Upfronts 2013: The CW

The final network to present, as usual, is the netlet The CW. This small network has traditionally targeted an almost exclusively female audience between 18-35, and the five new shows this season seem to follow suit. My commentary on these will be brief, since none of them seem worth elaborating on. They are all a variation of schlocky teen soap, and it’s doubtful any will be worth watching.

The 100

This series follows hot young juvenile delinquents who try to re-inhabit Earth after it has been destroyed by a nuclear war.

The Tomorrow People

This is the all teen version of Heroes, with kids around the world discovering they have superpowers and using them to fight the bad guys. It’s a remake of the British show of the same name.

Reign

This is about as close to a departure for the CW as we get, as this is a period piece about attractive people (as opposed to fantasy, contemporary, or sci-fi). It will attempt to tell the story of Mary, Queen of Scots.

Star-Crossed

After aliens come to earth and try to integrate into our society, a high school girl falls in love with the new alien boy in her class. Why an alien society with the technology to travel across star systems would enroll their offspring in a school taught by a people who have yet to venture outside their planet’s orbit is beyond me.

The Originals

A spinoff from The Vampire Diaries, it’s backdoor pilot already aired this season, so if you’re at all in the target audience, you should pretty much know what to expect already.

And that’s it for the 2013 Upfronts! I can’t say that this looks like it’s going to be a particularly good year, but hopefully things will start to look a little rosier as we get closer to premiere week, additional episodes start filming, and the showrunners have a chance to tweak and improve their offering. I’ll definitely cover the premieres in the fall, and in the meantime, you have almost four months to catch up on all the great series you haven’t had time to watch yet. There might be an idea for a future post in there somewhere…

Upfronts 2013: CBS

As the number one network yet again, CBS is the last of the big four to present. As a result of it’s domination, it also has the fewest new shows and appears to be taking the least chances.

We Are Men

This comedy features a group of four losers living in a short term apartment complex. It looks like it will focus on them trying to figure out their love lives, so look for plenty of lowbrow humour and jokes which you have heard plenty of times before, both of which seem to be a staple of a CBS sitcom.

Mom

This new series from Chuck Lorre looks like it might eschew the usual male centric perspective of the rest of his series. Centering around a recovering alcoholic single mom in Napa Valley, this looks like a typical enough Lorre comedy that it should get the viewers, but even if it brings a female perspective, expect it to tell all the same jokes his other shows do.

The Millers

Similar to Fox’s Dads, this comedy is about a grown brother and sister whose parents decide to divorce and move in with them. The “twist” comes in that the mom moves in with her son, and the dad moves in with the daughter. This is a vehicle for Will Arnet, but I doubt he’ll be enough to make it into a show worth watching.

The Crazy Ones

The primary draw for this comedy set in the world of advertising is the return of Robin Williams to TV as the series lead. The pitch itself, a crazy owner of the ad agency and his meticulous daughter struggle to work together, doesn’t sound like much, but Williams’ presence and propensity for ad libbing mean that this might end up being worthwhile.

Hostages

I have no idea how they plan to stretch this one out into a full series, as the pitch sounds more like the plot for a two hour movie. A surgeon’s family is held hostage and to get them back she is told she must kill the president when she operates on him. It seems like that premise will be used up in the first couple episodes and then the series will be forced to contrive new reasons for her family to remain hostage and new tasks for her to complete to free them. That doesn’t exactly sound like a recipe for long term success.

Intelligence

This thriller is about a special agent with a microchip implant that allows him to access all electronics. How interesting is ends up being will likely depend on how closely to the CBS procedural mold it sticks. The fact that it is produced by ABC yet didn’t end up on that network is slightly troubling, but not damning. Hopefully it can break from the mold and will turn out to be an enjoyable, though likely light, thriller.

Reckless

Somewhat resembling ABC’s Betrayal, this law soap is set in the south. It features the hot female city lawyer who has to fight a case against the hot male country lawyer. Since this is CBS, which mandates that all attractive characters must sleep with each other, the two start a steamy romance. I can’t see this one lasting very long.

Friends with Better Lives

Sounding remarkably similar to What About Brian? from a few years ago, Friends With Better Lives follows a group of six friends all in different stages of their lives, each of whom secretly wish they were in the others’ situation. Nothing much stands out about this one, but if it’s well written, it could make it.

And that’s it for CBS. Not a lot of new shows this season, and nothing that really stands out, but that’s the luxury of being number one. Only one day of the 2013 Upfronts left, so check back tomorrow for a look at the CW’s upcoming season.

Upfronts 2013: ABC

The third presenter at this year’s Upfronts was ABC. Their slate of new shows, evenly distributed between comedy and drama, doesn’t look to take too many risks, but it does have a few interesting bright spots.

Marvel’s Agents of S.H.E.I.L.D.

Joss Whedon is executive producer, with Jed Whedon and Maurissa Tancheroen as show runners, of this series about the daily lives of S.H.I.E.L.D. agents, tying directly into the Marvel films. Any new show from Joss is always a must watch, and combining that with the Marvel universe makes this easily my most anticipated new show this season.

Betrayal

A woman has an affair with a lawyer, who then has to battle a court case against her lawyer husband. Not only does this sound like a painfully soapy take on the courtroom procedural, it also seems like a terribly short sighted premise.

Killer Women

Even though I generally like Tricia Helfer, there is nothing here that makes me think I’d want to watch this series. Walker, Texas Ranger with a female lead, then have that lead have an affair with the DEA agent, since that seems to be ABC’s M.O. this year – all female leads must have affairs. Maybe they think that’s what women empowerment is all about? They repeated that phrase multiple times during today’s presentation, even going so far as to dub Thursdays as “Women Empowerment Thursdays.” They’d better some up with a different definition, because so far the results are decidedly unappealing.

