Scott Pilgrim Vs. The World (2010) Review (and more regarding the comic)

When 23 year old Toronto native, Scott Pilgrim(Michael Cera) comes across what could very well be the girl of his dreams(literally), the currently underaged girlfriend he's been dating may soon be the least of his problems. Oh sure, there's the issue of no job, no real room of his own, and the lack of any college to speak of, the trouble comes in perhaps the worst example of partner-baggage imaginable, the rogues gallery of exes from this dream girl's past. Upon meeting her, it's clear that the stylish and mysterious Ramona Flowers comes with a fair share of battle damage, but when it appears in the form of near-rampaging, kung-fu kicking lunatics out to make poor Pilgrim's precious life of a bass-playing slackmaster into a Rumiko Takahashi nightmare on LSD, it becomes time to make a choice, and stand up for a dream calling.

And so with the film version of Bryan Lee O' Malley's chibi-epic comic series finally out on screens, I felt it best to come clean on certain views I withheld from my previous posts regarding the books. As much as I did in fact enjoy it overall, it does come up short in a good many places. By the time the third book came out, it becomes apparent that the narrative is splitting into fragmented plotlines to help amble it toward six volume conclusion. And the effect is at times lacking in the immediacy department as Scott's confrontations with Ramona's "Seven Evil Exes" become increasingly scattershot at times, and filled with idiosyncratics that are hit & miss, and ultimately detract from the core attractions of it all for me.

 And while the books feature some quite-astonishing battle sequences that pop from the page to great effect (Scott's battle with Todd the vegan is especially memorable), not enough fuel is given for us to feel that the metaphor for both Scott & Ramona is anything more universal than it could be. Then again, that is likely the point. In that respect, a lot of the latter volumes may leave some wanting. In fact, where the series did excel as mentioned before, was in the characters surrounding the story. Particularly in the areas of characters like Lisa Miller, Kim Pine & Knives Chau.

Characters whom O'Malley seems quite capable of granting souls with near-minimal effort. Again, the jury is out as to whether or not if this is the entire point, which makes the underlying emotional & even contemporary implications of our hero that much more troubling. What may intrigue some readers is how cleverly the story implies that while some may take action as being a nudge toward the inevitability of hurting others, the same can also be said of inaction. This for my part at least, is one of Scott Pilgrim's greatest double-edged strengths.The other edge being that it feels clear that O' Malley is not as comfortable with elaborating on the emotional, and just letting the visuals do most of the talking. In understated manga fashion, our so-called hero is in danger of being a painful black mark in the lives of others. And perhaps even Ramona's should he not rise to meet his ultimate opponent, himself.

And so when it comes to Edgar Wright's dizzying assault of an adaptation, one can rest easily in knowing that as it pulls off a few superhuman feats for a non-superhero-based adaptation produced by a major studio. Scott Pilgrim Vs. The World embraces the daffy world of O'Malley's artwork, verbiage, & mannerisms with a drunk giddyness only fitting for a film stylist/uber geek like Wright. In a time where adaptations have near reached their final apex, it is more than refreshing to see a film so dosed on manically hallucinogenic ideas actually working from one frame to the last. Irrevocably plugged into the last decade's explosion of pre-Hipster indie-nerd metaculture, this is the film Speed Racer was attempting to be.(And in many ways, the film most encompassing the entire last five years of my life in the Los Angeles area, for better and worse.) This is a generation's response to wacky mind-altering rock opera ala The Phantom Of The Paradise by way of SNES taken intravenously in some back area of a local rock venue as another's dream fight has just begun onstage. Quite simply stated, this is pure cinema in full low-fi glory.

