Summer of Magic- "The Good Dinosaur"

A film's potential is what initiates production. If a studio cannot foresee the project being of high quality (or if they can foresee dollar signs no matter what the quality is), then they will not allocate the necessary funds to ensure that the film gets made. On paper, the potential for The Good Dinosaur was enormous. We have the gold standard for animation studios in the modern era telling a story set in prehistoric time centered on this man/beast dynamic. It should have been an absolute slam dunk because the possibilities would have been truly endless. Unfortunately, instead of producing yet another classic, they settled for simply a good film. If the studio made Cars 2 strictly from a commercial motivation, then they made The Good Dinosaur strictly from an artistic motivation. This film is an example of artists creating a film for the sole sake of creating art, and while there is certainly nothing wrong with that, I expect Pixar to find the right balance between art and entertainment. Too often, The Good Dinosaur is devoid of charm and hilarity, relying immensely on the grandeur of the animation and world-building. By attempting something bold, Pixar actually falls short of its glorious standard.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

Don't misinterpret my overall thoughts on The Good Dinosaur, though. I still like this film, but I simply don't love it like I wanted to. I think the main reason I feel that way is due, oddly enough for a Pixar film, to the lack of memorable characters. Even as recently as yesterday, I praised Pixar's unrivaled ability to create some of Hollywood's most iconic characters, but that ability does not translate into success in this film. Instead of bringing to life another legend as a leading character, Arlo is merely a nice character that could have been so much better. His characterization comes across as if Pixar was primarily satisfied with eliciting the "how sweet" reaction in the viewer, therefore never taking the appropriate steps to develop Arlo into a worthwhile character. There is nothing particularly bad about his characterization; it just feels incomplete. Once again, the standard that Pixar has set in terms of characters, especially their leads, are just too high to present a character like Arlo who often lacks any resemblance of layers and dimensions. Furthermore, his sidekick, Spot, falls into the same trap. Spot had all the potential to be an intriguing and interesting co-lead character, but beyond a couple of nice moments here and there, the end result is rather unremarkable. Obviously, this film is intended to nurture and grow this relationship between the two, and yet, the relationship never feels authentic and real, even feeling quite forced throughout the film.

Additionally, the film's supporting characters are not given even remotely close to enough screentime to make an impression, and the frustrating thing is that some of these characters have the potential to be great ones. For example, the family of dinosaurs featuring Butch, Ramsey, and Nash star in some of the film's better moments when this family is onscreen alongside Arlo and Spot. They teach Arlo the value of pushing through his fears, and lo and behold, they also offer some comedy into this all too serious film. Their interactions act as some of the film's scarce highlights, but just as we are beginning to invest in these characters, they are off screen and never seen again. The same problem unfortunately strikes all of the secondary characters. Pixar has made a living by taking these sidekicks and elevating them to icon status, but once more, Pixar squanders the opportunity to do that in The Good Dinosaur. Again, it is not as if these characters are necessarily bad, but they certainly are not that good. They are essentially the very definition of mediocre when they could have and should have been excellent. Also, the cast for this film, in large part, does nothing to assist in the characterization process, too often offering subdued and uninspired performances. With the exception of Arlo and the aforementioned family, who are actually quite solid in this respect, every additional character is not assisted by the lackluster voice acting.

Now, on the more positive side of things, it is impossible deny this film's beauty. Pixar has always impressed with their animation, but there are some shots in The Good Dinosaur that literally take my breath away, especially those scenes which show the landscape from a broad perspective. Also, the music is superb, this time scored by Jeff and Mychael Danna. Taking cues from Michael Giacchino, the film's score is absent of any show-stopping compositions, but the included music perfectly compliments the action taking place onscreen. An example of this is at the film's conclusion when Spot finally reunites with his human family, which is without question one of the top two scenes from the film. I think therein lies the heart behind my frustration with The Good Dinosaur. There are glimpses of an immensely epic classic, but far too often, it is pulled back down into the mires of mediocrity. I will detail the film's disastrous production cycle below, but you can clearly see that there are competing visions at war throughout the film. This film never develops an identity of what it wants to be. Does it want to be a buddy comedy? Maybe an ode to nature in general? What about telling the story of a family connecting like never before? There is so much going on here that the cohesiveness of previous Pixar films is basically nonexistent. Plus, with the exception of some minor laughs, this film is not that funny. Now, that can be attributed to my comment above about this film being made exclusively for the sake of art, but I expect to laugh in a Pixar film, and I simply did not do that in The Good Dinosaur too often.

Maybe Pixar should have seen the writing on the wall when the problems began arising during this film's production. This film had all the potential in the world, but that potential is never fully realized. There are moments of tremendous wonder and spectacle, but those moments are almost always followed by disappointing sequences. The concept for this film is brilliant, and from a technical standpoint, it is a marvelous wonder. However, from a narrative vantage point, this film never feels important like other Pixar films. It just kind of exists, and that is it, and given the amount of incredible possibilities Pixar could have taken a film like this, that is quite the letdown.

Rating: 7/10

Historical Significance: I have already touched on the makeshift nature of this film, and this is primarily due to its horrific production process.The film was in production for six years with a goal release date of May 2014. It unfortunately suffered from creative differences, story complications, studio multitasking, and the fact that Pixar was experiencing a minor slump in consensus quality after Toy Story 3. Up co-director Bob Peterson was originally hired as the director, but just one year before the film's release date, Peterson expectantly left the project. Peterson's original story was almost entirely redone, and so was its cast. The original cast consisted of John Lithgow, Neil Patrick Harris, Judy Greer, Bill Hader, and Lucas Neff, but upon Peterson's departure, only Frances McDormand (Momma) was retained after the change. John Lasseter, Lee Unkrich, Mark Andrews, and Peter Sohn stepped in to rework the project and keep it afloat during this transition time with Sohn eventually winning the director's chair. This overhaul, obviously, caused The Good Dinosaur to miss its scheduled release date as it was pushed back to November 2015 (the original release date for Finding Dory). This is why Pixar had no films released in 2014 and why 2015 became the first year to see the release of two Pixar films. Pixar's general manager Jim Morris described the experience this way: "It was a dramatic event. It was tough on the company. Most studios would have said, 'The movie's fine. It's not bad.' And it wasn't bad; it just wasn't great. We wanted to have a great movie." Although he was not cast after the changes, John Lithgow acknowledged the changes to the script were fantastic and the film was "going to be better than I had imagined."

Behind the Scenes: Due to its rather recent release, there is not a bunch of stories from behind the scenes for The Good Dinosaur. I do, however, want to take this opportunity to recognize the consistently excellent Pixar short films, including the one that played before The Good Dinosaur entitled Sanjay's Super Team. The studio has yet to release a short film I didn't thoroughly enjoy. Some of my personal favorites are Geri's Game, Day and Night, La Luna, The Blue Umbrella and their most recent one, Piper. I hope you never take for granted the importance of these short films. This is where a majority of the greats in animation got their start. Walt Disney, of course, began his illustrious career in the short film industry, and so did Pixar chief John Lasseter. When you see a Disney or Pixar film in theaters, take some time to appreciate the fact that the two studios still believe in the necessity of short films.

Favorite Character: Pixar's cornerstone throughout their history has been their incredible characters, but in The Good Dinosaur, the entire ensemble is filled with mediocre to simply good characters. Since most of the supporting characters are not afforded much screentime, I have to go with Arlo as my favorite from the film, and even his characterization could have been vastly improved. It is odd to think that one of Pixar's films biggest fundamentally flaw is its characters, but that is certainly the case in The Good Dinosaur. Arlo, though, is the strongest of the ensemble, and therefore my favorite, because basically, he is given the most opportunities to make an impression. The rest of the characters are just not given much to do whereas Arlo is front and center from beginning to end. We see Arlo experience tragedy and triumph with everything in between throughout the course of the story. We witness his against-all-odds friendship form with Spot, and we ultimately see his conquering of fear. Raymond Ochoa provides a nice voice for Arlo, and the animators have done a spectacular job bringing Arlo to life with simple facial expressions and body language. Arlo is not Pixar's best character by a long shot, but in a film devoid of any classic characters, he is the unrivaled highlight.

Favorite Scene: The Good Dinosaur does not teeter on the edge of greatness often, but the closest this film comes to achieving classic Pixar status is during its emotional climax with Spot and Arlo. The film relies heavily (sometimes to its detriment) on various familial bonds, and when the duo finds themselves ready to turn it in for the night, they first decide to open up about their personal lives to each other. Arlo explains to Spot that he loves and misses his family more than anything while admirably using sticks to signify his family before drawing a symbolic circle around them. That was a nice moment, but it is when Spot follows suit that the signature Pixar emotion comes to the forefront. Up to this point in the film, we don't know much about Spot, but in this fantastic sequence, Spot uses sticks to show Arlo that he had a family too. However, in the film's most heart-wrenching moment, Spot gently places the sticks symbolizing his parents on the ground before covering them up with dirt, signifying that his parents are dead. This inspires Arlo to do the same with the stick representing his dad, and the two are then able to share a great moment as Spot comforts Arlo and Arlo returns the favor. This scene is everything the rest of the film should have been. It has heart, character development, and a clear focus, so naturally, that is why it stands out as my favorite.

Updated Ranking: While not as atrocious as Cars 2, The Good Dinosaur does find itself near the bottom of the rankings due to its subpar characterization and unclear focus on the story.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Inside Out
5. Finding Nemo
6. Up
7. Ratatouille
8. Wall-E
9. Monsters Inc.
10. Toy Story 2
11. Brave
12. Monsters University
13. A Bug's Life
14. Cars
15. The Good Dinosaur
16. Cars 2

Tomorrow, we're going to try everything and visit Zootopia!