Lucky 7

This is a drama about a group of gas station employees that win the lottery. There are some notable names behind the scenes, so this one could be worth checking out, but ABC’s press release didn’t give any indication of what to expect from a typical episode, so it’s hard to judge at this point.

Mind Games

ABC is going out of its way to emphasize that the psychological manipulation used in this series is real science, but how much truth there is to that will have to wait until the pilot premieres. The show follows a pair of brothers who use this manipulation to fix their clients problems. Depending on how it is handled, this one could actually be a fun and varied series, or it could crash and burn hard.

Once Upon A Time In Wonderland

This spinoff of Once Upon A Time was originally supposed to be a miniseries slotted in-between the fall and winter halves of the original series, but ABC decided to turn it into a full blown series of its own. The original show can be wildly uneven, but this one is being run by Jane Espensen, who I will always tune in for.

Resurrection

Dead residents of a small Missouri town begin returning to life and appearing around the world, decades after their supposed death. There is enough intrigue here to make me want to check it out, but it’s been a while since a broadcast network has been able to create a quality sci-fi show with an ongoing mystery, so keep your expectations at a reasonable level.

Back In The Game

This sounds like the baseball version of The Mighty Ducks, with a divorced mom in the place of Emilio Estevez. It’s early timeslot seems to indicate it’s targeted at a similar audience. If it’s well written and the kids aren’t too grating, it could be fun, but those are both big ifs.

The Goldbergs

I’m a bit of a sucker for anything set in the ‘80s, so this comedy immediately captured my attention. The description for this show reads like the sitcom version of the last big show set in the ‘80s, Freaks and Geeks. That speaks well to the potential quality of the show, but also poorly for it’s longevity prospects, as that show was cancelled after only 13 episodes.

Mixology

The year’s second attempt to recreate Friends, this show centers around a group of friends trying to the recently dumped Tom back into the dating world at a high-end bar. This one could face problems with the likeability of its characters, as they come off in the press release as privileged and spoiled.

Super Fun Night

Written and executive produced by Rebel Wilson, this show follows a group of friends who have always tried to make Friday night the best night ever, while staying home. Now that they’ve grown up, they are forced to actually go out on Fridays, but still attempt to carry on their tradition. Clearly aiming for a New Girl-esque quirkiness, this just doesn’t seem to have much of a draw, from the terrible title to the bland concept. Strong writing could save this one from a quality perspective, but given the clips choosen for the trailer, that doesn't seem likely and I think it will be hard pressed to find viewers.

Trophy Wife

The story of a young woman who becomes her new husband’s third wife and has to deal with his two exes and three children. This one is in the running alongside Ironside as being the first casualty of the season.

That wraps is up for ABC. Come back tomorrow for the last of the major networks, CBS.

Upfronts 2013: Fox

Having slipped to third place overall this year, Fox is the second of the four major networks to present at this year’s Upfronts. Overall, there schedule looks more interesting than NBC, and they are definitely taking some risks, both with the type of show they are programming, but also with the timing of the premieres. It’s worth noting that since Fox only programs 2 hours per night, as compared to the other network’s 3, they have fewer shows hitting the air and can therefore be a little pickier about what they show, not that that has always translated to better television, but it’s a nice thought.

Almost Human

J.J. Abrams and J.H. Wyman, the team behind Fringe, team again on a series about humans and androids working together as cops in the future. That’s really all you need to know to want to check it out. At that very least, it should be an interesting failure, and at best, it could be another high quality, thought provoking series from the duo.

Sleepy Hollow

Alex Kurtzman and Roberto Orci’s work has been decidedly hit and miss. The premise for Sleepy Hollow sounds so far fetched it’s had to imagine it being anything other and a miss, but I’m willing to give them the benefit of the doubt. It follows Ichabod Crane and the Headless Horseman, both from the classic story, who have been resurrected 250 years after their deaths. Ichabod will have to work to solve a mystery dating back to his original time period.

Brooklyn Nine-Nine

This new cop comedy looks to be Fox’s most promising in the genre. The talent behind the scenes is impressive enough to warrant giving it a chance.

Dads

This looks to be typical Seth McFarlane fare, but this time in live action. It follows two men whose dads are forced to move in with them. Expect plenty of sophomoric humour.

Enlisted

Three brothers all in the army, and all on the same base in Florida. They’re not good enough to be deployed, but not bad enough to be kicked out, so they are forever stuck on the base. If there’s really nothing more to it than that, don’t expect this to last long.

Gang Related

A former gang member who is now somehow working for the LAPD in the gang unit has his allegiance to both sides tested on a weekly basis. A terribly bland looking procedural with a cast of second string action movie actors and written by the writer of Fast Five, this one may generate enough interest to stick around, but the chances of it being a good series are slim.

Rake

This is House with lawyers instead of doctors. Doesn’t seem to have much of a catch beyond the idea of a damaged but brilliant lawyer.

Murder Police

Another cop comedy, but this one is animated. Though the title is likely intentionally terrible, it doesn’t bode well for the series itself.

Surviving Jack

When his wife goes back to work, Jack is forced to be a full time dad to his teenage son. This likelihood of this single camera comedy being good will depend a lot on the tone the show chooses to take.