As mentioned prior, Scott Pilgrim is a jobless/aimless college drop-out who has been in so-called "self-repair" mode for nearly a year after a devastating breakup, and dealing with it in the best way he can, by dating someone much younger, and much less requiring of any real effort. Poor Knives Chau(Ellen Wong) in her naivete embraces Scott wholeheartedly, and yet has no idea of the rollerskating enigma now haunting her boyfriend's dreams. And when Scott realizes that this dream girl is very much a being of flesh and blood, his mission of meeting (and hopefully dating?) miss Ramona Flowers(Mary Elizabeth Winstead) crosses boundaries, and places him in a terrible spot. Now if only this were the end all of his problems. His scrappy homebrew garage band, Sex Bob-omb seem serious about getting noticed as the band's leader, Stephen Stills (Mark Webber) takes it upon himself to go for whetever show comes their way, as the band's freckle-faced drummer, Kim Pine looks on bitterly at the drama little Scott's been bringing to practice. Knives has suddenly become Sex Bob-omb's "biggest fan", and has no idea of the trouble in store. And yet it is only once Mr. Pilgrim decides to move forward with Ramona, do his troubles take on galactic proportion as he must face the pain of this dream girl's checkered past. And in the form of seven evil exes, we are thrust into the madness that is Pilgrim's greatest battle.


"Whetever Happened To The Teenage Dream?" Indeed.

Edgar Wright & Michael Bacall's script nails many of the best elements of O'Malley's books, and comes up with an alternate universe "suite" version of the Scott Pilgrim tale that talks as fast as it cuts. And in the fashion of the series, Pilgrim is rarely filled with much to say except to react to others around him. And when those around him speak, it is where the film's dialogue truly shines. Most impressive is how the Knives Chau subplot is altered to compliment the entire story's backbone, which gives Ellen Wong some surprising range to truly inhabit the world of a young girl who's done nothing wrong, and yet is learning some painful lessons quite early. It is an unexpected performance that helps ground the madness of the film when it runs in danger of derailing (which it almost does several times). Also worthy of note are performances by Mary Elizabeth Winstead who's Ramona Flowers is potent, and filled with a certain desperation & longing for stability, as well as Allison Pill's seething & often deeply funny take on Kim Pine. Easily my favorite character from the comic, she leaves one wanting more by merely the visage of her expressions alone. Wright's direction allows the ensemble cast also including Kieran Culkin, Johnny Simmons, Anna Kendrick, Aubrey Plaza, Brandon Routh, Mae Whitman, and even Chis Evans to turn out some amazing work. Should be no surprise as for my dollar, the ensemble power was among Shaun Of The Dead's greatest stealth abilities. One must hand it to Wright and Bacall for coming up with a truncated, yet fittingly streamlined version of the tale.

It is a choice that is quite appropriate considering the rogue's gallery of opponents Scott must face. Whether it be against Evans' X-treme era marquee idol & his stunt doubles, or Routh's numbskull vegan, the film takes on a bizarre guise between the panel and the screen. Possible favorites include Brie Larson's Envy Adams, Satya Babha's Matthew Patel, and Jason Schwartzman's Gideon Graves. They all grant themselves just enough to imply that Ramona isn't as ideal as Pilgrim perhaps imagined. The exes are not truly evil, and only so in the mind of a girl eager to continue running. A pretty significant achievement considering everything else Wright brings to the table.

And yet his directorial hand maintains amongst some of the maddest cinematic conditions imaginable for a middle-budgeted subversion of the romantic comedy. The film unrepentantly never repeats the same shot. The amount of setups with the help of the legendary Bill Pope (The Matrix,Spiderman 2) is intimidating to say the least. And all in the name of creating a singularly disorienting experience punctuated by the visualized onomatopoeia, speed lines, framing & paneling that engulfs the film like a vinyl album cover. Mix this with some of the most thrillingly visualized martial arts sequences ever executed, the film is unwilling to be easily classified. Much like what would happen if a rock opera collided with a Shaw Brothers film. Capturing the ultra geeky satire of slacker & hipster-culture of the 2000s is achieved with the assured, gleeful hand of Wright & co. Embracing everything from the garage rock life of any city, to the snow-capped suburban life of Toronto, all the while finding enough energy to embrace the language of anime & japanese video games. Major props go to Wright, alongside editors Jonathan Amos & Paul Machliss for the at times mind boggling achievement. The presentation alone is worth the price of admission. And yet, the experience offers far more to certain cutural niches which makes the film an overall success, but one perhaps restricted for certain audiences. Kudos to Universal for even considering this, especially in a time most desperate for a crossover success.