-Cody Fleenor

Summer of Magic- "Inside Out"

Every film studio goes through dry spells with no genuine classics being produced in these spans. Disney experienced a mediocre period immediately following perhaps its greatest decade in history by allowing films such Chicken Little and Home on the Range to be released in the aftermath of the Renaissance. While Pixar has yet to experience a downright awful extended period of filmmaking, they did recently go through a tiny drought devoid of bonafide classics. After Pixar's golden run that began at the studio's inception and concluded in 2010, a time period which saw the release of such masterpieces as Finding Nemo, Ratatouille, and Wall-E among others (truly, only A Bug's Life and Cars are not considered to be consensus classics from this time frame), Pixar did have a four year run from 2011 to 2014 that saw the studio simply producing really good films instead of great ones (with the exception of the trainwreck that is Cars 2). In 2014, Pixar didn't even release a film, so by the time June 2015 rolled around, it had been a solid five years since Pixar had released a genuine masterpiece. Luckily, that year, the studio delivered one of its best films to date: Inside Out. We can't really call it a comeback since the studio never really left, but Inside Out was an emphatic reminder that although Disney was enjoying their third Golden Age still, Pixar still had plenty of tricks up their creative sleeves. With Inside Out, Pixar has created a masterpiece for the ages, remarkably unrivaled in ambition, creativity, and emotion.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

On numerous occasions throughout the Summer of Magic, I have highlighted the excellence of a film's cast. Pixar has always had the incredible ability to cast the perfect actor for the perfect role, and they truly outdid themselves with Inside Out. I would have loved to be able to sit in on some of those conversations regarding how they were planning to cast these five unique emotions for the film because whatever they worked out was a sheer stroke of genius. Amy Poehler (Joy), Phyllis Smith (Sadness), Bill Hader (Fear), Mindy Kaling (Disgust), and Lewis Black (Anger) absolutely nail these roles, and they are joined by more cast members who nail their roles too. Richard Kind (Bing Bong), Kaitlyn Dias (Riley), Diane Lane (Mom), and Kyle MacLachan (Dad) round out this picture perfect cast, and their work helps elevate Inside Out to tremendous heights. When these knockout performances team up with the stunningly beautiful script and the magic of Pixar, the final result is nothing short of extraordinary. The screenplay for Inside Out, based on a story concept by Pete Docter (I want to be him when I grown up. And I want to be Brad Bird. And John Lasseter. And Andrew Stanton. And Lee Unkrich. I love Pixar's directors, if you couldn't already tell) and Ronnie Del Carmen with a script by Docter, Meg LaFauve, and Josh Cooley, is one of the most mature screenplays I have ever seen in terms of humor and, appropriately, emotion. Being inside of a teenage girl's mind literally allows for the possibilities to be endless, and as a viewer, being able to witness these masters of their art at work firing on all cylinders is a wonder to behold.

This phenomenal screenplay works so well because of the film's terrific characters. I will detail my love for Poehler's Joy in more detail below (so you know what that means), but I will say that now, a discussion about Pixar's best characters cannot be complete without the inclusion of Joy, deserved to be mentioned in the same breath as Woody, Dory, and Remy. Phyllis Smith turns in a career-best performance as Sadness. Sadness is the odd emotion out in Headquarters; the rest of the gang is just no quite sure what to do with her and her particular skill set as it pertains to Riley. Smith expertly demonstrates this desire of Sadness to be involved in Riley's life, and when the film's emotional climax occurs (which will also be discussed more below), Sadness and therefore Smith take center stage and shine bright. Hader's Fear is the film's greatest comedic relief, mainly due to the physical comedy at work whenever he is on the screen. Hader's voice acting coupled with the genius of the animators blend seamlessly to create yet another legendary character. Kaling's Disgust and Black's Anger are simply stellar as well, flawlessly bringing comedy and emotion to one of Pixar's most hilarious and emotional films to date ("Congratulations, San Francisco! You've ruined pizza!"). The Anderson family is so well developed overall, especially Riley who is impeccably voiced by Dias here. The surprising legend from this comes in the form of Riley's former imaginary friend, Bing Bong. Richard Kind has been around the Pixar block before, but he has legitimately never been better. He steals the show upon his arrival, all the way up to his tragic sacrifice to ensure Joy's safe return to Headquarters ("Take her to the moon for me, okay?" gets me every single time and is actually getting me right now). There is not a bad character whatsoever in this ensemble. In fact, there is not even just a good character in this ensemble because every one of them is great, becoming instant icons and cinematic legends.

I referenced earlier that Pixar's possibilities in this film were truly endless, and the animators really showoff in the best possible way in Inside Out. I can imagine these unrivaled artists having an absolute blast coming up with ingenious idea after ingenious idea of what this cerebral environment would look like. Pixar has always benefited from the excess of imagination and creativity that abounds at their studio, and that fact is extremely prevalent in Inside Out. From Headquarters to Long-Term Memory to Imagination Land to the Personality Islands, more so than ever before, Inside Out is a masterclass in animated storytelling and visuals. I just cannot stop my jaw from dropping to the floor quite often whenever I look around at this amazing universe they have created. Also, has Michael Giacchino ever composed a bad score? In Inside Out, he continues to top himself. This score is not as rampant as some of his previous Pixar works such as The Incredibles, but that doesn't mean that his score loses any affect at all in eliciting emotion and raising adrenaline. Oftentimes relying on the power of subtlety, Giacchino's simple, yet ever so powerful score is one of the countless highlights to be enjoyed in this cinematic masterpiece.

We have become accustomed to Pixar challenging us with their daring messages; that is actually one of the major keys to their success because their films appeal to children and adults simultaneously. I have lauded Pixar's thematic material often in previous reviews, and I must do the same now because Inside Out's message is one of the studio's most ambitious one to date. Joy is obsessed with making sure that Riley is happy all day, every day. However, instead of potentially sugarcoating the film by allowing Joy to fulfill her quest, Pixar boldly proclaims that Sadness is just as integral to the growing up process as Joy, Fear, Anger, and Disgust are. In a powerful scene that I will discuss in more detail below, Pixar takes Inside Out's to uncharted thematic heights in the grandest way imaginable. It is wholly appropriate that a film about emotions is one of Pixar's most emotional films ever, engrossing us, the viewer, into every minute detail of the action while also igniting the tear ducts to work overtime by the film's conclusion due to the insane amount of laughter and the heartbreak-to-breakthrough moment for our characters.

I am simply running out of adjectives and additional phrases to describe the greatness of Inside Out. A little over a year ago, I watched this film for the first time in theaters, and I left that viewing knowing beyond a shadow of a doubt that this film will go down in history as not only one of Pixar's best films, not only one of the best animated films ever, but one of the best films ever period, animated or otherwise. Never has a film made me feel so, well, joyful.

Rating: 10/10

Historical Significance: Psychologists were heavily consulted during the process of writing the script. Pixar even invited renowned psychologist Paul Ekman, who is a pioneer in the study of emotions and their relation to facial expressions, to brief the crew on the nature of emotions (Ekman also released a fascinating slideshow on his website entitled "Parents' Guide to Inside Out," and I highly recommend you take a look at it here). One major aspect that was incorporated into the story that was applauded for its accuracy by various psychologist is the conversion of short-term memory to long-term. Psychologists believe that this process occurs in real life while we are sleeping, and in Inside Out, that is exactly what transpires. Furthermore, Inside Out is an extremely personal film for director Pete Docter. The story was inspired by Docter watching his own daughter experience a multitude of difficulties while growing up, and Docter desired to make this film so he could better understand what his daughter was going through. Additionally, one of the film's many great scenes is immediately after Joy and Sadness have left Headquarters and Riley's mom is asking her a number of questions about her day, much to the dismay of Riley. This is when we get some insight into the emotions of Riley's parents, leading to her dad "putting the foot down" after Riley's string of sassy and snarky responses (Docter actually voices Riley's Dad's Anger in that scene). Docter claims that this scene was inspired by a personal experience in his home with his daughter. He later stated that Inside Out was "one of the most challenging [films he] had ever put together."

Behind the Scenes: Pixar eventually narrowed down the potential emotions to appear in this film to five, but the final five were not decided upon overnight. In fact, the writers considered including twenty-seven emotions with such possibilities as Pride, Surprise, and Trust ultimately being cut. They cut it down to five to avoid plot complications, and when those cuts were made, they quickly got to work on casting. When director Pete Docter first proposed the story for the film to John Lasseter, Lasseter stated, "Imagine the fun we're going to have when it comes to casting! We could get people like Lewis Black as Anger!" Of course, Lewis Black ended up being cast as Anger, and in order to convince the legendary comedian to join the project, Pixar apparently sent him a box of some of their previous films, suggesting that Black might be unaware of what Pixar is. Black said in the aftermath of this occurrence that Pixar "thought [he] was just some sort of recluse." Black loved Pixar and signed on for Inside Out almost immediately. He was the studio's first and only choice for the role. For Mindy Kaling, the voice of Disgust, the entire production process was an emotionally satisfying experience, even during the recruitment process. In her own words, Kaling said this about reading the script for the first time: "When I was asked to do this, the script was amazing. I went to Pixar and I cried. I was just in a meeting with these guys and they showed me the story and I started weeping." Kaling reportedly told Pete Docter and producer Jonas Rivera, "I think it's great that you guys are making a film that shows it's difficult to grow up and that it's okay to be sad about it." Docter simply responded, "Quick! Write that down!" The screenplay for Inside Out would receive an Academy Award nomination for Best Original Screenplay while the film itself took home the Oscar for Best Animated Feature.

Favorite Character: I previously applauded every character in this film as each one was a part of one of Pixar's greatest ensembles to date, but Joy is without question my favorite character from Inside Out. While the character animation for Joy is downright inspired and the messages proclaimed through her actions are even more so, Joy becomes one of my favorite characters in the Pixar canon because of Amy Poehler's exceptional voice acting. Has there ever been a more perfect casting choice in the history of the studio? I don't think so because Poehler is Joy. From the beginning, we cannot help but admire Joy's persistence to ensure Riley's happiness. Even in the face of certain adversity, Joy always seems to find that allusive silver lining and turn the tide for the better. However, what elevates Joy into elite company among the Pixar icons is that stark change in perspective upon the realization that Sadness is actually the key to unlocking Riley's true joy. Joy grows to understand that it is literally impossible to be happy all of the time; we all need a little sadness, anger, fear, and disgust in our lives because that is just the way we are wired. Poehler is able to effortlessly proclaim that message through her voice (with some tremendous assistance from the filmmakers and animators, of course). Her ability to portray Joy in an exuberant manner while also having the full capability to elicit those signature Pixar emotions in the viewer is truly awe-inspiring. Only Pixar could take an emotion and make it one of their most complex and well developed characters to date, and only Pixar could take an emotion and challenge us in a profoundly powerful way.