Us & Them

This year’s attempt at recreating Friends, this romantic comedy follows two people falling in love while surrounded by zany friends. None of the previous two dozen attempts to recapture the ratings powerhouse were successful, and there’s nothing apparent here to suggest this one has finally cracked the formula.

Wayward Pines

Though the press release name checks Twin Peaks, this series sounds more Stepford Wives than Lynch. Produced by M. Night Shyamalan and running as a miniseries, the promise of a set ending may be enough to make this one worth watching, without the fear of it spinning out of control in an effort to stretch out over multiple seasons.

24: Live Another Day

Because it is apparently what we all really needed, 24 is being resurrected as a 12 episode miniseries (so maybe it should be called 12?) You already know exactly what to expect here. Given the mess that the original run of the series turned into, there’s not much reason to check this out. One can only hope this crashes and burns and finally puts the rumours of a 24 movie (called 2, perhaps?) to rest.

That wraps up Fox. Check back tomorrow for a look at what ABC will be giving us this year.

Upfronts 2013: NBC

As the last place network again this year, NBC has the dubious honour of making it’s Upfront presentation first. Unfortunately for the Peacock, there still doesn’t look to be much worth watching on the new schedule.

Blacklist

This looks to be a fairly standard procedural about a mobster working with the FBI. The trailer doesn’t look promising, and there’s nothing in the description or creative talent to make it stand out.

Sean Saves the World

A star vehicle for Will & Grace’s Sean Hayes, this seems to follow in the gay-dad-sitcom trend we saw from last year. Unfortunately, none of those show fared particularly well last year, and there’s nothing on display here to make me believe this one will fare any better.

The Michael J. Fox Show

Loosely based on Michael J. Fox’s life, this could be one of the few bright spots on NBC’s schedule. Though there’s nothing particularly unique about the premise, Fox is a great actor, and the creative team combination of Fox, Sam Laybourne (Cougar Town), and Will Gluck (Easy A) mean that this could develop into a very good show.

Ironside

Even NBC’s official description for this show is groan worthy. Ironside is a “tough, sexy and acerbic” wheelchair bound NYPD officer who “will do whatever it takes to solve New York’s most difficult and notorious crimes – even if it means breaking the rules.” I’d be surprised is this makes it to episode 4.

Welcome to the Family

Trying to borrow from Modern Family’s success, Welcome to the Family is the story of a white and a Latino family forced to deal with each other after their teenage children get pregnant and marry. Wacky hijinks and horrible stereotypes are sure to ensue. An example of the “hilarious” culture clash the show will portray, the press release includes the line “OMG/Dios Mio!”

Dracula

This “limited” series from one of the producers of Downton Abby has potential. It’s airing on Fridays, paired with Grimm, so hopefully it’ll target more of the genre audience and not worry about dumbing itself down for mass appeal. It could wind up being great, or it could be terrible, so this is one that we’ll have to wait and check out in the fall.

Crossbones

The series is set to tell the tale of the famous pirate Blackbeard, but since production on the pilot isn’t even scheduled to start until the fall, it’s far too early to pass judgment on it, though it may be difficult to pull off a convincing nautical tale on a broadcast TV budget.

Crisis

This is essentially Liam Neeson’s Taken: The Series. Once again, it looks very formulaic, without anything to really draw in an audience.

The Family Guide

The story of a quirky family’s divorce, which somehow “brings them all closer together.” It’s not on the schedule yet, and sounds like something NBC will quickly burn off at the end of the season.

Believe

The other promising show on NBC’s schedule, this one follows a young girl with superpowers and her guardian, an escaped death row inmate. It’s coming from J.J. Abrams and Alfonso Cuaron, so it will definitely be worth checking out, at the very least.

Two shows were conspicuously absent from the lineup. Community, which was given a surprising fifth season renewal, will likely be slotted in as a replacement when the other new comedies inevitably fail. Hannibal, on the other hand, didn’t even receive a mention. It’s still in the middle of its first season, and the ratings haven’t been great. It is, however, easily the best new drama to come out of the broadcast networks this year and deserves a chance to build an audience, so hopefully it will be given a renewal and show up midseason next year.

Check back later today, when I’ll have the rundown on Fox’s new schedule.

Upfronts: 2013 Edition

It’s that time of year again, when all of the television networks trot out their scheduling plans for the upcoming season before advertisers in the hopes of securing big contracts for ad buys. For those of us not employed by a media company, the week’s primary draw is the chance to get our first look at what’s been cancelled, where our favorite shows are moving, and what new shows will be hitting the airwaves (or, more correctly, coax lines, since all radio frequency broadcasts are now a thing of the past) in the fall.

As has become the norm, I’ll be providing my thoughts on the new shows presented by each network that I think are worth checking out. The presentation schedule is as follows:

NBC: Monday, May 13
Fox: Monday, May 13
ABC: Tuesday, May 14
CBS: Wednesday, May 15
CW: Thursday, May 16

Keep checking back over the coming days as we discover what we’ll be watching, or avoiding, in the coming months.

D52–Wreck-It Ralph

2012 brought about the latest (as of this writing) release from Disney’s animation division, Wreck-It Ralph. Marketed as the Toy Story of the videogame world, it delved into the lives of videogame characters and what happens when the player walks away. Prior to its release, it generated huge buzz based on the fact that Disney managed to secure the rights to many classic game characters, for games as varied as Pac-Man, Mario, Street Fighter, Metal Gear Solid, and many others. That hype, combined with strong reviews, helped the film reach a final box office total of over $281 million.

