant and get the Axiom back to Earth. They’re labeled as rogue robots and are hunted by practically the ship’s entire robotic fleet. It’s funny and thrilling and really romantic in places. There are dozens of romantic comedies I could list that aren’t anywhere as lovely and effective as WALL-E is.

The film is also a scathing indictment of waste, of not taking care of our planet, of brash commercialism, of mindless consumerism, of laziness and of needless automation, but it’s not harsh or preachy. It focuses instead on the positive moments and messages of taking control, of moving, of doing and building things from your own hands. Technological advancements are great, it posits, but nothing can replace our planet, and nothing is more efficient or better for you than physical activity. It doesn’t scold, but it does encourage taking a better path than the one these people have been on.

Pixar also does something in WALL-E that it’s never done before by using live video footage of Fred Willard as the Global CEO of Buy ‘n Large, providing messages from Earth in the Axiom’s archives. It’s striking and unexpected, but perhaps more stunning is how seamlessly it fits into the landscape of the film. With all the video messages flashing everywhere inside the ship, his is just another in the series — despite the others all being animated. As I prepared to watch the movie again, in fact, I thought maybe I was misremembering Willard’s character being live action, because it seemed so out-of-place in concept. But he is, and it’s not out-of-place at all. It fits, and it’s surprisingly great.

WALL-E is a beautiful film, and it might be my sentimental favorite of all the Pixar catalogue. I should watch it more. It really exemplifies enjoying the simple things, and I think everyone needs to remember to do that more.

MY MOVIE SHELF: Toy Story 2

The Task: Watch and write about every movie on my shelf, in order (Blu-rays are sorted after DVDs), by June 10, 2015.  Remaining movies: 149  Days to go: 101

Movie #289:  Toy Story 2

The original Toy Story is fantastic, truly. Toy Story 2 is better, I think.

In the first film, the toys’ troubles are largely insular, instigated and aggravated within their own community — and within their own insecurities. In the sequel, there are clear and identifiable nemeses — outside forces working against the toys of Andy’s room, villains for them to defeat. This makes for higher stakes, greater perils, and a more thrilling story.

This time Al (Wayne Knight), proprietor of Al’s Toy Barn, steals Woody (Tom Hanks) from the family’s yard sale when Woody goes to rescue one of the toys Andy’s mom (Laurie Metcalf) has placed for sale. Woody, see, is a rare collectible — a toy from an old-timey TV show starring Woody himself. Al needs Woody to complete his set, which includes cowgirl Jessie (Joan Cusack), horse Bullseye, and Old Prospector Stinky Pete (Kelsey Grammer), so he can sell the whole kit and kaboodle to a toy museum in Japan. Woody tries to escape on his own, but he’s injured (his arm seam popped) and both Jessie and Bullseye are loath to go back into storage. Plus someone is undermining Woody’s efforts. Woody’s friends, meanwhile, are also on a mission to rescue him. Led by Buzz Lightyear (Tim Allen), a group of Andy’s toys made up of Mr. Potato Head (Don Rickles), Slinky (Jim Varney), Hamm (John Ratzenberger) and Rex (Wallace Shawn) head out into the wilds of suburbia to find and bring home their friend — with their own share of snags and pitfalls along the way.

The movie is as clever as the first, but it also features tons of hilarious and winking references to other movie blockbusters. (Probably far more than I notice, even.) There’s Slinky saying, “I may not be a smart dog, but I know what road kill is,” in homage to Hanks in Forrest Gump. There’s Rex chasing after the car that Tour Guide Barbie (Jodi Benson) is driving and being seen through the side mirror, à la Jurassic Park. There’s Evil Emperor Zurg channeling Darth Vader in all sorts of ways. And there’s Mr. Potato Head pulling an Oddjob (from Goldfinger) by flinging his hat at the closing condominium doors to hold them open.

Toy Story 2 also brings back some old favorites — like the Pizza Planet aliens Mr. Potato Head saves from certain death. (“We are eternally grateful!”) Plus Bo Peep (Annie Potts) is still around to be Woody’s girl (and to be thoroughly impressed by his new arm muscle once Andy repairs his ripped seam). And they add some new favorites as well. The end of Toy Story saw Andy’s baby sister receiving a Mrs. Potato Head (Estelle Harris), and in Toy Story 2 she and her husband are sweet and passionate lovers. And Barbie herself gets a chance to dig the original Toy Story retail marketers for not making enough Buzz Lightyear dolls to meet demand.

There are cute moments, sweet moments and, in the case of Jessie’s lost little girl Emily, quite sad moments. But the best moments are, as always, the daring rescues, the thrilling escapes, and the overwhelming excitement of playing with Andy again. Well, that and Buzz’s spontaneous wing erection when Jessie courageously helps Buster out of the room. He gets literally sprung, and that’s a reference right up my alley.

MY MOVIE SHELF: Toy Story

The Task: Watch and write about every movie on my shelf, in order (Blu-rays are sorted after DVDs), by June 10, 2015.  Remaining movies: 150  Days to go: 101

Movie #288:  Toy Story

Pixar probably would’ve been a sensation just by virtue of their advances in digital animation. Finally there was something to really compete with hand-drawn animation — something that could be just as beautiful, just as graceful, just as moving — without looking amateurish. Pixar really broke the barrier between the computer animation of old and the slick, seamless animation you see today. But that’s not all they did. They produced great stories too.

