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Tag Archives: Dreamworks

Top 10 Animated Movies at the International Box Office

08 Thursday Dec 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Animation, Disney, Dreamworks, Illumination Entertainment, International Box Office, Movies, Pixar

Animation can often provide a better, more enjoyable, and more memorable viewing experience than the majority – in fact, the vast majority – of live action movies. You could always count on Disney, and though they went through a creative rough patch during the Seventies and early Eighties, they bounced back and are now as strong a creative force as they’ve ever been (and perhaps more so). But in the last fifteen to twenty years the House of Mouse hasn’t had things all its own way. The arrival of animation studios from the likes of Dreamworks and Sony, as well as the emergence of Pixar, has brought animation into a new Golden Age, and so much so that animated movies are now some of the most consistently high-earning movies released each year. It shouldn’t be a surprise that two of this year’s animated releases have made over $1 billion at the international box office, or that the Top 5 in this list have all crossed that mark. So, here they are: the Top 10 animated movies at the international box office.

10 – Ice Age: Dawn of the Dinosaurs (2009) – $886,686,817

ice_age_3_04

The third entry in the Ice Age series is also the one where the rot began to set in, but like the previous chapters before it, Ice Age: Dawn of the Dinosaurs was the animated box office champ for its year, and proof that its creators, Blue Sky Studios, knew they had a franchise that would keep on paying dividends. On its own, the movie is an uneven, less humorous entry than its predecessors, but it does feature a great vocal performance from Simon Pegg, and some suitably over-the-top visuals, making it a treat for younger viewers but not so much for anyone over the age of, say, fifteen.

9 – Shrek 2 (2004) – $919,838,758

shrek-2

It may be hard to believe now but Shrek (2001) wasn’t quite as good as most people’s memories will tell them. It was certainly a novel approach by Dreamworks, but what worked most was the inspired voice casting, and a level of disrespect for fairy tales that raised most of the laughs. But Shrek 2 is the series’ pinnacle, a movie that embraces all those old fairy tale tropes and extracts the humour from them rather than by trampling on them first. It also has a decent story, the welcome addition of Antonio Banderas as Puss in Boots, and a sleeker, bolder visual style than its predecessor. Plus it deserves credit for keeping Eddie Murphy in the list of the Top 10 Actors at the Box Office.

8 – Finding Nemo (2003) – $940,335,536

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One of Pixar’s most enduring and well-loved movies, Finding Nemo is an almost perfect blend of storytelling, visual design, voice acting, and direction. Only the rhythm  and the pace of the movie’s middle section lets it down, but this is still head and shoulders above most of the movies on this list, and is a reminder that when Pixar get it right there’s no touching them. In its day a box office juggernaut, the movie has earned its place in cinema history and continues to delight successive generations of movie goers, a testament to its ingenuity and charm.

7 – The Lion King (1994) – $968,483,777

the-lion-king-1%c2%bd-3-movie-1080p-download

Although The Little Mermaid (1989) was the movie that showed Disney had turned the corner on the creative funk that had dogged them through the Seventies and early Eighties, it was The Lion King that really showed they were back on track. A perfect blend of traditional hand-drawn 2D animation with fleeting uses of rotoscoping, allied to one of the best musical soundtracks Disney have ever produced, and a story that was by turns, humorous, gripping, tragic, life-affirming, and satisfying, The Lion King is still the animated Disney movie that all the company’s successors have to live up to.

6 – Despicable Me 2 (2013) – $970,761,885

despicableme2-bo

Buoyed by the success of the first Despicable Me (2010), Illumination Entertainment probably knew they had a surefire winner when they began making this sequel, and so it proved. Landing just shy of the $1 billion mark, it’s not the best of sequels – indeed, its storyline is possibly the weakest of all the movies on the list – but it does have those little yellow cash generators, the Minions, and an infectious visual style that you can’t help but smile at, even while you’re groaning at the jokes. With a third movie to come in 2017, the continuing success of the franchise seems assured, which can’t be a bad thing now that Disney has consumed Pixar.

5 – Zootopia (2016) – $1,023,761,003

zootopia

This year’s surprise hit from Disney is possibly the House of Mouse’s finest hour, a whip-smart anthropomorphic comedy that has a strong storyline, subplots that enhance the main narrative, two wonderful performances from Ginnifer Goodwin and Jason Bateman, winning characters, and of course, Flash the sloth. A joy from start to finish, we can only hope that Disney doesn’t make any sequels, and that they allow this to stand alone as one of the best animated features of this or any year.

4 – Finding Dory (2016) – $1,027,190,583

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Not as good as Finding Nemo, but more successful (go figure), Finding Dory benefitted from a built-in audience who have been waiting for a sequel ever since the first movie was released, and because it didn’t stray too far from the set up of the original. Pixar needed this to be a hit, and they got their wish, but with Cars 3 up next – not the most auspicious of sequels they could have decided to release – it may be a while before the company that revolutionised computer animated movies adds another of its features to the list.