From a technical standpoint, Wreck-It Ralph continues in the footsteps of Bolt and Tangled. The animation itself is fluid (or, in the case of the 8-bit characters, brilliantly stuttery) and the environments are richly detailed. The script is well written, allowing for each of the main characters to develop and delivering plenty of appearances from classic game characters, without allowing the film to devolve into nothing but a string of cameos. The voice cast is strong, though none of the many well known actors on display here really stand out. The directing is likely the film’s weakest point. While it is good enough, and certainly doesn’t get in the way, it also doesn’t do anything to distinguish itself.

As a videogame nerd, I loved this movie the first time I saw it. There are so many fantastic little nods to gamers and great in-jokes that it would be hard for me not too. Even if you’ve never played a game in your life, though, there’s plenty here to enjoy. On my first viewing, I thought the plot spent a little too much time in the Sugar Rush world, which I found to be the least interesting of the film’s many environments. Watching it again, though, I didn’t have that same complaint. This is a very good movie that is easy for anyone to enjoy. Gamers may get the most out of it, but everyone from the youngest kids to the grandparents will find characters to love and have a great time watching it.

Original theatrical trailer

Up next: Final Thoughts

D52–Winnie the Pooh

Coming out 34 years after the studio’s last theatrical Pooh feature (not including the theatrically released features produced by the Disney television division), Winnie the Pooh was a return to it’s traditional style, both in art form and storytelling, for Disney. Like the previous Pooh films, it was produced as 2D hand animation and told a simple, entertaining story. Despite strong reviews, the film failed to get much box office attention, only managing to bring in a meager $32 million.

From a technical perspective, the film is fantastic. Even though it barely runs more than an hour, the pacing is perfect, never feeling rushed nor dragging. The animation is pristine, perfectly capturing the characters and complementing the excellent voice work. The real high point here, though, is the plot, adapted from three A.A. Milne stories. The filmmakers wisely resisted the temptation to try to modernize Pooh or inject any mature humour into the world, instead telling a simple story with genuinely funny jokes which are appealing to all. The result is a film which feels as though it could have been made in the same time period as the original, and should have the same staying power.

I really love this film. I had low expectations for it when I went to see it in theatres, given the relatively poor quality of the recent Pooh films done by the TV unit, but was completely blown away. This is a truly charming gem of a film which was sadly overlooked by most. Whether the poor box office was a result of audience fatigue cause by low quality Pooh films, the fact that it released the same day as the final Harry Potter film, the poor marketing campaign, or some other factor, it really is a shame that more people didn’t go to see it. That tragedy is now compounded by the fact that its performance was likely a key contributor to the decision to shut down the 2D animation unit at Disney. Lasseter managed to revive it temporarily when he joined the company, but after the weak performance of The Princess and the Frog and the abysmal performance of Winnie the Pooh, Disney decided to shutter it, and there was likely nothing for Lasseter to use as a defense. It is unfortunate that this is likely the last 2D film we’ll see from Disney for a long time, but it is definitely a worthy film to go out on, certainly much better than the last time this happened, ending with Home On The Range. If you haven’t seen Winnie the Pooh, you owe it to yourself to check it out. It is an excellent film.

Original theatrical trailer

Up next: Wreck-It Ralph (2012)

D52–Tangled

Released in 2010, Tangled’s history is a perfect match for it’s name. Originally titled Rapunzel Unbraided and then Rapunzel, it was a pet project of legendary Disney animator Glen Keane, who was also the film’s first director. After numerous production delays and disagreements with studio executives over the direction of the film, Keane stepped down as director of the film, citing other commitments but more likely was forced to the sidelines. He retained an executive producer credit, while the directing duties were handed over to the director and storyboard director of Bolt. After being in production for more than six years and at an estimated cost of more than $260 million dollars, the most expensive animated film produced to date, it was finally released, albeit with another name change. Given the disappointing box office for The Princess and the Frog, the studio decided that female sounding titles were keeping young boys from coming to see the films. As a result, the name was switched to the gender neutral Tangled and the marketing campaign heavily played up the action scenes featuring Flynn Rider. In addition to a strong critical reception, the film did very well at the box office, bringing in $590 million worldwide. How much of that can be attributed to the name change/marketing and how much was due to the Pixar Effect (the general perception that Pixar only makes good movies and all CG movies are Pixar) is impossible to judge, but it certainly reinforced the studio’s decision.

Despite the behind the scenes drama, Tangled turned out to be a very well made film. The animation was the best the CG branch of the studio had ever produced. The film’s unique look is attributed to Keane’s design statement that it look like a 3D oil painting, which it pulls off admirably with beautiful backgrounds unlike any seen before. The script is strong, with plenty of funny moments and memorable, relatable characters. The directors do a great job keeping the plot moving, never allowing the pacing to sag.

Tangled is well worth watching. I thoroughly enjoyed it in the theatre and have seen it several times at home, even though it’s only been available for about two years. Any animation fan, or fan of quality films in general, should absolutely check this one out.

Original theatrical trailer

Up next: Winnie the Pooh (2011)

D52–The Princess and the Frog

Coming out in 2009, The Princess and the Frog was the first traditionally animated film from Disney in five years. The 2D division was championed by new animation head John Lasseter and the the film was eagerly anticipated by animation fans as a return to Disney’s traditional style. Unfortunately, despite strong reviews, Princess underperformed at the box office, with a domestic gross of just over $100 million.

Though the original tale of “The Frog Princess” would seem like traditional Disney fare, the studio used it only as a launching point, instead developing a story set in 1920s New Orleans and with a heroine not in need of rescue, but fully capable of rescuing herself and willing to put in the work to do it. The animation is stunning, with lush backgrounds, great character design, and fluid movement. It uses the rich history and varied landscape of the region to great effect, and is full of memorable characters. The music, by Randy Newman, uses a variety of southern styles, and the direction by Musker and Clements is strong as always.