Favorite Scene: I almost went with the opening minutes of Inside Out as my favorite scene because of the fantastic introduction to all of the characters with Michael Giacchino's sublime score also making its presence felt, but once again, Pixar makes it hard to pick against their emotional climax. My favorite scene from the film begins when Joy and Sadness ultimately making it back to Headquarters upon Joy realizing Riley's need for Sadness. Sadness is able to convince Riley to get off the bus bound for Minnesota as she was running away and return home. Riley's arrival back home is one of Pixar's crowing achievements. As Joy steps back and allows Sadness to take control, Pixar yet again finds a way to reduce us all to tears in a inventive way. Riley finally confesses to her parents that she wants to move back home with her friends and her sports team. She has been hiding these feelings due to her fear that her parents will get angry, but in a moment of honesty, her parents actually confess their desire to return home as well. Kaitlyn Dias (Riley) and Kyle MacLachlan (Dad) are spectacular in this scene, authentically delivering those brilliant lines with relative ease. While I am not a parent, I can only imagine what parents are feeling watching this scene unfold because even I am an emotional wreck as tears begin to run down Riley's face (I know it's probably not surprising at this point in the summer that Pixar's signature emotional moment turns me into a mess, but I digress). As the scene shifts back to Headquarters, we see a new core memory appear, but this time, there is unique blend of joy and sadness. In that moment, Joy and the rest of the gang understands that in order to ensure Riley's happiness every day, they must work together as one emotional unit, and that is such a timely and important message to proclaim. I put this scene in the same category as the opening twelve minutes of Up and the final scene of Toy Story 3 as one of Pixar's most emotionally brilliant scenes in the studio's history, and one of the best sequences ever period. By the time this scene rolls around, Inside Out is already a classic, but this scene takes it to masterpiece level.

Updated Ranking: I initially ranked Inside Out fairly high in the immediate aftermath of its release, but I was worried that I was simply going to be caught as a prisoner of the moment and that opinion would eventually change upon additional viewings. Thankfully, though, my initial thoughts have since been confirmed, and Inside Out still stands as one of my favorite Pixar films to date.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Inside Out
5. Finding Nemo
6. Up 
7. Ratatouille
8. Wall-E
9. Monsters Inc.
10. Toy Story 2
11. Brave
12. Monsters University
13. A Bug's Life
14. Cars
15. Cars 2

Tomorrow, Pixar goes from the mind of a teenage girl to the prehistoric land of the dinosaurs in The Good Dinosaur!

-Cody Fleenor

Summer of Magic- "Big Hero 6"

Ever since the acquisition of Marvel Studios by Disney, Marvel has delivered gigantic hit after gigantic hit for Disney beginning in 2012 with The Avengers and continuing today with their most recent release, Captain America: Civil War. In 2014,though, Marvel decided to return the favor by allowing Disney to tell a story arc from a comic series with a cult following while giving them the free reign to create some fresh and original at the same time. The final result was Big Hero 6, one of Disney's most entertaining films of the modern era. Tapping into their incredible ability to take something established and breath new life into the material, Disney has crafted a film for everyone, whether you are a diehard comic book fan or a casual Disney fanatic. With Big Hero 6, Disney continues to assert to the world that there is a new generation of filmmakers at the studio, and they are here to stay while producing classic after classic.

(We've reached a point in the summer where it is possible that you have not seen some of these films, so potential spoilers are present from here on)

At this point in the Summer of Magic, I probably sound like a broken record regarding Disney's characters, but yet again, Disney impresses in this aspect in Big Hero 6. Hiro Hamada is a fascinating character fueled by a terrific performance from Ryan Potter. Hiro is a scientific genius; his brain is able to comprehend and process thing such as robotics in an unprecedented fashion. However, at heart, Hiro is just a normal guy trying to find his place in the world. You can see that from the opening sequence as he is hustling gangsters while illegally fighting robots and by the way he is always looking up to his older brother, Tadashi, for guidance. Upon visiting Tedashi's research facility, Hiro becomes enamored with the prospect of working on robots all day, every day, and upon being accepted into the program, he has found his coveted place in the world. One day, though, something goes terribly wrong and Tedashi tragically dies, leaving Hiro with a loss of hope and identity. This dynamic allows Hiro to be a really well developed character with layers and fleshed out dimensions. Big Hero 6 holds no punches with Hiro's characterization. We see life at its finest (flying majestically over San Fransokyo atop Baymax), but we also see life at its worst (the aftermath of Tedashi's tragedy). That is one aspect of the third Golden Age of Disney that I admire above the rest. Sure, these films are set in mythical places, but their characters could not be more relatable and more like us. Hiro is a character that we can wholeheartedly identify with from the beginning, and that is what makes him such an excellent character.

However, Big Hero 6's ensemble is certainly no one hit wonder. I am going to discuss my love for Baymax more below, but I'll tease my thoughts by saying this: he is simply one of the best characters Disney has ever created. Furthermore, Hiro's inner circle of friends that assume the mantle of becoming superheros by completing the team are superb as well. Wasabi, Honey Lemon, Go Go, and Fred are such richly defined characters, each possessing their own unique personality that allows them to shine at various moments throughout the film.The entire cast of Big Hero 6 thrives in each individual role. The aforementioned Ryan Potter, Scott Adsit (Baymax), Damon Wayans Jr. (Wasabi), Genesis Rodriguez (Honey Lemon), Jamie Chung (Go Go), and T.J. Miller (Fred) may not make up the flashiest and most celebrated ensemble in Disney history, but they are each perfect for their roles, and the final result benefits because of it. Yes, Alan Tudyk does make his obligatory Disney animated film appearance, and just as we have come to expect from the studio's great lucky charm, he delivers as Alistair Krei (one of the best character names ever, might I add). Then, our villain for this film, Professor Robert Callaghan (James Cromwell with the splendid voice work), is a solid adversary for the Hiro and company. The twist of the loss of his daughter being his motivation behind stealing Hiro's microbots and trying to ruin Krei's life is an ingenious and inspired plot point that Disney pulls off with relative ease. We even hear from Maya Rudolph as she voices the eccentric Aunt Cass, and while she is not afforded much screentime, she raises the energy significantly whenever she has the opportunity to do so.

Every film from the third Golden Age thus far is spectacularly animated, and Big Hero 6 elevates the standard yet again. In particular, the shots of San Fransokyo on a large scale are just spellbinding and beautiful. The opening scene and Baymax's first flight over the legendary city feature some of Disney's best animation to date. Additionally, Henry Jackman returns to the studio after hitting a home run with his previous score for Wreck-It Ralph, and once again, he has crafted a perfectly complimentary score for Big Hero 6. Jackman's score never overpowers the action on screen, but it never nonexistent as well. It is always present in the subtlety of the film's emotional moments and in the bombast of the film's grand action sequences. Don Hall and Chris Williams direct this film to sheer perfection, and John Lasseter's creative genius looms large in this film as he acts as executive producer. Big Hero 6, in my book, seems quite a bit underrated in the official Disney canon, and I am not sure why that is. While it may not reach the heights of the all-time masterpieces, it truly has legitimate merit to be christened as a classic in its own right.

By now, with all of the Marvel and DC films hitting theaters, it is extremely rare for a superhero film to be released and feel fresh and inventive (and when that does happen, those films make all the money, i.e. Guardians of the Galaxy). That is precisely what Disney was able to do with Big Hero 6, though. Of course, the basic origin story nature of the film feels familiar at times, but due to their concerted focus on these characters, Big Hero 6 never comes off as a simple retread of previous material. Disney tossed its hat into the ring of superhero movies with this one, and just like Hiro in the world of robotics, they came out victorious.

Rating: 10/10

Historical Significance: Big Hero 6 is in fact based on a Marvel comic book series that debuted in 1998 and hit peak popularity in 2008. However, the film and the comics don't share many similarities besides the title. In the original comics, Big Hero 6's is Japan's official team of superhuman agents. In the 2008 arc, the team was tasked with assignments in America (hence, San Fransokyo). The team in this arc included the following: Silver Samurai (actually a former villain of Wolverine from the X-Men comics too), Hiro Takachiho (a thirteen year old scientific prodigy, so that similarity is strong), Honey Lemon (extremely similar to the film's character), Go Go Tomago, and Baymax (who was actually a robot who can himself into a dragon, of all things). Although Marvel is the film's inspiration, it is not labeled as a Marvel film due to the immense amount of changes, and unfortunately, it does not exist inside the grander Marvel Cinematic Universe with Captain America, Iron Man, and company. The idea for San Fransokyo was originally conceived by John Lasseter who suggested a blending of the two cultures to create a mythical city. According to art director Scott Watanabe, legend has it that the film is set in an alternative universe where the famous earthquake that struck San Francisco in 1906 destroyed the city, causing the US to ask Japan for assistance in rebuilding.

Behind the Scenes: Since I took the opportunity in my review of Wreck-It Ralph to applaud the short film that accompanied it, I must do the same here for the fantastic Feast. A man's love life is told through the eyes of a dog, and it is simply one of Disney's finest short films to date. Yet again, stop reading; do yourself a favor and watch the short here. Have you watched it? Great! The rejuvenation of the short films have also contributed to the rise of Disney's third Golden Age. With such classics as Paperman, Feast, Get a Horse!, Tangled Ever After, and Frozen Fever, Disney once again proves its willingness to return to its roots and recapture that unrivaled glory. Furthermore, there are a couple of references to Feast in Big Hero 6. Two posters appear throughout the film that say "Adopt a dog today!" while a graffiti version of the title is shown on an alley wall in Greek letters (phi and st, which is apparently pronounced feast). Plus, for my fellow Marvel geeks out there, in the tradition of the comic book studio, there is a post-credits scene which features Fred's father returning home to the mansion, who is voiced by none other than Stan Lee, abiding by his contract to appear in every Marvel film is some way.