This said, there are some speedbumps in Scott's journey that keep the film from being a complete success for this one reviewer. Some of which can be argued as being unavoidable, but would argue that it potentially hurts future viewings. Especially in the department of the film's central relationship, there are elements there that while are sublimated well at the offset have gaps that may leave a certain taste in the mouths of newcomers to the series.Ramona never seems to have her say in how their relationship develops. A story like this hinges upon us being able to register the chemistry between the two leads, which unfortunately comes up short here. There's a grand opportunity within the first half hour that is completely squandered, and leaves a lot of the film without much of an emotional leg to stand on. Long story short, we never see what Ramona ever truly sees in the boy. This is where the film does what it can to gloss over in all of its wacky veneer, but is unable to overshadow. Also missing are the central proofs that Scott is in fact evolving. This is akin to having all the afterglow without the foreplay. Leaving the viewer with little else but the fights undercuts the books' central themes of awakening, and taking responsibility. If the film had taken a little more time to develop these changes, the piece might become something more than a mere cultural artifact. We never actually see Scott step up his game, and this makes the film into kind of a cheat that it never really recovers from.

And somehow despite these deficiencies, Michael Cera's Scott Pilgrim makes for a unique brand of anti-superhero in a performance that rewards with a near effortless charm. To see his expressions go from hopeless child to love warrior is impressive. There is a great deal going on behind Cera's work in this film, and it makes for a truly fun protagonist that could easily have been completely unlikeable. It's a charm that works well in conjunct with Wright's bottomless enthusiasm, and I hope they work together again.

And complimenting matters is a spectacular soundtrack that will likely become a favorite for years to come.

So when all is said and done, Scott Pilgrim Vs. The World is a thrilling, funny & charming as hell love letter to geek culture. After years of anticipation, we now have two unique versions of the ultimate loser saga released into the ether, with its feet firmly planted in the subcultures from whence it came. Whether this means big business or not for the studio folks is completely arbitrary. The film is a success on its own levels, and dares viewers to balk at it, turn away in disdain, or lap it up with bottomless reservoirs of love. Even at its weakest, the film has a human center that somehow (like the books) works in spite of things. Part romantic comedy defiance, part pop art spectacle, the film is what the summer's been longing for. Any way one looks at it, Scott Pilgrim is here to stay, and it is a most welcome one at that.

Combo Attack Vs. The MCP!

With editing finally complete, and upload eventually taken care of, our latest edition of Combo Attack!! has a ball discussing the significance of Steve Lisberger's great gamble at Disney. Still hard to believe the Mouse ever had the gall to make this landmark happen. Ah, 1982.

And dare I say, this is a damn fine episode. Much fun was had by all. Check it out here, won't you?

Scott Pilgrim & The Endless Possibility

There are few things as exhilarating as having a complete set.

And having a roommate who has just taken the plunge, and has responded as well as she has is a definite highlight of a more laid back summer season than usual. To know that O'Malley's long-awaited finale is in the house, a week-plus before Edgar Wright's adaptation is unleashed beyond the Comic-Con crowd. (Which has largely been positive over Twitter. And Drew McWeeny's early review is quite glowing.)

 At the moment, I'm essentially waiting for the roomie to catch up before re-reading, so at the moment, I'm am working off of years of recollection. The comic's impact, for all of its scrappy glory functions as a beautiful reminder of a particular time frame in my own life, and of likely so many others. And as such, the piece works as that bridge between the gears of idle and active. This entire concept is a universal part of Edgar Wright's filmography.(Shaun Of The Dead in my eyes, remains a classic simply because of its own deeper concern with detaching from the womb in a realm packed with overgrown children) Upon hearing of his decision to take on Pilgrim, it was hand  and glove. Few other visualists can nail the hilarity and pain of growing up with such vigor. And even as a larger audience unfamiliar with the snark-biting alterna-hipster world of the comic, the vernacular of Wright and company should help it transcend mere cult status.

As much as I had feared for its box-office chances previously, in a place where INCEPTION can become a runaway success, almost anything seems possible.

Is INCEPTION Backlash-proof?