3 – Toy Story 3 (2010) – $1,066,969,703

TOY STORY 3 (L-R) Lots-o’-Huggin’ Bear, Buzz Lightyear, Woody ©Disney/Pixar. All Rights Reserved.

The ne plus ultra of animated movies – sorry, numbers one and two – Toy Story 3 is quite frankly, the best second sequel ever made. A bold gamble by Pixar to make a movie about the relinquishing of childhood, and to make the ending both sad and life-affirming at the same time, this shows Pixar in complete control of every aspect of the production and seemingly with ease, showing everybody else how it should be done. A perfect way to end a trilogy, and even though Toy Story 4 will be with us in 2019 (and which will answer the question, what happened to Bo Peep?), it’s got a long way to go before it’s as good as this entry in the series.

2 – Minions (2015) – $1,159,398,397

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Minions‘ place at the number two spot just goes to show what can happen when a minor character (or in this case, characters) proves more entertaining than the main character. Gru was fun, but the Minions were endlessly funny and endlessly adorable. A spin-off movie of their own was always likely, and Illumination Entertainment came up with a great idea for their solo outing, a kind of potted history of the little yellow devils search for a villainous boss down the ages. It’s still not their best outing – that would be Despicable Me (2010) – but with no immediate plans for a sequel, there’s a good possibility that their position so close to the top won’t remain that way for very long.

1 – Frozen (2013) – $1,276,480,335

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These days, Disney can do no wrong. In recent years they’ve released mega-successes at the box office, won Academy Awards, and thanks largely to the stewardship of John Lasseter, made successful animated movie after successful animated movie. Frozen is the studio’s most successful venture, a mighty crowd-pleaser that mixes great songs and inspired comedy, even if Sitron the horse is a dead ringer for Maximus from Tangled (2010). Inevitably, a sequel is in the works, but whether or not it will have the same emotional heft that Frozen has remains to be seen. And whether or not it has the ability to outdo its predecessor, well, only time and a billion pre-teen girls will decide.

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Home (2015)

22 Friday May 2015

Posted by dullwood68 in Movies

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Tags

Adam Rex, Animation, Boov, Comedy, Drama, Dreamworks, Gorg, Invasion, Jennifer Lopez, Jim Parsons, Literary adaptation, Review, Rihanna, Sci-fi, Steve Martin, The True Meaning of Smekday, Tim Johnson

Home

D: Tim Johnson / 94m

Cast: Jim Parsons, Rihanna, Steve Martin, Jennifer Lopez, Matt Jones, Brian Stepanek

Fleeing from their sworn enemy the Gorg, the Boov race – led by Captain Smek (Martin) – arrive on Earth and begin to colonise it, sequestering the human population in various locations around the globe. The Boov are otherwise a peaceful race, and believe they are doing Earth a favour by inhabiting it. One of them, Oh (Parsons), decides to invite everyone to a party at his apartment, but when he sends out his electronic invitation he doesn’t realise that it will be picked up by the Gorg as well. When Captain Smek learns of this, Oh is forced to go on the run.

In a convenience store, Oh runs into Tip (Rihanna) and her cat Pig. Tip is on her own after her mother, Lucy (Lopez), was taken away. She hates the Boov, but when Oh transforms her mother’s car into one that can fly, and he agrees to help her find her mother, she lets him come with her. They fly to Paris to the Boov Command Centre where they learn that Lucy is in Australia. Evading the Boov, they then find themselves under attack from a Gorg ship. They manage to bring it down but their car is damaged in the process. The Gorg ship proves to be a drone, and Oh is able to use a chip from it to get their car going again.

Once in Australia, Tip and Oh discover that the Boov are evacuating to their mothership. Tip wants to find her mother but Oh insists they leave with the rest of the Boov before the Gorg destroy them all. Tip refuses and continues her search for Lucy, while Oh begins to realise that he has to do something to stop the Gorg from killing everyone, Boov and human alike. On the Boov mothership he uses the chip from the drone to place their mothership at a distance from the newly arrived Gorg mothership. This leads to Captain Smek being dismissed from his position as Boov leader, and the honour is given to Oh.

Tip and Lucy are finally reunited, but there’s still the problem of the Gorg mothership which has entered Earth’s atmosphere and is preparing to land outside the Australian camp. Oh has only a short time to find a solution that will save them all, but he finds the answer in the most unlikeliest of places…

Home - scene

Now fully committed to making computer animated movies – their last traditional animated movie was Sinbad: Legend of the Seven Seas (2003) – Dreamworks now finds itself, perhaps like Pixar, in a very strange position. Each animated movie it releases comes under a great deal of scrutiny, and Home is no different, with the movie being accused of failing to live up to the standards set by the likes of How to Train Your Dragon (2010) or Kung Fu Panda (2008). It’s an invidious position to be in, and in the case of Home, more than a little unfair.