Favorite Character: I promised you more discussion of Baymax, and now, I deliver upon that promise. Only Disney could take a robot with no facial expressions and no emotion whatsoever and create one of their best characters of the modern age. Acting as a constant reminder of Tedashi's presence in Hiro's life, Baymax is the heart of soul of Big Hero 6. I don't know how they did it, and I cannot offer any deep characterization epiphanies here, but Disney somehow, someway, makes it work. Baymax's infectious innocence is perhaps the highlight of the entire film, oftentimes leading to some of the most hilarious moments in Disney history (take Baymax and Hiro's first encounter with the villainous Callaghan where Baymax proudly proclaims, "I am not fast.") Scott Adsit provides the perfect voice for a rather tricky role. How do you voice act like a robot? Once again, I'm not sure how he did it so effectively, but he certainly did and to tremendous success. Not only, though, does Baymax star in the film's most hilarious moments, but he is also deeply involved in the film's emotional climax (more on that below). You will undoubtedly leave Big Hero 6 quoting Baymax and imitating his legendary fist bump, but you will also soon discover that everyone's favorite personal healthcare companion has worked his way into your heart like you never imagined.

Favorite Scene: I love every member of this superhero team, and in the film's climatic battle, they all have equal opportunity to shine and showoff, so this is my favorite scene from Big Hero 6. As Callaghan has converged on Krei's grand opening of a new research facility to permanently ruin his life, our Big Hero 6 team leaps into action as the filmmakers and animators teach a masterclass in awesome animated fight sequences. The presence of the microbots alone are enough to amaze me with all the intricacies involved in animating every single unit, but when debris starts flying and panic ensues, the entire scene simply leaves me awestruck, wondering how on Earth Disney pulled this off from a technical standpoint. Furthermore, the actions of our heroes are extraordinary, especially after Hiro encourages them to use their smart brains to find a new way to defeat Callaghan. We have been anxiously awaiting the first battle for this new team, and Disney did not disappoint whatsoever. Additionally, the following sequence which shows Baymax and Hiro flying through the teleporter to retrieve Callaghan's long lost daughter, Abigail, in the aftermath of the battle is where Disney provides its signature emotional moment. As incoming debris destroys Baymax's armor except for his fist, Baymax commands to Hiro to keep going without him with Abigail before the teleporter collapses and they are trapped forever. Obviously, Hiro does not want to leave his best friend behind, but there is simply no other choice. As Hiro heroically states, "I am satisfied with my care," Baymax ignites his fist and sends Hiro back to the real world as he ultimately meets his demise. It is an immensely emotional encounter that tugs at all the right heart strings, and after an adrenaline packed action sequence, we needed that. Of course, Hiro is able to reinvent Baymax in the next scene, but in that moment, emotional wrecks abound. This extended sequence solidifies Big Hero 6's place among the Disney elites.

Updated Ranking: As you can tell by my rating and review, I love Big Hero 6, but ranking it is was a rather difficult task. Here's what I have come up with, though.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. Tangled
5. The Little Mermaid
6. Snow White and the Seven Dwarfs
7. The Hunchback of Notre Dame
8. Peter Pan
9. Cinderella
10. Frozen
11. The Jungle Book
12. Sleeping Beauty
13. Lilo & Stitch 
14. The Princess and the Frog
15. Hercules
16. Mulan
17. The Emperor's New Groove
18. Tarzan
19. Pinocchio
20. Lady and the Tramo
21. Wreck-It Ralph
22. The Many Adventures of Winnie the Pooh
23. Alice in Wonderland
24. Dumbo
25. Bambi
26. 101 Dalmatians
27. Big Hero 6
28. Pocahontas
29. Treasure Planet
30. The Great Mouse Detective
31. Fantasia
32. Winnie the Pooh
33. The Adventures of Ichabod and Mr. Toad
34. The AristoCats
35. Fantasia 2000
36. Meet the Robinsons
37. The Rescuers Down Under
38. Fun and Fancy Free
39. The Fox and the Hound
40. Robin Hood
41. Bolt
42. Dinosaur
43. Melody Time
44. The Three Caballeros
45. Saludos Amigos
46. Brother Bear
47. Oliver & Company
48. The Rescuers
49. Atlantis: The Lost Empire
50. The Sword in the Stone
51. Make Mine Music
52. The Black Cauldron
53. Chicken Little
54. Home on the Range

Tomorrow, Pixar takes us where they have never gone before: inside the mind of a teenage girl. Inside Out is next!

-Cody Fleenor

Summer of Magic- "Frozen"

Today's film is apparently the one that shall not be named nowadays. While the anger and frustration geared towards Disney's tremendous obsession with Frozen is rightfully justified to an extent, what aggravates me the most about Disney fans who are anti-Frozen is that most of the time, they actually have zero problem with the film itself. Their biggest gripe comes when you start discussing the presence of Frozen in the Disney Parks and and the constant push for more merchandise (because how dare Disney run a business intelligently). If you are reading this and you consider yourself anti-Frozen, I want you to attempt something for me. Try to remember your thoughts and feelings about Frozen after watching it for the very first time. Before the chaos, before "Let It Go" was played on repeat one hundred and twenty-seven times consecutively, before Frozen Ever After took over Malestrom at Epcot, just imagine yourself walking out of the theater for the first time having witnessed Frozen. For me, I walked out of the theater thinking I had just watched an instant genuine Disney classic that deserves to be mentioned in the same breath as Beauty and the Beast and The Little Mermaid. Now, almost three years later and with the continuous barrage of Frozen everywhere I look, I still stand firm in my initial belief that Frozen is one of the best films ever produced by Walt Disney Animation Studios.

Frozen brings numerous classical elements to the table that have made Disney such a masterpiece-churning machine since Snow White and the Seven Dwarfs, but the characters in Frozen are ultimately why I keep coming back for more time and time again. There is a legitimate reason to why so many people initially loved this film and why it grossed over a billion dollars worldwide, and while the songs may receive all of the rightful publicity, it is these characters that are the true stars of the film. Anna (voiced phenomenally by Kristen Bell) is an immediate Disney legend. In literally every stage of her life, she exudes exquisite character development that is a highlight in studio history (more on Anna below). Queen Elsa (voiced by the queen herself, Idina Menzel) actually is not afforded an immense amount of screentime in Frozen, but when her majesty is on screen, pure Disney magic happens. From the early isolation to finally letting it go, Elsa is a character for the ages, firmly asserting herself as one of the best Disney royals in the studio's history. This sister dynamic that Disney brings to life in this film is so flawlessly executed. Anna and Elsa's relationship is so genuine and authentic that you believe them wholeheartedly during every step of their journey. Sure, these are animated characters we're talking about here, but Anna and Elsa are incredibly relatable, which allows the viewer to fully invest in their lives and actions. We cheer for them while also hurting with them, and that is a testament to the brilliance of Disney.

Anna and Elsa's supporting characters are some of the best sidekicks and bad guys in the animated canon. Of course, everyone's favorite snowman Olaf is the scene-stealer of the film, and he definitely deserves that title no doubt. Olaf enters the film late, but he hits the ground running, thoroughly entertaining us while also providing a certain heart to the film as well. Josh Gad turns in a career-best performance here, effortlessly singing his way into our hearts forever. The duo of Kristoff and Sven are also superb. Kristoff is much more than the stereotypical brute assigned to help the princess; instead, Kristoff is a charming, well-developed character that becomes one of the most dimensional leading men in a Disney animated film to date. Jonathan Groff provides the perfect voice for Kristoff in yet another casting stroke of genius from the studio. Then, we have Sven, who makes it virtually impossible to do anything but love him. Additionally, joining the ranks of Lotso and Mother Gothel as one of my most hated characters in the best way possible, Hans is a character that I would love to punch in his perfect little face just as Anna did near the film's conclusion. The twist of Hans not actually loving Anna blew me away during my first viewing of Frozen, and even today, I find myself hoping the outcome turns out different this time around. Frozen works primarily because its characters become legends instantly. There is no weak link in this ensemble; from top to bottom, it is one of Disney's crowning achievements in regard to characterization.

The aspect of Frozen that catapulted it into the international spotlight, though, is its soundtrack. Now I will concede that I do not live with small children, so I have been able to avoid hearing these songs constantly on repeat for days upon days because I know if that were the case, my opinion here may be a little different. However, I must say that I believe Frozen's soundtrack is the best soundtrack produced by Disney since The Hunchback of Notre Dame in 1996 (with all due respect to the fantastic soundtracks of The Princess and the Frog and Tangled). These songs are Renaissance era worthy, and that in and of itself is quite an accomplishment. "Do You Want to Build a Snowman" features an excellent blend of entertainment and story/character development. While we will undoubtedly leave singing the catchy parts of this song ("Hang in there, Joan."), when we stop and consider how much this song progresses the story while also providing great insight to Anna and Elsa's unique personalities, that is when we will truly be amazed. "For the First Time in Forever" is a wonderful number yet again progressing the story superbly while also continuing to develop Anna and Elsa as characters. Olaf's "In Summer" is a delightful show-stopper that is a splendid introduction to this lovable sidekick, and the trolls's "Fixer Upper" is supremely fun.

Then, of course, we have the big one. While parents who have heard this song more times than they can count might disagree with me, I think "Let It Go" is one of the pinnacles of Disney songwriting, a genuine highlight belonging in the pantheon of great Disney songs and sequences alongside the "Circle of Life" sequence from The Lion King and the "I See the Light" sequence from Tangled. This song/scene so eloquently captures the message and spectacle of this entire film, and if you leave uninspired after this song, something is wrong with you. I honestly think that is applicable to a bunch of opinions regarding Frozen. Some of us haven't yet recovered from the onslaught that continues today in the aftermath of Frozen's release, and because of that, we want to hate the film. However, if we were really being honest with ourselves, I think the majority of us would conclude that Frozen is a modern day masterpiece. Don't allow the last three years or so to blind you to Frozen's greatness. Despise and reject the commercialization all you want (I'm right there with you, in fact, to some degree), but this film deserves nothing less than our highest praise and adoration.