 Just had a thought this morning after a week of processing my own personal thoughts on INCEPTION. And I know, this has gone on for several posts now, but it still stands to trouble me that the current wave of backlash against the positive reviews of the film have been characterizing the film under expectations that are unbecoming of what the finished product seems intended.

The larger concerns over the film's flaws (upon certain restrictions do exist, just so there is no illusion implied on my part) as undermining hyperbolic views of the film as "too-intellectual", or "perfectly constructed" are more that these positive reviews are overlooking elements of a work that took nearly ten years to write, from a filmmaker who has been famous for meticulous, borderline obsessive in his storytelling technique. As if looking desperately to find a weakness in the armor like so many eternal malcontents, is more evidence of a viewing community out to head another Shymalan at the pass, as to avoid some kind of imagined betrayal that has yet to happen. In order to be spared the pain of another Phantom Menace? Are we still smarting from that one?

Never again, the connected public seems to want to say.

That said, I can see where some views see the film as less heady as Nolan's previous works. The film seems a lot less interested in following through on its own rules than MEMENTO, or even The Prestige. But as films that explore the fragility of rules, they are only pieces of a larger creative whole. To see INCEPTION on the same exact field of reason is (for me anyway) to miss out on what is Nolan's big moment to have a little fun with his craft thus far, to not play by the same elaborate design schemes he's so relied on before. While many "totems" of his past films are in full-force here (the dead love interest, guilt-ridden leads who make matters worse for themselves and others, etc), the films thrust is to blast through all prior concepts in a Greatest Hits fashion, whilst offering a conversation piece that is more introspective than many folks are considering.

From an authorship perspective, the piece is less a puzzle to be solved, and more a look into the process of filmmaking from the mind of someone enraptured by the possibilities inherent in audience participation. It's something that came to mind hours after viewing it, that Nolan's films seem by design to be interactive pieces.

To be led, invested, misdirected, and enthralled are his hopes with these works. Just as the participants in Cobb's group are meant to spin a fiction for us to inhabit for a brief time in order to inspire change within a single man, we are the larger fish filmmakers are after. They may not always attain the intended results, but it is in the collaborative attempt that these "jobs" fuel their fire. All one needs to do is to look at the cast, and recalibrate them as writers , art directors, stars, and executive producers, the film's intentions become alarmingly clear. And as Nolan had said once before, the heist film is that rare genre trope that allows for consistent exposition. It makes a perfect analog for the film creation, let alone any major creative endeavor.


Using this "through the looking glass" approach may seem overtly reductive (and for some, may even cheapen the end product), but it just stands to reason that after a short run of highly commercial successes with the Batman series, it felt time to do something personal. The only reason we see so much talk of summer blockbuster is merely because the year itself has proven itself to be a pretty bleak one for film. And when your only heavy hitter is a 200 million dollar art-house piece, you know things aren't well for the industry. That said, it is exciting to think of such a  film as commercially viable in an age where studios are tightening what is left of their belts, and are inches short of breaking out the barrels.


 To consider that they'd allow a labyrinth-minded explorer of the human condition the ability to run wild with his personal obsessions and inspirations, it's a surprise the film wasn't an unmitigated disaster.Thoughts not meant as a pass of immunity, but rather a reminder of intent over expectation. Had this been a film that was truly about a heist, then it'd be a different outcome for sure.


 On its own terms the film is more a means of entertaining what would otherwise come off as esoteric ideas, unfit for film. But for me, this is a massive part of what makes it so entertaining. To see these wild ideas through such a logic-leaning mind makes for an interesting paradox of art versus the literate. But the sum is larger than the whole, not too unlike works of auteurs of the past. It is a paean to the wonder & curiosity of storytelling, and a love letter to film in general.

Inception (2010) Review

Ideas have become far more important to us than action - ideas so cleverly expressed in books by the intellectuals in every field.  The more cunning, the more subtle, those ideas are the more we worship them and the books that contain them.  We are those books, we are those ideas, so heavily conditioned are we by them.  We are forever discussing ideas and ideals and dialectically offering opinions.  Every religion has its dogma, its formula, its own scaffold to reach the gods, and when inquiring into the beginning of thought we are questioning the importance of this whole edifice of ideas.  We have separated ideas from action because ideas are always of the past and action is always the present - that is, living is always the present.  We are afraid of living and therefore the past, as ideas, has become so important to us.  ~J. Krishnamurti


Praise Be To The Cinema...