I really enjoyed this movie when it came out, and I still enjoy it now. It is beautiful to look at and thoroughly entertaining. Some of the scenes dealing with voodoo may be too intense for the youngest viewers, but everyone else should absolutely see this.

Original theatrical trailer

Up next: Tangled (2010)

D52–Bolt

Released in 2008, Bolt was Disney’s third CG animated effort. With each release, the box office had increased, aided both by the fact that the quality of the Disney films was increasing, but also by the stellar track record of Pixar and the general public’s mistaken belief that any CG film was “Pixar”, regardless of which studio actually released it. Of their three films, Bolt’s plot is the closest to what would be considered standard Disney fare – a talking dog is separated from his master and must travel across country to reunite with her – but the film itself manages to tread the line between traditional fare and a modern edge, without falling into many of the traps the DreamWorks films were succumbing to.

The direction here is excellent, both during the quiet character moments and the broader action scenes. In fact, the opening action sequence, depicting a scene from Bolt’s TV show, is so well done that an entire film could easily be made from it. The voice cast does a good job, but despite some big names, no one really stands out. The real star here is a script that excels at being funny for both kids and adults, without pandering or resorting to double entendres or a barrage of pop culture references, expertly balances both action and character moments, and is filled with heart.

Even though I had been surprised by Meet The Robinsons, I still went into Bolt with low expectations. Once again, though, I was surprised. More than surprised, though, I was blown away. Five years later, I’m still every bit as impressed by the film. Though it may not reach the heights of some of Pixar’s greatest films, it is certainly better than some of their weakest (Cars, Cars 2). It is extremely enjoyable, not matter what age you are, and you will be hard pressed not to be moved by it. This film is definitely worth seeing for and Disney or animation fan.

Original theatrical trailer

Up next: The Princess and the Frog (2009)

D52–Meet The Robinsons

When it was announced, in the midst of a growing animosity between Disney and Pixar, Meet the Robinsons was framed as the film that would differentiate the two companies. Disney claimed that it’s key advantage was that they could animate humans properly. The Incredibles was soon to be released, so they were comparing mainly to the relatively stiff looking humans in the original Toy Story and the horrendously animated humans in Ice Age (conveniently ignoring the strong human animation present in Toy Story 2). Fortunately for both Disney and Pixar, Bob Iger’s second move upon being named CEO (after buying back the rights to Oswald the Lucky Rabbit) was to purchase Pixar. One of the immediate benefits of this acquisition was the Pixar Story Trust, the name for the group of longtime Pixar writers and directors who began consulting on story for many other Disney films, with Meet the Robinsons being one of the first.

That story polish is likely what salvages this film. It’s clear that much of it was originally hung purely on the zaniness of the Robinson family. Fortunately, though, enough character development was incorporated to give the film an emotional core. The result is a surprisingly good film. The plot is unique and entertaining, and there are plenty of laughs, most of them from the aforementioned zaniness. The animation is good, but still somewhat primitive by today’s standards, and the overall colour palate is a little washed out for my taste, resulting in a slightly unfinished look.

When I saw this film in the theatre, I had very low expectations. The trailers didn’t look particularly inspired, and the studio’s previous CG effort was underwhelming. Those low expectations likely helped allow the film to surprise me with its quality, and I can out having enjoyed myself and pleased with the film. Revisiting it today, I don’t get quite the same rosy impression. It’s still a decent film, but the pacing could use a little tweaking, as it sags a bit in the middle. It’s still an enjoyable film, but it’s also somewhat forgettable. In the end, this is a good effort and a very clear stepping stone for the studio as it moved forward with its CG division.

Original theatrical trailer

Up next: Bolt (2008)

D52–Chicken Little

After a decade of success releasing Pixar’s films, Chicken Little was touted as Disney’s first in house CG animated film. Using the classic children’s story as a launching point, is a fairly simple twist on the ‘son longing for his father’s approval’ story, with some aliens thrown in for good measure. Thanks to the success of The Polar Express, in addition to it’s regular release, it also saw limited released in IMAX theatres in 3D form.

Though the plot is unmemorable, the script definitely has some funny moments. The voice cast, lead by Zach Braff, is excellent, and delivers their lines with great timing. Though the direction seems unremarkable today, it was rather unique when it was released. Rather than using mostly static shots, as was the norm in CG films, it featured a comparatively large amount of camera movement, as well inventive angles and placements. The result was a film that felt a little more like its live action brethren.

When I first watched Chicken Little in theatres on its initial release, I couldn’t help being a little disappointed. Up to that point, CG films released by Disney were exclusively Pixar, and this film was a noticeable step backwards in terms of both animation quality and storytelling. Revisiting it, it still doesn’t hold up against the best of either studio, but that doesn’t make it a bad film. It is entertaining throughout, and kids will definitely get a kick out of the characters of Pig and Fish Out Of Water, there just isn’t that much there beneath the surface.

Original theatrical trailer

Up next: Meet The Robinsons (2007)

D52–Home On The Range

Originally slated to be released in 2003, ahead of Brother Bear, numerous story problems led to their release dates being switched, with Home on the Range arriving in theatres in 2004. Unfortunately, the extra time was not enough to salvage the film, and the result was yet another box office failure, failing to recoup more than half of its budget. The film also put the final nail in the coffin of Disney’s 2D animation division. Upon its release, the studio shut down its 2D unit, sold the remaining artists drawing tables, and moved other divisions into the animation building.