Rating: 10/10

Historical Significance: The film is based on "The Snow Queen" by Hans Christian Andersen (side note: the character names of Hans, Kristoff, and Sven pay homage to the legendary author). Disney tried to initiate production on a film based on this story on numerous occasions in the early 2000's, but they could never get something to materialize. Their first attempt was in 2002, but animation guru Glen Keane notoriously quit the project and basically took the whole thing down with him. In 2009, John Lasseter returned to the project and rejuvenated the passion to tell this story. He recruited Gary Trousdale and Kirk Wise (directors of Beauty and the Beast, The Hunchback of Notre Dame, and Atlantis: The Lost Empire) to helm the project. Producer Don Hahn (Beauty and the Beast, The Lion King, The Emperor's New Groove, and more) was also brought in as well as Linda Woolverton (2010's Alice in Wonderland, Maleficent) to write the script. Even Alan Menken, along with partner Glenn Slater, was tasked with writing the film's songs, but in 2010, Disney was not satisfied with the direction of the film. Instead of scrapping the entire project and starting from scratch again, the film was simply put on hold as Disney brought in a new crew. Chris Buck and Jennifer Lee directed the film (Lee also wrote the screenplay) while Kristen Anderson-Lopez and Robert Lopez wrote the music and Peter Del Vecho produced. Frozen would go on to become the highest grossing animated film of all-time, and it became the first Walt Disney Animation Studios film to win an Academy Award since Tarzan in 2000 (Chris Buck's previous Disney film). Frozen won Best Animated Feature and "Let It Go" took home Best Original Song.

Behind the Scenes: You can blame Kristen Anderson-Lopez and Robert Lopez for the worldwide phenomenon created by Frozen and especially its music, and according to the Lopez duo, they wrote "Let It Go" in a single day. Anderson-Lopez stated: "We went for a walk in Prospect Park and threw phrases at each other. What does it feel like to be the perfect exalted person, but only because you've held back this secret? [Robert Lopez] came up with kingdom of isolation, and it worked." Lopez reportedly improvised the song's first four lines right there in the middle of Prospect Park. They returned home to finish the song by day's end. "Let It Go" would, clearly, go on to become a gigantic success worldwide. Not only did it win the Academy Award, but it also became the first Disney song since "Colors of the Wind" from Pocahontas in 1995 to reach the top ten of the Billboard Hot 100 ("Colors of the Wind" peaked at #4 while "Let It Go" got as high as #9). The Lopez duo did not produce a one-hit wonder soundtrack, though. Another great song is "Do You Want to Build a Snowman" Three different actresses provided the voice for Anna during this song. The youngest Anna was actually voiced by Katie Lopez, the daughter of Kristen and Robert, while Agatha Lee Monn, the daughter of writer/director Jennifer Lee, voiced teenage Anna. Kristen Bell obviously voiced adult Anna, fulfilling a lifelong dream of hers to voice an animated character. She was inspired to do so after watching The Little Mermaid in 1989, prompting her to record her rendition of "Part of Your World" in a voice box. Jennifer Lee actually listened to that voice box and claimed that it was a big factor in casting Bell for the role.

Favorite Character: In an ensemble filled with some of the best characters in Disney history, it is rather difficult to single out just one, but since I must choose a favorite, I am going with Anna. From the moment she first arrives on screen, Anna wins the heart of the viewers. Her desire to live a normal life with her sister, Elsa, is on full display in a immensely admirable way, and even though she is a princess, Anna could not be more relatable. She is jovial, exuberant, a little clumsy, headstrong, and the list could go on. Kristen Bell shines in this role that fits her skills perfectly. In her own right, Anna is a tremendous character, but in addition to being a terrific individual character, she also inspires the change that takes place in the lives of Kristoff, Olaf, and Elsa. Anna is the heart and soul behind Frozen. She not only drives the progression of the story; she is the story. Think about it. Without Anna, Elsa would have never been trapped inside her kingdom by her parents, therefore never feeling the need to conceal her magic. While that would have made for a much better life for Elsa, it would have caused Frozen to be incredibly dull film. This conflict, initiated by Anna, sets this fantastic story in motion. Without Anna, Kristoff and Sven would have continued to unsuccessfully sell ice and never upgrade their life. Without Anna, Olaf would have aimlessly desired his summer to no avail, but with Anna, Olaf discovers his true purpose in life. As much deserved hype that is lavished upon Elsa, Anna is the unrivaled star of Frozen, and for that reason and many more, she is my favorite character from the film.

Favorite Scene/Song: You knew this was coming, right? Folks, there is a reason that this song and sequence defined popular culture for so long, and that is because it is one of the greatest song/scene combinations in the history of Disney animation. As I wrote earlier, you can hate on the over saturation of the market with Frozen, but the commercialization of the film should not cause you to hate the film itself. The same is applicable when discussing Elsa's anthem, "Let It Go." Sure, we have heard it countless times in the past three years, but that is simply because it is one of the best numbers ever written for a Disney film. Its powerful and profound message is something never before heard in a Disney song, and obviously, its lyrics are quite good and incredibly catchy. Idina Menzel absolutely slays with this song, truly a legend-defining performance. Additionally, the animation during this sequence is a masterclass in artistry. Every frozen fractal is expertly animated to instigate a sense of awestruck wonder in the viewer's eyes. The moment Elsa begins to form her ice castle is a moment I will not soon forget because it is such a beautiful scene. I still remember watching this scene unfold for the first time on opening night for Frozen in November 2013. I was completely and utterly amazed, and watching it in 2016, nothing has changed whatsoever. This is one of the greatest songs accompanying one of the greatest sequences we have ever witnessed in the history of Disney animation, and if you disagree, you need to just let it go (shameless incorporation of the song's lyrics into the review: check).

Updated Ranking: I can sense the torches and pitchforks firing up as I write this, but remember that this is my opinion, not yours. My opinion is that Frozen belongs firmly in elite company.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. Tangled
5. The Little Mermaid
6. Snow White and the Seven Dwarfs
7. The Hunchback of Notre Dame
8. Peter Pan
9. Cinderella
10. Frozen
11. The Jungle Book
12. Sleeping Beauty
13. Lilo & Stitch
14. The Princess and the Frog
15. Hercules
16. Mulan
17. The Emperor's New Groove
18. Tarzan
19. Pinocchio
20. Lady and the Tramp
21. Wreck-It Ralph
22. The Many Adventures of Winnie the Pooh
23. Alice in Wonderland
24. Dumbo
25. Bambi
26. 101 Dalmatians
27. Pocahontas
28. Treasure Planet
29. The Great Mouse Detective
30. Fantasia
31. Winnie the Pooh
32. The Adventures of Ichabod and Mr. Toad
33. The AristoCats
34. Fantasia 2000
35. Meet the Robinsons
36. The Rescuers Down Under
37. Fun and Fancy Free
38. The Fox and the Hound
39. Robin Hood
40. Bolt
41. Dinosaur
42. Melody Time
43. The Three Caballeros
44. Saludos Amigos
45. Brother Bear
46. Oliver & Company
47. The Rescuers
48. Atlantis: The Lost Empire
49. The Sword in the Stone
50. Make Mine Music
51. The Black Cauldron
52. Chicken Little
53. Home on the Range

Tomorrow, Marvel helps out Disney in their inaugural partnership with Big Hero 6!

-Cody Fleenor

Summer of Magic- "Monsters University"

Pixar has created the brand it possesses today by constantly stretching its limits. From ingenious original storytelling to thoroughly inspired sequels, Pixar is simply the gold standard in the animation industry. In 2013, they decided to release a film that told a story unlike any other in their canon: a prequel. Adhering to the demands of Disney, Pixar put an interesting twist on the follow-up genre by taking two of their most popular characters from one of their most beloved films and gave them a worthwhile backstory. Monsters University expertly provides insight to the relationship between everyone's favorite monsters, Mike Wazowski and James P. Sullivan, and by setting this story in the duo's college days, it allows the studio to yet again impress with the animation while also introducing tremendous new characters and proclaiming some uniquely fresh messages.

While Sulley was essentially the lead in Monsters Inc., it is Mike who takes center stage in Monsters University. In a terrific flashback scene to open the scene, we immediately see where Pixar is going with this prequel by showing a young Mike who dreams of one day becoming the greatest scarer in Monstropolis. He has a slight problem on his hands, though: he is not scary whatsoever. However, don't tell Mike this as he is convinced he has what it takes. As we fast forward to Mike's first day at Monsters University, we see the infectious, aspiring attitude that we loved about Mike from the film's predecessor come to the forefront, and we find ourselves wholeheartedly rooting for Mike throughout the film as he studies to achieve his dream, even in the face of seemingly insurmountable adversity such as the failing of his final exam in Scaring 101. Billy Crystal returns to the role he was born to play and gives yet another remarkable performance. Additionally, John Goodman's Sulley and his backstory is amazing as we discover that Sulley was not always the humble monster we saw in Monsters Inc. In fact, Sulley was an arrogant jock riding on his family's coattails in his youth. This sets up an incredible dynamic to play out between Mike and Sulley since Mike has the will but no skill while Sulley has all the skill but zero will. The growing pains of this legendary friendship are so genuinely developed in Monsters University. This film thrives because it is completely honest with the viewer every step of the way. Pixar has continually made history with their iconic friendships, but in Monsters University, they readily admit that friendships don't just develop overnight. It takes persistence and determination, but when that friendship begins to blossom, this film is also the first to challenge us to never let that bond go, and that is such a powerful message to proclaim through the lives of Mike and Sulley.