To be able to sit here, and express about how a film such as Christopher Nolan's latest probably shouldn't exist in today's film world, and yet does is a testament to the fortitude, and dedication it took such an obsessive mind to unleash it upon the world. Several hour later, I'm still doing my damndest to keep all the best images & thoughts for myself, and possibly failing as human memory often does. Much in the way it has been suggested in his past films, memories often lead toward decisions not completely within absolute control. And the consequences of living a life through captured memories sans the essence of those memories as ripe as they were on the day of their occurrence. To be able to retain that feeling, that place that felt so aligned with everything on the exterior must be one of the greatest longings inherent in the human experience. But for them to fade, allowing room for new experiences to breathe lives of their own must be considered. And finding a way through these mazes we create for ourselves is at the heart of INCEPTION. Taking pages from some of the best in science fiction writing of the last thirty years, mixed in with some of that classic Nolan grit, and warping them into a wholly new hybrid form of cinematic achievement is something truly exciting indeed. There is simply no real way to merely review a film like this without looking at the other "I" word...Intent.

The stars were aligned at last for Nolan to finally tackle what is essentially a dream project. The film by which a director risks life and limb to earn an ability to construct. It has been known that he had in fact been conceiving this piece for well over ten years (even during his MEMENTO days), and after the monolithic success of his Batman reinvention, he has finally been allowed to share the tale of expert mind-diver, Dom Cobb (Leonardo DiCaprio), and his voyages into the framework of the human mind. Its also no secret that the director's films have often been derided as being either too meticulous, and emotionally distant to make any truly deep impression. And it can be said that this isn't far from the truth, as often we are made participants in his sometimes overtly clever mindgames , nothing could prepare the average moviegoer for the Herculean workout they are about to receive with this one. This is the kind of film that anime such as Ghost in The Shell has been hinting at from the horizon for over a decade now. And boy, is it a welcome entry into this rarely filmed mode of hard science fiction. And in the best examples of a volatile project of this nature, it is a resounding success.

Cobb (DiCaprio) is an exiled american working as a master of psychological corporate espionage, which is to simplify, a "dream thief", specializing in diving into the minds of a mark to retrieve data for paying interests worldwide. A haunted anti-hero figure, Cobb requires the assistance of several other experts in the hopes of earning his way back into the US due to laws forbidding him to do so. Hired by the mysterious & dedicated Saito (A wonderful Ken Watanabe), Cobb and his partner in crime, Arthur(Joseph Goron-Levitt) enlist a small team of experts, including fellow diver Eames (Tom Hardy), chemist Yusuf (Dileep Rao), and architectural prodigy Ariadne (Ellen Page), who can help enter the mind of powerful heir-to-be, Fischer (Cillian Murphy) in the hopes of doing the near-impossible...the implantation of an idea as opposed to extraction. Despite the precision, and ability this team can muster, there is no guarantee of success in the realm of the ever-unstable human psyche. Especially when the leader is as tormented by the past as he is. And it is this fly in the ointment that fuels a great deal of the film as Page's eager student longs to better understand the world of the dream, despite the terrible danger Cobb's past engenders for not only her, but the entire operation.

From the opening scenes, into the leaps in non-linear time, and ultimately the dream itself, the film is an intoxicating mix that may alienate some upon first viewing, but render many to return as there is just so much value in nearly every moment of it. From the scenes revealing the unstable, shifting world of the dream, the nature of dream invasion, and the interweaving of exterior logic within the confines of full REM sleep. (I often sleep with music playing subtly in my room, so this makes absolute sense) The mission unfolds, and nearly spirals out of control to a point to where the team is forced to go much deeper than initially planned which creates a dizzying effect not unlike the way real dreams take conventional logic, and sends it packing. The interlocking of dreams within dreams is an incomparable feat of writing and editing that must be experienced to be fully comprehended. And this is where Wally Pfister's visual wizardry is paramount in expressing the tale in a nature most comparable to the images of one MC Escher. A visualist perfectly cast into a story so entrenched within such a labyrinthian structure. Hans Zimmer's score evokes both his greatest strengths alongside the very best of John Barry in a truly rapturous accompaniment. And to see a film so realized in its vision that the sights and sounds are so aligned with the intelligence to match, it is perhaps no big concern that the emotional effect perhaps is best saved for a second, or third viewing. The mind is so busy working overtime, this is perfectly understandable. This is a definitive example of the kind of rare work that rewards multiple viewings with added volumes of thought.
                                                                                                                                         