Certainly, the movie’s message that we’re all the same under the skin (even if it is purple) is a well-worn theme in cinema, but here it’s not as hammered home as some other movies, and it’s approach to racial diversity – Tip is the first non-Caucasian lead in an animated movie – as well as its integration of the Boov, who adopt most human lifestyles, is all cleverly done. If it all seems predictable and safe, then that’s because it is. There’s nothing inherently wrong with that though, because the movie does it all with a tremendous amount of verve and eye-popping visual splendour, and is consistently funny throughout, thanks to Tom J. Astle and Matt Ember’s astute adaptation of Adam Rex’s kid-lit novel The True Meaning of Smekday.

Fizzing with a day-glo colour scheme that makes almost every scene glisten and zing, Home creates one of the sweetest on screen relationships seen for some time, as Oh and Tip become friends and realise how strong their bond is. Parsons is excellent as Oh, his vocal tics and mannerisms – some lifted, admittedly, from The Big Bang Theory – a perfect match for the continually puzzled yet curious little Boov, and Rihanna is just as effective as Tip, matching her co-star for emotional expression and displaying a range that may come as a surprise to some viewers. Martin almost steals the show with his turn as the cowardly Captain Smek, the character’s pompous vanity perfectly expressed in every scene he’s in, and while it may not be the most layered performance, it doesn’t have to be. With less screen time, Lopez doesn’t quite register as strongly as Lucy, but again, the relationship between Tip and Oh is the main focus, and not Tip and her mother.

Ably directed by Johnson, Home sets out its stall quickly and efficiently and provides enough entertainment for adults and kids alike. It isn’t a serious movie by any standard, and relies on the charm of its lead characters for most of its running time, but Oh and Tip are delightfully animated and voiced, and make for a great screen partnership. The Boov are a delight as well, the way their bodies change shade or colour depending on how they feel being one of the movie’s small pleasures. The movie doesn’t try too hard and does a lot with its small-scale story and plot, and proves endlessly visually inventive. It’s a fun, popcorn movie, the kind of animated distraction we could all use from time to time… and what’s wrong with that?

Rating: 8/10 – with a bucket load of charm and a refreshingly straightforward approach to its storyline, Home is a movie that rewards the viewer from start to finish; fun with a capital F and proof it were needed that Dreamworks is still making good choices when it comes to its animated movies.

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Mini-Review: Turbo (2013)

26 Wednesday Mar 2014

Posted by dullwood68 in Movies

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Tags

Animation, David Soren, Dreamworks, Indianapolis 500, Paul Giamatti, Review, Ryan Reynolds, Samuel L. Jackson, Snails

Turbo

D: David Soren / 93m

Cast: Ryan Reynolds, Paul Giamatti, Michael Peña, Luis Guzmán, Bill Hader, Samuel L. Jackson, Snoop Dogg, Maya Rudolph, Ben Schwartz, Richard Jenkins, Ken Jeong, Michelle Rodriguez

Another offering from Dreamworks, Turbo is the tale of a snail who dreams of being a racer, and despairs of his everyday humdrum life working in a tomato patch. After an extended opening where his boredom is explored a little too thoroughly, Turbo (Reynolds) finds himself transformed after an encounter with the fuel of a dragstrip racing car. Now he has the speed he needs to broaden his horizons and live his dream. With the unlikely help of taco seller Tito (Peña) and a motley crew of fellow snails led by Whiplash (Jackson), Turbo wins a place in the Indianapolis 500. Can he realise his dream? Can he win over his worried, over-protective brother Chet (Giamatti)? Can he defeat the world champion, Guy Gagné (Hader)? The answers are…very predictable.

TURBO

This is yet another plucky-underdog-overcomes-huge-obstacles-to-realise-his-dream movie, and while entertaining in a superficial way with some great sight gags and one running joke in particular that works well, Turbo never really takes off. The main problem lies in the plotting: there’s nothing here we haven’t seen a hundred times before, and while the cast is an amazing array of talent, the dialogue they’re given borders on the banal. The animation is proficient without having that extra zing that Pixar brings to the mix, or even Dreamworks themselves with movies such as How to Train Your Dragon, and the race itself feels, ironically, pedestrian. A missed opportunity, then, but still miles ahead of Planes and Cars 2.

Rating: 6/10 – while the movie under performs as a whole, there’s still enough here to keep an audience occupied; will fare better with younger children, and if there’s a choice, see it in 3D which adds an extra crispness to the visuals.

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