Yet again, Pixar introduces some awesome new characters in one of their follow-ups. Obviously, since the film takes place at a college, you need to have some monsters with enormous egos and great personalities, and that is precisely what Pixar has brought to this film. The Oozma Kappa fraternity (brilliantly abbreviated OK) is filled with excellent Pixar creations. Don, Squishy, Terri/Terry, and Art are scene-stealers from the moment they come on the screen. Their oftentimes subtle humor, sometimes even relying exclusively on physical comedy to make us laugh, works so well in this film. Additionally, the Roar Omega Roar crew is the perfect counterpart to OK, highlighted by their leader Johnny Worthington (exquisitely voiced by Nathan Fillion). Then, of course, Helen Mirren voices Dean Hardscrabble, and I am fairly certain that Mirren has no idea how to make a bad film or how to bring a bad character to life. Hardscrabble is a downright legend, so Mirren is the perfect choice to bring this rough and tough icon to life. I also thoroughly enjoyed how Pixar incorporated Randall Boggs, our villain from Monsters Inc., into the story of Monsters University without making it seem forced at all. Sequels and prequels sometimes do their film a disservice by relying too heavily on catering to the diehard fans with subtle references and cameos, and oftentimes, it makes the story feel unauthentic. Pixar, though, is able to expertly weave Randall into the action of the story and its characters while also phenomenally setting up the inevitable story for Monsters Inc. by instigating that rivalry between Randall and Sulley.

As we have come to expect with Pixar, the animation in Monsters University is absolutely beautiful, especially in the sequences featuring the various stages of the Scare Games. Randy Newman returns to compose another splendid score for Pixar as well. The best aspect of Monsters University, though, is its message. Mike wants to be a scarer more than anyone in the world. He works hard, studies harder, and takes advantage of every opportunity, but he lacks the ability to be scary. Instead of allowing Mike to break through and ultimately become a scarer, fulfilling the "you can do anything you put your mind to" trope from other films, Pixar takes this notion and turns it on its head. In Monsters University, they boldly proclaim that you can't always do what you put your mind to, and that is a mature message that needs to be heard by people of all ages. Sometimes, you can pursue your dreams with everything you've got and still fall short, but as evidenced by Mike's life, that doesn't mean your life is over. We get a chance to move on and find another dream. Additionally, Sulley's struggle to live up to his family name allows Mike the opportunity to state my favorite line from the film: "Stop being a Sullivan and start being you!" Not only does Monsters University teach one valuable lesson, but it teaches two lessons that are ever so timely and appropriate.

My only quibble with Monsters University is that while it is a great film, I would have much rather explored Mike and Sulley's relationship in the aftermath of Monsters Inc., not their lives before the factory. Don't get me wrong: I love what Pixar was able to do with this clever idea of pitting Mike and Sulley against each other before becoming the legendary duo we know and love today. However, I think the possibilities would have been truly endless had the studio decided to make a sequel instead of a prequel. Incorporating aspects of the newly founded Laugh Floor from the end of Monsters Inc. would have been incredible (and, not to mention, would have afforded the company an excellent opportunity for some nice synergy with the Disney Parks attractions). After seeing what Pixar was able to do with the two Toy Story sequels and most recently with Finding Dory, I would have loved to pick up where Monsters Inc. left off instead of going back in time. That being said, Pixar also gave us Cars 2, so maybe a prequel was the right choice here after all. Hopefully, this isn't the last time we see Mike and Sulley in action on the big screen.

Monsters University is a supremely entertaining film filled with gorgeous visuals, spectacular characters, and profound messages. While it ultimately falls just shy of achieving classic/masterpiece status due to my selfish desire for a sequel instead, I do find Monsters University to be a rather great film that is unfortunately unable to reach immortality.

Rating: 9/10

Historical Significance: In Monsters Inc., if you recall, there is a line in which Mike claims that Sulley had been jelaous of his good looks since the fourth grade. Obviously, according to Monsters University, Mike and Sulley did not meet until college, meaning that Mike's original line was a lie. Director Dan Scanlon noticed this and originally planned for the prequel to briefly begin in the fourth grade for that fateful meeting before skipping ahead to college. In fact, an early draft for the story set Mike and Sulley in elementary school for a good portion of the film due to this apparent contradiction, even including appearances from Celia, Fungus, and Mr. Waternoose from the original film (Side note: James Coburn, the original voice of Waternoose, died one year after the release of Monsters Inc., and the filmmakers were prepared to bring in Kelsey Grammar to voice the character for the prequel). After much deliberation, John Lasseter and Monsters Inc. director Pete Docter told Scanlon that although they loved the attempt to honor one line, he needed to do what was best for this story in this film. This resulted in the supposed contradiction holding up while Scanlon later remarked that being jealous of one's good looks since the fourth grade was "an old monster expression."

Behind the Scenes: Monsters University bears a striking resemblance to the University of California at Berkeley campus, which just so happens to be close to Pixar's headquarters in Emeryville. Monsters U's welcome gate is based on UC-Berkeley's famous Sather Gate (see the gate here) while the film's clock tower is based on Berkeley's Campanile clock tower (see the tower here). Even Monsters U's area code '501', as seen on Don's business code, is the area code for UC-Berkeley. Furthermore, Pixar borrowed a tradition from another prestigious university. As the monsters are entering the Scaring School building, you will see them all touch the front paw of an unknown monster in front of the building. This is a reference to a tradition from Harvard University which claims that students will be successful at the school if they touch the left foot of John Hancock before beginning classes. Reportedly, Hancock's left foot is shiny and polished while the rest of the statue is relatively worn down. You can see that the Pixar animators have incorporated that detail into the monster statue as well.

Favorite Character: I tipped my hand for my choice for this section in my review of Monsters Inc. (and by tipped my hand, I mean I flat out told you what my choice would be here). My favorite character from Monsters University is Mike Wazowski with Sulley coming in a very close second. I have touched on Mike's characterization in detail above, but I must reiterate how much I love what Pixar did with this animation icon in this prequel. We know from our experience in Monsters Inc. that Mike is most definitely not a scarer. As he quickly discovers upon attempting to scare a cabin full of female campers near the end of this film (a fantastic sequence, I might add), humans find Mike to be an adorable monster, not an abominable one (although humans do find him quite hilarious, which ends up being more beneficial to Monstropolis anyway, but I digress). The tricky thing about prequels is that everyone knows how the film has to end before the film begins. We know going into Monsters University that somehow Mike and Sulley have to end up at the famous factory, but Pixar keeps us guessing and questioning the nature of that ending through Mike's character. As the film is coming a conclusion, Mike finally comes to grips with the reality that he is not a scarer, and he is willing to let the monsters like Sulley do the glorious profession of scaring. However, in a twist of fate, it is at his new rock bottom that Mike begins dreaming all over again, initiating the idea of the dynamic duo working as mailmen at Monsters, Inc., eventually working their way up the ladder until they finally reach the coveted Scare Floor. This characterization in Monsters University is daring and audacious, but that is just what I have come to expect from Mike Wazowski.

Favorite Scene: I am by no means advocating for the right to trespass on private property, but if trespassing results in a film's most entertaining and emotional scene, then break all of the laws if you have to (please don't break the law, but you see my point hopefully)! Following the university-wide embarrassment of the Oozma Kappa brothers at the hands of Roar Omega Roar, Mike leads the crew on a field trip to Monsters, Inc. As they break onto the property, they find their way to a window where they can watch all of the legendary scarers in action. As Mike encourages them to look around at what they all have in common, the gang concludes that they have nothing in common, prodding Mike to take this opportunity to explain how every scarer is uniquely different, but being different doesn't disqualify you from being an effective scarer. This scene's message of uniqueness is enough to earn its spot as my favorite scene, but it is also displays the first real connection experienced by Mike And Sulley as they reminisce about all the legends they are watching before their very eyes and how they collected the same monster cards in their youth. It is a sign of things to come, and it is beautiful. Then, of course, the gang is caught by security as Art proceeds to utter the line that makes me laugh the most of all the dialogue. After a brief pause, he vehemently exclaims, "I can't go back to jail!" I would love to know more about Art's past after this one phrase, and it is a phrase that is downright hysterical. This scene features every signature in Pixar's arsenal: hilarity, character development, and heart.

Updated Ranking: I can't help but wonder after watching Monsters University what could have been if Pixar would have produced a true sequel instead of a prequel, and that is the reason this film is ranked where it is.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Finding Nemo
5. Up 
6. Ratatouille
7. Wall-E
8. Monsters Inc.
9. Toy Story 2
10. Brave
11. Monsters University
12. A Bug's Life
13. Cars
14. Cars 2

Tomorrow is the day we will be talking about for years and years to come (not really, but you never know). The worldwide phenomenon known as Frozen invades the Summer of Magic next!

-Cody Fleenor

Summer of Magic- "Wreck-It Ralph"

In my review of Pixar's Toy Story, I made the claim that it told the most creative and original story in the history of animation, but I must admit that I forgot about its competition for that particular title: Wreck-It Ralph. We all have a certain connection with a specific video game. For me when I was younger (and when I say younger, I mean like a couple of months ago honestly), I could not play Mario Kart enough. As my Star Wars obsession kicked in as a I grew up, I became determined to beat all of the LEGO Star Wars games. I was by no means a video game addict, but I sure did love to turn my mind off and have some fun every now and then, so when I first heard that Disney was releasing an original animated film set inside the world of an arcade, I was instantly intrigued. I was skeptical because we have seen video game films go astray on many occasions in recent years, but leave it to Disney to take this uniquely original concept and create one of the most thoroughly entertaining and emotionally engrossing films in the studio's illustrious history.

In a relatively unprecedented move for animated films, the principal cast of John C. Reilly (Ralph), Sarah Silverman (Vanellope von Schweetz), Jack McBrayer (Felix), and Jane Lynch (Calhoun) recorded much of their dialogue together in the same recording studio. This allowed for some inevitable improvisations to take place for sure, but it also allowed these terrific comedians to elevate these characters to instant icon status. Reilly's Ralph is a tremendously fascinating character with surprising depth and emotion. Yes, he is the bad guy in his game, but he wants to rid himself of that life and become the hero he believes he is destined to be. The only problem is that he is simply not programmed to be the good guy, and that is what makes Ralph such a great character. It is with this revelation about his unavoidable badness that he adapts and understands that he is bad, but that is good because he is being himself above all. Reilly truly shines in this tailor-made-for-him role. Silverman's Vanellope is a fantastic character that I will discuss in more detail below, but she is certainly the highlight of the film. McBrayer's Felix and Lynch's Calhoun are prominently featured in some of the film's most hilarious moments (the Laffy Taffy sequence is classical). These characters make Wreck-It Ralph work, and this cast is the lifeblood behind these icons. Without them, these characters are nowhere close to the legendary status they possess today.