Toy Story explores a world long-imagined by kids everywhere: What if your toys were alive? What if they could walk and talk and think and play? What if they came to life as soon as you left them alone? What if that’s the reason they’re never where you left them? Or how they become lost?

The toys in Andy’s room are kind of forever having an existential crisis, with Woody (Tom Hanks) being a leader and the voice of reason most of the time. But when shiny new space ranger toy Buzz Lightyear (Tim Allen) comes on the tails of Andy’s birthday, Woody loses his mind. Not only is Woody replaced as the favorite toy in Andy’s young heart, he’s also no longer looked up to and listened to by the other toys, who are far too impressed with Buzz’s flash and pizzazz and are easily influenced by Andy’s obvious change of preference. (Mr. Potato Head — voiced by notorious grump Don Rickles — is particularly instigating.) This change in Woody’s circumstances would be bad enough, but add to it that Buzz doesn’t actually realize he’s a toy, and Woody finds himself at a complete loss. Not only does he have to compete for position and favor, he has to combat Buzz’s delusions about his mission, his laser, his flying ability, and about a hundred other things.

It’s such an original, imaginative concept. Toys are so easily replaced and discarded over the span of someone’s childhood, that of course if they were sentient they would worry about the constant threat of becoming obsolete, of being replaced. Additionally, some toys would undoubtedly believe their own hype, perhaps not even realizing they’re toys. It’s brilliant.

The rivalry between Woody and Buzz escalates horribly, leading to Buzz being pushed out of a window near the evil neighbor boy’s yard and the rest of the toys — led by Mr. Potato Head, of course, but with additional inciting words from Hamm (John Ratzenberger), Slinky (Jim Varney)  and the army men (R. Lee Ermey), plus the fretful nonconfrontationalism of Rex the dinosaur (Wallace Shawn) — accuse him of being a heartless villain. Woody is reluctantly taken to Pizza Planet with the family, and has a chance at redemption when Buzz shows up in the car, only Buzz is set on revenge and the two toys wind up being left in a Dinoco gas station lot and wind up being found by evil neighbor boy Sid and brought back to his house. It takes an act of daring and an unlikely pairing of the rivals to escape destruction and teach Sid a traumatizing but important and lasting lesson, before triumphantly returning to the folds of Andy’s room (in his new house), now best friends forever.

It’s a heartwarming, thrilling and funny tale that set a new standard for animated films. It’s a serious accomplishment, even if it is about silly toys.

MY MOVIE SHELF: Monsters, Inc.

The Task: Watch and write about every movie on my shelf, in order (Blu-rays are sorted after DVDs), by June 10, 2015.  Remaining movies: 194  Days to go: 199

Movie #183:  Monsters, Inc.

I would watch a musical about the events in Monsters, Inc., which makes me really glad they put a production of it (“Put that thing back where it came from, or so help me! So help me!”) post-credits. Such a clever little addition.

Pixar movies are full of little payoffs like that, from “outtakes” to inside jokes. It’s one of the elements that makes them such a  high quality production. Monsters, Inc. is no exception. In my opinion, it’s definitely one of the best of all the Pixar properties.

Based on the long-held fears of children everywhere that there are monsters in their closets, Monsters, Inc. says yep, there are. And those monsters live in their own world that needs the screams of children to power it. The power company employs “scarers” to enter the closets through portal doors, collect screams, and be gone without touching any toxic children. Their best scarer is James P. Sullivan, AKA Sully (John Goodman) and his coach/assistant/best friend Mike Wazowski (Billy Crystal). The duo is on track to break the all-time scare record, despite rival Randall (Steve Buscemi) being hot on their tails, when Sully happens upon Randall working after hours and a little human girl (who Sully dubs Boo, voiced by Mary Gibbs) makes her way into the monster world.

The film offers a new twist and unique perspective on an idea that’s been around for ages, and it makes the monsters fun, lovable and relatable — giving them a wide swatch of personalities and characteristics. And despite being an animated character, Boo is just about the cutest little girl ever. In fact, if I ever have cause to say Mike Wazowski, I have to say it the way Boo does. (Her “kitty” is also fun.)

The nefarious plan behind Randall’s scheming is even worse than anticipated, but the solution turns out to be a hundred times better. (The comedy routine has even been turned into a pretty great attraction at Disney World.) The conspiracy is long-reaching and the chase is both thrilling and funny, but the overall film is about the friendship of Mike and Sully and how it is challenged by their different priorities but emerges stronger because of their mutual love and respect.

There’s some great supporting voice work in the movie, from James Coburn as Mr. Waternoose, Pixar favorite John Ratzenberger as the Abominable Snowman (fabulous reference) and human squeak toy Jennifer Tilly as Celia. But Mike and Sully are definitely the best things about the film, with Crystal and Goodman infusing the characters with real heart and frustrations and passions. Their chemistry is electric and their friendship is strong and authentic. And I particularly love, despite his seeming aggressive personality, how loving and optimistic Mike is. He’s super affectionate with Celia and never upset when his picture is obscured on magazines or TV. He’s so happy to be part of something, he never gets down by things that others would be bummed about. I love him.

Now if I could only get this paperwork filled out.