Home on the Range was heavily reworked at least twice during its production, and the seams definitely show in the final product. The plot is a hodgepodge of western tropes, with characters, such as they are, rapidly switching views and motivations, all for the sake of trying to get the film to limp onto the next scene. Overall, the film feels like a poor attempt at making a Tex Avery film from the height of Warner Bros animation history, but it is devoid of the humour and kineticism those shorts were filled with. The art direction is clearly taking its cues from those cartoons, but without the humour and character to back the minimal, slightly abstract design, the whole thing just looks flat.

I did not have good memories of this film, and I was not looking forward to revisiting it. Though I was hoping I  had exaggerated its deficiencies in my head over the years, I was disappointed to find that this was not the case. Though young viewers may find some distraction in the colors and flaccid attempts at humour, this is a difficult film for anyone over ten to get through. The only bright side is that in recent years Disney has resumed limited production on 2D films, since this would have been a truly tragic way to a (at that point) 65 year legacy of 2D animation from the Disney company.

Original theatrical trailer

Up next: Chicken Little (2005)

D52–Brother Bear

2003’s Brother Bear was another in the string of financial and critical disappointments from the Disney animation division in the early years of the 21st century. Audiences were favouring the CG animated fare, and without the backing of strong reviews, Brother Bear was unable to lure them into theatres.

Closest in tone to the serious Pocahontas, but with the talking animals of the Disney films of the ‘70s and ‘80s, the film can be a bit of a hard sell. It’s structurally solid, delivering a good take on the tried and true “walk in someone else’s shoes” plot. The animation is very good, as had become the norm for this period. The direction does lead to some pacing problems, particularly the opening segment which somehow feels both overly long and rushed at the same time, but the use of color and aspect ratio is fantastic. When main character Kenai is human, the world is presented in muted colors at a 1.66:1 aspect ratio. When he is transformed into a bear and begins to see the world as it really is, the pallet brightens and becomes far more lively and the image expands to the massive 2.35:1 ratio.

It is clear watching Brother Bear that the creators were reaching for something great. They wanted to make a sweeping film that dealt with some more mature themes. Unfortunately, they were not quite able to reach the heights they were grasping at. The result is a film that falls firmly in the “decent” range. It will likely be most enjoyed by adult audiences who will have the patience to make it through the initial stages and will be able to focus more on what was attempted, rather than the finished product. That’s not to say there isn’t enough here for younger viewers to get something out of it, but it is unlikely to become a favourite.

Original theatrical trailer

Up next: Home on the Range (2004)

D52–Treasure Planet

Despite the failure of Atlantis to capture the young boy audience that they was fervently seeking, Disney took a second stab at the market by adapting Robert Lewis Stevenson’s Treasure Island and setting it in space. The result is 2002’s Treasure Planet. Like the company’s two previous adaptations of the material (a straight telling in the 1950 film and a comical take with the Muppets in 1996) this one doesn’t stray too far from the source material. Like Atlantis, however, Treasure Planet severely underperformed at the box office, opening to just $12 million with a $140 million budget.

Like most Disney work since the early ‘90s, the animation here is strong, but that’s not to say it is without problems. There is an unfortunate overreliance on computer animation, which never quite meshes properly with the 2D animation surrounding it. It does allow for some impressive effects, but it always feels slightly out of place. The most egregious offender is the point of view shot in the ship’s galley, which looks like it was lifted straight out of the videogame adaptation. The voice cast is quite good, with varied performances that each suit their character. The script, too, does an admirable job of transposing Stevenson’s work into the future and trimming it to fit in the runtime, all while retaining its essence.

Though I’ve never read the book, I’ve seen at least four different film interpretations of the material, as well as various TV shows and plays and even a read-a-long children’s book, and Treasure Planet is easily my favorite version. That being said, I’ve never been much of a fan of the story of Treasure Island. I can’t explain quite why, but I’ve never been able to relate to any of the characters or become invested in the plot. It is likely only the futuristic elements here that raise this film over the others for me. It is an entertaining enough film, and fans of the source material will likely enjoy seeing a unique take on it.  A couple scenes will be too intense for the youngest viewers, but everyone else should find this to be an enjoyable, if somewhat unremarkable, film.

Original theatrical trailer

Up next: Brother Bear (2003)

D52–Lilo & Stitch

After a brilliant trailer campaign (which you can see here, here, here, and culminating in the full trailer below) Lilo & Stitch was released in 2002. Though expectations were modest, the film quickly went on to become a hit, earning good reviews and strong box office numbers. Tonally, it definitely stands out among its Disney peers. Despite the soft, round shapes on display in the animation style the dialogue has a pointed, real world edge. The sisters fight, yell and scream, and basically act like real sisters. While some were put off by this, it serves as a refreshing change of pace for the company and the general public seemed to agree.

On the technical side of things, Lilo & Stitch is most notable for its backgrounds. It marked the first (and, to date, only) use of watercolour backgrounds in a Disney feature since Bambi, and they are stunning, perfectly capturing the look and feel of Hawaii. Placed on these backgrounds are fully realized characters, thanks to an intelligent script which treats them as real people. The plot, too, deserves praise, for managing to be at once completely unfamiliar and thoroughly relatable. Finally, special mention must me made of Chris Sanders’ excellent work on the character animation for Stitch himself. By imbuing him with dozens of subtle characteristics of household dogs, Sanders manages to make what starts as an ugly, evil character cute and lovable.