The world of video gaming allows the Disney animators to have an absolute field day with their art, and it is a spectacle to behold from beginning to end. Every single individual game is a chance for us to watch the masters at work like never before. As the opening prologue comes to a close, we are transported inside the Fix-It Felix Jr. game and we are off to the races, being constantly bombarded with gorgeous, breathtaking scene after gorgeous, breathtaking scene. From Sugar Rush to Hero's Duty, every sequence in Wreck-It Ralph is a masterclass in animation. Even the characters themselves are flawlessly animated, especially (but certainly not limited to) King Candy (voiced by the new Disney lucky charm Alan Tudyk) and Vanellope. Furthermore, Henry Jackman's score is superb, intricately weaving in old school flair with modern accompaniments. You read about being transported inside a particular film's world often, but those sort of statements are sometimes blown out of proportion. In Wreck-It Ralph, it may be the most appropriate time to stake that claim. For just over ninety minutes, we are almost quite literally a part of this amazing universe of gaming, and oftentimes, I simply sit back and watch with awestruck wonder.

Even in a film defined by its striking visuals and outrageously phenomenal characters, Wreck-It Ralph is also able to harvest an outstanding emotion climax as well. The dynamic between Ralph and Vanellope is what progresses this story and keeps us coming back for more upon repeat viewings. Ralph's major objective throughout the film is to win a medal and return to his game a hero, but upon meeting Vanellope, his definition of what a hero is dramatically altered. No longer does he believe that heroic deeds are exclusively accomplished by winning something; instead, Ralph realizes that one becomes a hero sometimes even when you haven't won a thing. Through his encounters with Vanellope, Ralph's life is completely changed, and Wreck-It Ralph evolves from a supremely entertaining film to a modern day classic because of it. Additionally, the various twists presented throughout the story are spectacular and keep the story fresh. The revealing of King Candy as the notorious Turbo is one for the ages that still catches me off guard to an extent today, and Calhoun's backstory is a simple, yet highly effective addition to the characterization of the intense commander and the story in general.

Wreck-It Ralph has only been a part of our lives for less than four years now, but it feels as if this film has become an integral part of my Disney fandom. Time will be the ultimate judge of whether or not it belongs in the same breath as such masterpieces as The Little Mermaid or Aladdin, but I do believe in the existence of modern day classics, and Wreck-It Ralph is most definitely one of them. I cannot wait to return to Game Central Station in 2018 with this film's sequel, and I hope it is able to capture the magic and greatness of its predecessor.

Rating: 10/10

Historical Significance: Acting as a confirmation of the studio's third Golden Age status, Wreck-It Ralph became the first Disney animated film since Mulan in 1998 to take home Best Animated Feature at the Annie Awards, the most prestigious animation awards in Hollywood. In fact, the film would win five Annie Awards: Animated Feature, Directing (Rich Moore), Voice Acting (Alan Tudyk as King Candy), Music (Henry Jackman), and Writing (Jennifer Lee and Phil Johnston). Jennifer Lee became the first female to write a full-length animated film for Disney since Noni White for Tarzan in 1999. Lee would go on to co-direct Frozen a year later in 2013 and contribute to the story of Zootopia in 2016 (she will also be penning the screenplay for Disney's upcoming A Wrinkle in Time and will be co-directing Frozen 2). Wreck-It Ralph, by the way, would not win the Academy Award or the Golden Globe for Best Animated Feature despite winning the Annie; Pixar's Brave would win both awards. Furthermore, Sarah Silverman's memoir, "The Bedwetter: Stories of Courage, Redemption, and Pee," inspired director Rich Moore to create Vanellope von Schweetz. Of course, Silverman would later be cast as Vanellope in the film.

Behind the Scenes: I would be remiss if I didn't take this opportunity to mention the brilliant short film that played in theaters before Wreck-It Ralph entitled Paperman. It won the Academy Award for Best Animated Short Film in 2013 and is my personal favorite short film from the studio since Walt's heyday of making shorts in the twenties and thirties. Stop reading and watch the short here. I guarantee you it will be the greatest six minutes of your day. Have you watched it? Good. The paper that so miraculously travels throughout the short can actually be seen in Wreck-It Ralph. If you look closely at the wall behind Ralph during the Bad-Anon meeting, you can spot it, one of the best Easter eggs I have ever located. Additionally, a video game based film had actually been on Disney's radar since the eighties. The original concept is unknown, but the title was originally "High Score." In the nineties, the idea was still being developed under the new name "Joe Jump." When the film was finally issued to production, Fix-It Felix Jr. was initially intended to be the main character, and we are unsure why Ralph was inserted as the lead instead (good call, Disney).

Favorite Character: Ralph is an all-time great character in the Disney canon, but I must go with Vanellope von Schweetz as my favorite character from Wreck-It Ralph. By now, you know how much I love character evolution throughout the course of a film, and I especially love it when a particular character's evolution is triggered by another great character and his or her evolution. Ralph undoubtedly experiences a stark change in personality and conduct by the film's conclusion, but that transformation would not have occurred without Vanellope. As soon as Vanellope enters Ralph's life, his life becomes drastically different because he is the now the best kind of hero he can be in her eyes, and he needs no medal to prove it (even though she does give him the best "medal" possible). Additionally, Vanellope is an amazing character in her own right as well. She is a glitch, a social outcast in the realm of Sugar Rush, but she is determined to flip the script and prove herself to King Candy and the rest of his subjects. All she wants to do is race (even though she doesn't know how to drive, ironically), and she will stop at nothing until her dream becomes a reality. She will build her own car, live inside Diet Cola Mountain, and even befriend a notorious bad guy. Vanellope is one of those characters that you simply cannot stop yourself from caring immensely about from the moment she graces the screen with her presence. Sarah Silverman turns in a career-best, scene-stealing performance as Vanellope as she assists in creating one of the greatest characters from the third Golden Age.

Favorite Scene: The relationship between Vanellope and Ralph is primarily what makes Wreck-It Ralph such a great film, and the signature Disney emotional moment confirms that fact and just so happens to be my favorite scene as well. Finally, Vanellope has a car and a race to compete in. Her dreams of becoming a real racer are so close, and Ralph has been there every step of the way for support and coaching. As Vanellope runs back home to retrieve something she wants to give to Ralph, King Candy pays Ralph a visit. King Candy explains to Ralph that if Vanellope races, the users will see her glitching and the game could be deemed out of order, therefore causing the game to be permanently unplugged with no escape for Vanellope. Ralph is obviously torn. He wants Vanellope to race because it is her dream, but he also doesn't want her to die if the game is unplugged. It is a tremendous conflict that is only disrupted with the return of Vanellope with a gift. In the ultimate act of gratitude, Vanellope bestows upon a Ralph the gift he has been craving for his entire: a medal. This handmade token of appreciation and love from Vanellope simply states, "You're my hero," and when Ralph first receives this medal, it is enough to bring just about anyone to tears. Now, Ralph's conflict is amplified, and with the toughest of tough decisions, Ralph decides to do what is best to ensure Vanellope's safety: he wrecks her car. Heartbroken, Vanellope discovers that King Candy had actually returned Ralph's Hero's Duty medal and she is rightfully furious because she thinks Ralph is only doing this because he finally has his coveted medal. Ralph then returns home to Fix-It Felix Jr. and his life, as well as our lives, will never be the same. We know that amends are eventually made as Ralph discovers Candy's grand plan upon returning to his game, but this is a scene of excellent character development for Ralph and Vanellope, and it also provides the critical emotional punch that elevates Wreck-It Ralph to classic level.

Favorite Song: I am not going to go in much depth here simply because there is only one song to choose from really, but I just couldn't write a review of Wreck-It Ralph without highlighting the splendid song "When Can I See You Again?" that plays during the end credits and has since become the anthem for the Paint the Night Parade in Disneyland. If you have somehow missed or forgotten its greatness, listen to the song and watch the official video here.

Updated Ranking: It is rather difficult to properly rank these relatively new films that I consider instant classics because I have only lived with them for a few years, unlike other films that I literally grew up with. However, this is how Wreck-It Ralph stands in my mind today. This could change quite significantly throughout my life, though.

1. Beauty and the Beast
2. The Lion King
3. Aladdin
4. Tangled
5. The Little Mermaid
6. Snow White and the Seven Dwarfs
7. The Hunchback of Notre Dame
8. Peter Pan
9. Cinderella
10. The Jungle Book
11. Sleeping Beauty
12. Lilo & Stitch
13. The Princess and the Frog
14. Hercules
15. Mulan
16. The Emperor's New Groove
17. Tarzan
18. Pinocchio
19. Lady and the Tramp
20. Wreck-It Ralph
21. The Many Adventures of Winnie the Pooh
22. Alice in Wonderland
23. Dumbo
24. Bambi
25. 101 Dalmatians
26. Pocahontas
27. Treasure Planet
28. The Great Mouse Detective
29. Fantasia
30. Winnie the Pooh
31. The Adventures of Ichabod and Mr. Toad
32. The AristoCats
33. Fantasia 2000
34. Meet the Robinsons
35. The Rescuers Down Under
36. Fun and Fancy Free
37. The Fox and the Hound
38. Robin Hood
39. Bolt
40. Dinosaur
41. Melody Time
42. The Three Caballeros
43. Saludos Amigos
44. Brother Bear
45. Oliver & Company
46. The Rescuers
47. Atlantis: The Lost Empire
48. The Sword in the Stone
49. Make Mine Music
50. The Black Cauldron
51. Chicken Little
52. Home on the Range

Tomorrow, we're going back to school with Mike and Sulley in Monsters University!