                                      
 And this is where the cast keeps the film so well grounded. DiCaprio's performance is a perfect follow-up to his impressive leading turn in Shutter Island earlier this year. In many ways, Cobb is an extension of the same character. But this time, the pain is driving his every move and has worn heavy on his appearance. It's a startling transformation for him, and offers a lot more than one may expect. Also engaging & funny is Gordon-Levitt's Arthur, the kind of slick upstart that pays counterpoint to Cobb's troubled, determined demeanor. He's a natural sidekick who more than holds his own in some of the work's most thrilling action pieces. Its also great to see Watanabe in such a larger role than usual in a large scale feature. Hopelessly dedicated to his cause, and oddly charming, his Saito is a fun, toned-down twist on the Bond-villain that adds a cool touch to the whole caper. And I can't help but love Tom Hardy in the role of Eames, a man so clearly aligned with his inner Ian Fleming. Support by Murphy, Tom Berenger, Rao, and even Nolan regular, Michael Caine are equally welcome to the proceedings.

Now what I haven't mentioned thus far was the inclusion of the film's feminine element consisting of a figure of Cobb's past played by Marion Cotilliard, and his urgent present in the form of Ellen Page. In the role of Ariadne, Page is tasked with perhaps the least amount of characterization in the film, and yet is all-important to the overarching narrative. As the young, eager student, she is tasked with entering the mind of Cobb, but discovers his secret that threatens the operation, and yet she cannot help but be entranced by the need to know. To push further than anyone prior had done. Knowing that her task is to create a projected maze within this scape of existence, she cannot help but wonder what lies beneath, and is thus more in tune with what Cobb truly wants as opposed to what he hopes to avoid. And in this, it is clear that she is less a requisite character on a heist as the majority of the cast, but more of a conscience that Cobb has been neglecting to keep his memories locked within. She is the key to his salvation, even as memories of the being known as Mal (Cotilliard) threaten to keep him imprisoned forever. It is in this stroke of story that INCEPTION leaps beyond the surface of protean mechanism, place, and spirit to deliver a most complex, yet human of parables.


And speaking from looking at the film from an interior view, it is also very telling that multiple parallels indicate that this is in fact at least a partially autobiographical look into a director whom at least right now, has the moviegoing public in his hands. With the revelation that one of the lead character's children is played by his real-life son, it isn't far off to see DiCaprio's Cobb as a broken analog for the director himself. And filmed with a love for pop-cinema of England past(the Bond connections are blatant), the piece can also play as a mediation on the life of one who has sacrificed so much in order to weave tales for us. And while some may see this as something less than subtle, it is also a declaration of the necessity for ideas in all eras. A primal call to arms in an art world in danger of collapsing to mere co-opt, familiarity, and safety. With a wildly ambitious script, a supporting public, and a note-perfect cast, we are sharing his dream within a thousand dark rooms. And perhaps with a hope that souls young and old can remember what it is to remain truly inspired.


Never mind that cinema may never be the same after INCEPTION has its way with your mind upon exposure. Never mind that it is a heist caper in rank with the best of authors such as William Gibson, and has an interior logic all of its own, and not in the best interest of mass audiences(especially within the realm of that all-comfort-food world of the Summer Film). What we have to bear witness is a thriller that stands defiant in the face of an ever-deadening cinematic landscape, and declares ideas to be our greatest saviors if not greatest terrors.