When the film was first released a decade ago, I certainly enjoyed it. It was different in both look and tone, and was uniformly well made, but it didn’t really stick with me long after viewing it. As such I always regarded it as a fairly middle of the road Disney film. Revisiting it now, I think that assessment undersells it. In addition to strong characters and an abundance of action, it has a surprising amount of heart. It is this heart which likely earned it its initial success, and it is the heart which still makes it a great film for both young and old.

Original theatrical trailer

Up next: Treasure Planet (2002)

D52 - Atlantis: The Lost Empire

Disney’s first attempt at capturing a more mature and male-skewing market than they had become known for  since the early ‘90s was 2001’s Atlantis: The Lost Empire. It didn’t feature any songs outside of the closing credits, had more action and violence than was typical of Disney fare, and had a substantial number of onscreen deaths. The hope was that this could be used to capture the one market segment in which Disney was lacking: boys and young men. Unfortunately, it was not a success at the box office, and Disney has continued to struggle to reach this audience to this day, most recently betting on the purchase of Marvel and Lucasfilm to finally bring males back to the Mouse.

The film’s failure to perform financially shouldn’t be read as a creative failing of the film itself. The film is well directed and the plot is engaging and unique. The voice acting is strong, particularly from Michael J Fox in the lead role. The most stunning element, however, is the art. Set in the early 1900s, it is Jules Verne by way of Mike Mignola and is absolutely gorgeous, creating a world completely different from anything else Disney had attempted.

Though it did garner a direct to video sequel, Atlantis has been all but forgotten by the public at large, which really is a shame. It’s too intense for the youngest viewers, but it can serve as an excellent introduction to the worlds of science fiction and fantasy for those slightly older. With strong male and female characters, shades of morality, and plenty of excitement, there’s a lot here for adults to enjoy as well. Though it might be a little difficult to track down, it is definitely worth seeing.

Origianl theatrical trailer

Up next: Lilo and Stitch (2002)

D52–The Emperor’s New Groove

Releasing at the end of 2000, The Emperor’s New Groove was a large stylistic departure for Disney. Originally developed as a more straightforward and serious take on Incan history titled Kingdom of the Sun, the existing work was scrapped late in the production schedule and transformed into the film which was eventually released to the public. It takes the bombastic humour of Aladdin and Hercules and makes it even more outrageous, and it is the first Disney animated film to break the fourth wall.

Despite it’s vastly shortened production schedule, nearly everything about this film just works. The jokes come at a breakneck pace and are consistently funny. The performances of the voice cast are perfectly suited to the material. Visually, it manages to be highly stylized, lush and detailed all at once. The direction keeps the plot moving at just the right pace. Though the story is sparse and ridiculous, the audience never feels cheated because the world is so fully realized and filled with immensely likable characters.

From the first time I watched it, I thoroughly enjoyed The Emperor’s New Groove. Twelve years later, it hasn’t lost any of its charm, mainly due to the fact that it is so different not only from other Disney films but also from mainstream animation in general. Young viewers will love the bright visuals and the various sight gags and physical humour, while adults will get a lot out of the smart dialogue and performance driven humour. It remains one of the better known late catalogue Disney films, and deservedly so.

Original thearical trailer

Up next: Atlantis: The Lost Empire (2001)

It Could Happen Like This, But It Might Not

February has rolled around once again, bringing along with it that most important day. No, not the one with the chocolate and flowers and guilt, the one with the little golden statues that somehow are always surprisingly heavy. Seriously, after all these years, how can anyone get up on that stage and not expect their new little bald man to have some heft?

Regardless, Oscar night is fast approaching, which means that I need to join the masses of online commentators pretending to know what will happen on Sunday and offer forth my predictions. Fortunately for all of us, this year’s crop of films is no where near as dismal as 2011, meaning not only are more deserving films going to be honoured, but it’s also easier to come up with semi-accurate predictions for the winners of each category. As per usual, I will highlight my predicted winners in each category in red, as well as highlighting which nominee I think deserves to win in blue for those categories where the two are not the same. Let’s dive in.

Best Picture:

"Beasts of the Southern Wild"

"Silver Linings Playbook"

"Zero Dark Thirty"

"Lincoln"

"Les Miserables"

"Life of Pi"

"Amour"

"Django Unchained"

"Argo"

Best Supporting Actor:

Christoph Waltz, "Django Unchained"

Philip Seymour Hoffman, "The Master"

Robert De Niro, "Silver Linings Playbook"

Alan Arkin, "Argo"

Tommy Lee Jones, "Lincoln"

Best Supporting Actress:

Sally Field, "Lincoln"

Anne Hathaway, "Les Miserables"

Jacki Weaver, "Silver Linings Playbook"

Helen Hunt, "The Sessions"

Amy Adams, "The Master"

Best Director:

David O. Russell, "Silver Linings Playbook"

Ang Lee, "Life of Pi"

Steven Spielberg, "Lincoln"

Michael Haneke, "Amour"

Benh Zeitlin, "Beasts of the Southern Wild"

Best Actor:

Daniel Day Lewis, "Lincoln"

Denzel Washington, "Flight"

Hugh Jackman, "Les Miserables"

Bradley Cooper, "Silver Linings Playbook"

Joaquin Phoenix, "The Master"

Best Actress:

Naomi Watts, "The Impossible"

Jessica Chastain, "Zero Dark Thirty"

Jennifer Lawrence, "Silver Linings Playbook"

Emmanuelle Riva, "Amour"

Quvenzhané Wallis, "Beasts of the Southern Wild"

Best Original Screenplay:

"Zero Dark Thirty"

"Django Unchained"

"Moonrise Kingdom"

"Amour"

"Flight"

Best Adapted Screenplay:

"Lincoln"

"Silver Linings Playbook"

"Argo"

"Life of Pi"

"Beasts of the Southern Wild"

Best Animated Feature:

"Frankenweenie"

"The Pirates! Band of Misfits"

"Wreck-It Ralph"

"Paranorman"

"Brave"

Best Foreign Feature:

"Amour"

"A Royal Affair"

"Kon-Tiki"

"No"

"War Witch"

Best Visual Effects:

"Life of Pi"

"The Hobbit: An Unexpected Journey"

"The Avengers"

"Prometheus"

"Snow White and the Huntsman"

Best Cinematography:

"Skyfall"

"Anna Karenina"

"Django Unchained"

"Life of Pi"

"Lincoln"

Best Costume Design:

"Anna Karenina"

"Les Miserables"

"Lincoln"

"Mirror Mirror"

"Snow White and the Huntsman"

Best Documentary Feature:

"Searching for Sugar Man"

"How to Survive a Plague"

"The Gatekeepers"

"5 Broken Cameras"

"The Invisible War"

Best Documentary Short:

"Open Heart"

"Inocente"

"Redemption"

"Kings Point"

"Mondays at Racine"

"Snow White and the Huntsman"

Best Film Editing:

"Lincoln"

"Silver Linings Playbook"

"Life of Pi"

"Argo"

"Zero Dark Thirty"

Best Makeup and Hairstyling:

"Hitchcock"

"The Hobbit: An Unexpected Journey"

"Les Miserables"

Best Music (Original Score):

"Anna Karenina"

"Argo"

"Life of Pi"

"Lincoln"

"Skyfall"

Best Music (Original Song):

"Before My Time" from "Chasing Ice"

"Everybody Needs A Best Friend" from "Ted"

"Pi's Lullaby" from "Life of Pi"

"Skyfall" from "Skyfall"

"Suddenly" from "Les Misérables"

Best Production Design:

"Anna Karenina"

"The Hobbit: An Unexpected Journey"

"Les Misérables"

"Life of Pi"

"Lincoln"

Best Short Film, Animated:

"Adam and Dog"

"Fresh Guacamole"

"Head over Heels"

"Maggie Simpson in 'The Longest Daycare'"

"Paperman"

Best Short Film, Live Action:

"Asad"

"Buzkashi Boys"

"Curfew"

"Death of a Shadow (Dood van een Schaduw)"

"Henry"

Best Sound Editing:

"Argo"

"Django Unchained"

"Life of Pi"

"Skyfall"

"Zero Dark Thirty"

Best Sound Mixing:

"Argo"

"Les Misérables"

"Life of Pi"

"Lincoln"

"Skyfall"

And that wraps up this year’s nominations. There are quite a few categories this year that will be very close, so it should make Sunday an interesting night. We’ll have to wait and see how well my predictions stand up.

The Oscars air on Sunday, February 24th starting at 4:00 PM Pacific on ABC.

D52–Fantasia 2000

The original Fantasia was intended to be a continual work in progress, constantly adding in new segments to replace old ones, a never ending concert. Unfortunately, it audiences didn’t flock to see it upon its initial release, leading to those plans being scrapped. At the end of the 1990s, though, Roy E. Disney, Walt’s nephew, spearheaded an effort to create a new version of Fantasia with all new elements, and the result was 2000’s Fantasia 2000.

Like the original, each segment of Fantasia 2000 features a different art style and a different musical style. Also like the original, each of the segments is masterfully directed and choreographed. The two most impressive are the Rhapsody in Blue and the Firebird Suite, and they couldn’t be more different, ranging from Firebird’s ultra-realism to Rhapsody’s Hirschfeld-esque design.

Whether Fantasia 2000 is as much of a masterpiece as the original may be up for debate and is likely a matter of taste, but the fact remains that it is in itself a masterpiece. The youngest viewers may find their attention wandering due to the somewhat abstract nature of the stories, but for everyone else this is a film which must be seen.

Original theatrical trailer

Up next: Dinosaur (2000)

D52 - Tarzan

After featuring lesser known, at least among North American children, stories for several years, Disney returned to a character which, thanks to countless film and television adaptations, every child was familiar with and could easily imitate with 1999’s Tarzan. It sought to follow the Lion King formula by mixing heavy doses of action and comedy, set to music written by a pop artist, in this case Phil Collins. The film was relatively successful, making more than other recent releases, but still nowhere near the early ‘90s levels.

Visually, the film is stunning, with excellent animation throughout. Especially gorgeous are the scenes of Tarzan swinging and surfing through the tree tops, where Disney’s new “Deep Canvas” technology really shines. The music, too, was strong caught on quickly with audiences. Directors Chris Buck and Kevin Lima do a very good job with the script they are working from, keeping the action moving and never giving the audience the opportunity to get bored. It is only once the film has concluded that the viewer realizes that there simply isn’t much to it. The entire plot could be effectively summarized in a couple sentences without leaving anything out.

I believe that it is this thinness of the plot that leaves me indifferent to the film. In the moment, it is a lot of fun, with some great lines, fantastic animation, and thrilling action. Once it’s over, however, I realize that I never really connected with any of the characters, I merely watched them go through their paces. That doesn’t make this a poor film, it’s certainly one worth watching and that can be enjoyed by both young and old, but it does likely explain its status as a second class Disney film.

Original theatrical trailer

Up next: Fantasia: 2000 (2000)