-Cody Fleenor

Summer of Magic- "Brave"

The writing had been on the wall since the acquisition of Pixar by Disney. Eventually, Pixar would influence Disney's creative process, and Disney would therefore return the favor someday. Immediately, Disney reaped the benefits of this fruitful partnership, charging John Lasseter with the momentous task of taking control of their animation division after a decade of mediocre releases. Lasseter and his crew from Pixar reinvigorated the sleeping giant, leading to the ignition of the third Golden Age of Disney that we are still enjoying today. However, Disney's influence on Pixar was a more gradual process that has resulted in a mix batch of results. Disney's insistence on Pixar creating sequels has led to some genuinely fantastic films (Toy Story 3, Finding Dory), but this has also resulted in some of Pixar's weaker films (Cars 2 especially and Monsters University to a lesser extent). The greatest example, however, of Disney heavily influencing the creative process at Pixar came in 2012 with Brave. Starring the studio's first female leading character, Pixar adds the magic of Disney to its unrivaled genius, and the final result is pretty spectacular. While not Pixar's finest hour, Brave is a more than worthy addition to the Pixar canon.

Of all the Pixar films, this one feels the most like a Disney film, and that by no means acts as a detriment to this film. In fact, I thoroughly enjoy the fact that Pixar pushed its creative limits with Brave, crafting a film that feels nothing like its previous films. Pixar purists that claim this film is evidence of the studio selling out to Disney sound completely and utterly preposterous. This is an animation studio doing something they have never done before, and that should not come with judgmental attitudes, but with wholehearted praise. You are free (and frankly encouraged) to express any potential problems you have with not only Brave, but with all films ever produced by all studios, but disregarding this film solely on the basis that it is too similar to Disney is totally absurd. For starters, there are plenty of aspects about this film that are inherently Pixar. The animation, in particular, is simply jaw-dropping. This kingdom is the perfect backdrop for these incredible animators to show off to the entire world. Even Merida herself is an animation wonder with her flowing scarlet hair that will put Ariel to shame. Also, the music in Brave is classic Pixar, featuring a few new songs that like "You've Got a Friend in Me" from Toy Story and "Our Town" from Cars provide some entertainment and challenging messages ("Touch the Sky" is just a phenomenal number, plain and simple).

Perhaps the most paramount aspect of Brave that is so Pixar is the characters, especially our protagonist, Merida. It took seventeen years for Pixar to give the world its first female main character (and first princess), but luckily, Merida is more than worth the wait. From the beginning, it is abundantly clear that Merida is not your typical character and definitely not your typical royal. Taking a clear cue from Disney here, Pixar does a stellar job of adding layer after layer to Merida's character by allowing her to openly express and pursue her desire to make her own fate. Sure, she is the princess, soon to be ruler of the kingdom, but she is nowhere near satisfied with that. She wants to forge her own path, create her own destiny, and that is a character and a mindset that I can fully support and invest in. Merida's character is greatly influenced by Kelly Macdonald, who fits this role like a glove. From the accent to the profound dialogue, she is simply perfect. Additionally, Queen Elinor (a remarkable Emma Thompson) is an extraordinary counterpart to Merida. As her mother, Elinor wants what is absolute best for Merida, and in her tradition, what is best for her is to be betrothed to another kingdom's suitor. However, upon hearing Merida out (and upon a life-changing experience as a bear), she begins to realize that Merida must be the one to decide what is absolutely best for herself. Throughout the film, Elinor transforms from a overbearing pain to a firm guider for Merida and her quest to find her own unique fate, and that metamorphosis is a spectacle to behold as that mother-daughter dynamic evolves tremendously in Brave. The remainder of the cast is also exquisite, voiced expertly by such greats as Billy Connolly, Julie Walters, Craig Ferguson, Kevin McKidd, and Robbie Coltrane.

There is a real and legitimate debate behind whether or not Brave belongs in the upper-echelon of Pixar's films alongside such consensus masterpieces as The Incredibles and Wall-E. Is Brave a timeless classic? Time will tell. Right now, I do not consider Brave to be in this prestigious category, but it comes super close to reaching this level, and this could very easily change a few months or years from now. I think Brave is a truly great film that is without question one of the best animated films of the modern era, but the only reason I am hesitant to put its name in the same breath as the immortals is due to its rather quickly paced emotional climax. There is undoubtedly some signature Pixar emotion to be found and experienced in Brave because that is just how great the studio is at eliciting those emotions and how well these characters are developed. However, in my humble opinion, this film needed some more development in its second half once Elinor is changed into a bear and Merida begins to truly bond with her mother. The majority of the breakthrough development is relegated to one (albeit great) song, "Into the Open Air." While this song does an admirable job at bringing Merida and Elinor close enough where the breakthrough works to some degree, a few scenes preceding and/or following this song would have been extremely beneficial for the film as the intended emotion would therefore hit heavier. It is not as if Brave is already too long of a film for additional scenes; actually, it clocks in at less than ninety minutes before the credits start to roll. In a film that relies on this mother-daughter relationship and eventual mending of that bond, I would have liked to have seen more scenes with Merida realizing how much her mother truly loves her.

Now, do not misconstrue my thoughts on Brave. I love this film. It features a fantastic story with phenomenal characters surrounded by gorgeous animation. The critiques I have with it only arise when we begin discussing its prospects of achieving classic/masterpiece status, and to that, I say not right now. That should not diminish, though, the greatness that is to be found in Brave. Disney and Pixar have crafted a modern day epic brimming with thought-provoking messages and timely challenges with plenty of laughs and visuals to entertain the masses.

Rating: 9/10

Historical Significance: Brave is dedicated to the late Apple/Pixar co-founder Steve Jobs (Jobs passed away in October 2011 and Brave was released in June 2012). After the credits roll, a wisp appears with the caption: "Dedicated with love and gratitude to Steve Jobs- our partner, mentor, friend." Another way of honoring Jobs is the use of Lord MacIntosh as the character's name voiced by Craig Ferguson, a reference to the famous Apple computer. Pixar was founded in 1979 when Ed Catmull was recruited by George Lucas to work for his company to further explore the use of computer graphics in film. John Lasseter was hired in 1983 as the studio developed its first short, The Adventures of Andre & Wally B. Seeing the young studio's potential, Steve Jobs bought the Graphics Group from Lucasfilm and established it as an independent company to later be named Pixar. Jobs became a majority shareholder and funded the studio early on, even acting as an executive producer on Toy Story. The importance of Jobs to Pixar truly cannot be overstated. Without Jobs, who knows what have happened to the studio in its early days, and therefore, who knows if we would have had the studio we love today.

Behind the Scenes: The film took six years to complete. Mark Andrews is the first one credited for directing Brave, but he was initially assigned to be a mere consultant to Pixar's first female director, Brenda Chapman. However, in 2010, Chapman unexpectedly left the director's chair even though almost eighty percent of the film was complete. Andrews filled the vacancy, but unlike in previous director changes at Pixar, he kept Chapman's story in tact. Chapman would receive equal credit for directing Brave, and although it is unclear why she left, she claimed in the aftermath of Brave's success that "[her] vision came through." Brave won the Academy Award in 2013 for Best Animated Feature as Chapman became the first female to direct a winner from this category. Also, Pixar aimed high during the casting process for this film. Academy Award winner Reese Witherspoon was signed to voice Merida when the project was previously titled The Bear and the Bow, but due to scheduling conflicts, she had to drop out. Sean Connery, the original James Bond, was also eyed to voice King Fergus, the role eventually portrayed by Billy Connolly.

Favorite Character: Pixar's first leading female just so happens to be one of their greatest creations. Merida is not just a technical wonder from an animation standpoint, but she also proclaims and embodies some of the most timely themes ever proclaimed by Pixar. In the best way imaginable, Merida is a rebel. She pushes back against the societal status quo time and time again in every facet, from her kingdom to her own family. She is the ultimate free spirit, longing for her fate to be exclusively decided by herself. In a legend defining moment, Merida gazes upon her potential suitors during an archery competition and decides that something must be done. With a daring move, Merida strides onto the field and professes that she will be playing for her own hand, an unforeseen twist for the entire kingdom, but especially her traditional mother. As she takes her bow and arrows and proceeds to fire away, much to the dismay of Queen Elinor, we can feel the adrenaline pumping through not only Merida, but through us as the viewer. When she lets that final arrow go and it splits the withstanding bullseye from Dingwald, the legend of Merida is confirmed, and so is her place among the pantheon Pixar greats.

Favorite Scene/Song: As iconic as that aforementioned scene is, the "Touch the Sky" sequence is my favorite scene from Brave. Merida eloquently explains early on how royal living is simply not her cup of tea, and she anxiously awaits the arrival of this one day that comes around ever so often where she does not have to be a princess and she is free to enjoy life in whatever way she pleases. This prominently includes her archery set along with her trusty stead and the open road. As the music swells, the animators put on a tremendous display of masterclass artistry as they fully explore the grandeur of Merida's kingdom in majestic fashion. In a film that boasts some awe-inspiring animation, this sequence is the highlight from that perspective. Focusing now back on Merida, we are then introduced to her impressive skill of hitting every single bullseye along this trail with guaranteed accuracy, and this is all occurring while she is riding horseback and jumping over various obstacles. It is a remarkable introduction to the spirit and character of Merida as the scene continues to follow Merida's picturesque journey. "Touch the Sky" is a splendid addition to this scene, performed impeccably by Julie Fowlis. Its lyrics are simple, but when it is teamed up with this animation and Merida, the combination creates one of Pixar's finest moments to date.

Updated Ranking: Just missing out on receiving a ten from me, Brave finds itself as the highest non-ten yet.

1. Toy Story 3
2. The Incredibles
3. Toy Story
4. Finding Nemo
5. Up
6. Ratatouille
7. Wall-E
8. Monsters Inc.
9. Toy Story 2
10. Brave
11. A Bug's Life
12. Cars
13. Cars 2

Next, the world of video gaming takes over Disney and the Summer of Magic in Wreck-It Ralph!

-Cody Fleenor