Axioms Of Change (More thoughts on Toy Story 3)

Do we even need addressing here? I suppose it might be, in order to have a record of my feelings on the ideas shared on the film while they're still fresh. But it seemed pretty clear to me that PIXAR was not only going for broke with their grand finale, but also looking to better illuminate a world that has only recently opened up toward lifestyles & solutions long ignored by the mainstream. And much like a humble parent, Unkrich, Doctor, Lassiter, and the rest of the Toy Story crew have taken great pains to spotlight a changing planet gleaming with the kind of possibilities a child has with their imagination.

- The Sunnyside Day Care tale is one of division brought about by an individual convinced of the inevitable pain brought forth by allowing unconditional emotions to reside. His solutions make sense to a population unsure of their place in the world as confused victims of whatever circumstance left them donated to the day care center. And in the hands of this leader, the aptly named Butterfly & Caterpillar rooms are an interesting play on words for divided states of maturation. A sort of, pre-emptive lifestyle designed to shield certain people from what can be considered "public service". Something a certain number of folks do not see as an enviable position.

- Ken. It's written in strokes the width of a superhighway. Despite the relationship between he and Barbie, it is clear that he is among the more misunderstood citizens of Sunnyside. And even as he had for a time attained a certain level of power before Andy's toys came, he was obviously in a relegated position with noone to really grasp what he was truly about. Much of this begins to change as the recently dejected blonde happily accepts him as a part of a "complete set". Being that they are toys, it is in the clothes-loving that things take a pretty obvious metaphor, and are upgraded by a sense of playfully adult humor without beating his thematic change into our minds. It's a sweet little subplot that ends pitch-beautifully by making him a new leader. Someone who grasps the hopes and dreams of the whole, as opposed to the fearful few.

- To a lesser degree, but no less amusing, Buzz Lightyear's Demo Mode mishap. By leaving the ever-dashing rocket man in Espanol mode, he takes on a romantic persona that comes off as a little superficial until one realizes, we're watching a big budget family film with aggressively fast subtitles. Something that could never have been considered ten years ago. A little something that only gets better as part of the Buzz/ Jessie subplot gathers steam throughout the whole film. And Jessie's growing approval of Mr. Lightyear via this technical goofup is a more than appropriate testament toward shifting cultural attitudes. It could also be argued that the switch on Buzz's back can be seen as a visual nod toward the splintering changes that are beginning to blossom in most unexpected places.

- Andy's decision in the finale & the inclusion of little Bonnie are also strong notions that change, while inevitable, do not have to remain bittersweet as long as there are new minds pouring new thoughts into the mix. After all, in the Toy Story universe, a toy's greatest joys are to be played with & to be there when a child needs them most. For Andy to keep Woody with him at college is fine and sweet. (It is indeed possible that the classic cowboy doll was a keepsake of his never seen father's) But in order for the toys to have a longevity of need, it is important that they remain in the service of the young. Hence the transition. As much as I love many of my old toys, it does pain me to merely leave them shelved. To see Woody and friends in the hands of such a spry, imaginative soul is not only evidence of the immortality of the inner child, but of all of us who long to retain the spirit of one.

Some Thoughts Regarding Toy Story 3....

Toy Story 3 will make one believe that trilogies can make perfection.


And while I'm sure there'll be a few out there willing to make this curmudgeon eat a little crow for that slice of hyperbole, but I can't really find a more subtly accurate description for Lee Unkrich's fitting swan song to PIXAR's signature franchise. But more than that, it was a franchise borne from a most unlikely milestone. 1995's Toy Story was the now-legendary studio's claim to fame, and a more than brilliant means to tap an entire cross-section of generations by way of a most universal premise. To imagine a world populated by sentient toys and their lives unbeknownst to their owners is still by and large a stroke of conceptual genius brought to life by then PIXAR pioneer, John Lasseter. And having seen all of these films in their opening weekends, it is no secret that more than a PIXAR fan, I'm a huge Toy Story lover.

So seeing how TS3 ranks alongside its predecessors prior to seeing it, I must admit to being more than a little suspicious. Since Disney acquired PIXAR after years of relative independence, it was at a point when the studio's output began to waver a little for me. The thought that they had suddenly begun to go back on their promise of not being "in the sequel business" hurt a little of my respect. Wall-E & Up! Notwthstanding, there was something brewing within the ranks that made me concerned that the very announcement of a third Toy Story film was something to be feared. How does one even consider topping two terrific family films that helped break the mold for modern fare & introduced the world to the possibilities of fully digital cinema? After the thematic upgrade of the second film, it only felt natural that the world of Andy(John Morris)'s toys would continue on without another film. And adding ten years of film trend evolution, it almost seemed destined to be little more than one last cash grab before the new PIXAR is to become something a little less cavalier, and closer in tone to ever safe Dreamworks.

Thankfully, none of this has come to pass, and the film is a beautiful summation of not only the film series itself, but a bold allegory for a world changing. From the ashes of the "look at what we've wrought" darkness of Wall-E, Toy Story 3 handles both the sorrows and joys of letting go.

Transition is all over this film. 

From the central plot involving a now 17 year old Andy's transitioning into college, and the reaction of his childhood toys now negected in a sealed toy box, possibly awaiting a lifetime in the attic. (or worse, the landfill) What in many ways seems to be the skeleton of a typical Toy Story film is cleverly twisted into an exciting and at times emotionally punishing mediation on a world divided by the simplest of mistakes.

And that's all it is...a mistake.

The film also considers opening the canvas toward new colors of thought, doing away with even ideas that perhaps even the show's creators hadn't considered before. So that in the end, it feels as if the minds at PIXAR are looking to embrace ideas once foreign to them in hopes of inspiring themselves.

So even more than letting go...The film is embracing new worlds of possibility. 

Whether we are following Woody as he has been chosen to be the only toy to accompany Andy in his dorm, or Buzz, Jessie, Bullseye, The Potatoheads, Rex & Ham, as they have been donated to a deceptively inviting day care center, (With the attraction of children to play with too powerful to resist) the film stretches the original "lost-toys on a mission home" premise to its most logical conclusion.

When home is a person who is leaving, then where is home anyway? The invisible bond between us and those that granted us warmth in quiet times & great freedom of imagination is rekindled with an added dash of the bittersweet that comes with new chapters in life.

And yet it's the bonds that we have grown to have with these characters that help deliver some unexpectedly potent scenes mixed within the already proven action acumen. In Toy Story 3, the action is as great as ever, but it is the drama of the larger dramatic questions that give it it's juice.

Pitch-perfect performances all around from the original cast, including Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, & even great turns by Ned Beatty, Michael Keaton, as well as a returning Wallace Shawn, John Ratzenberger, & Jodi Benson. Also an affecting as hell final score by series regular, Randy Newman takes fulll advantage of the wrap-up proceedings leading to a most impressive of curtain calls.

So many great moments that would be a waste to spoil for anyone. All I can use to best wrap this post up is to posit what it is that most impressed me aside from the already spectacular package brought on by Unkrich, Lassiter &  folks...

 I love that we see the ultimate expression of how division happens, usually at the hands of someone who while under most circumstances seems like a pretty on the level person, creating an environment of fear & neglect in order to stave off the hurt of abandonment. This has been hinted at before, most notably in 2, but never this clearly. What could easily pass for a tale for our current global situation in metamorphosis, the film followed a new PIXAR short titled Day & Night, which also beautifully illustrates the potential change we all have within. Change is never that far away, and if there is anything that can clock those changes best from our collective childhoods..it's the things that we have trouble imagining living without.

Toys included.

Scott Pilgrim's International Trailer Hits All Notes

The more and more I see, the more excited I get.

Edgar Wright has gone ahead and released an International Trailer for his wild adaptation of Bryan Lee O' Malley's cult comic sensation, Scott Pilgrim Vs. The World. And even if I have yet to make any noise about it here on the Kaijyu, it must be said that I've been following the project fervently since 2008. The new trailer gives us some more great visual gaggery, not to mention something I wnted to see more of from the books, the role of Knives Chau...Scott's ex, and hopeless stalker! There's a lot of what we've seen before in other teasers, but the spirit of the books looks as close to intact as one could hope from a movie version.

But don't take my word for it..