The Good Dinosaur (a movie review post)

Dinosaurs were my first great love, from the moment I saw my very first one sometime around the age of four. Maybe three. I was instantly fascinated with them, and it was my goal for about 10 years to be a paleontologist when I grew up. But that's a story for another time.

Dinosaur movies, though, are not that fascinating. Inevitably, like in The Land Before Time, dinosaur movies deal with the dinosaur apocalypse and one small group trying to get to safety. So it was that The Good Dinosaur promised to be something different. A movie where the dinosaurs don't suffer an apocalypse. A movie where they live. A movie about what might have happened if they had not become extinct.

Unfortunately, that moment from the trailer, that moment when the asteroid misses Earth and the dinosaurs don't die, that moment happens with the opening credits and is over in a few minutes. The movie goes downhill from there. Downhill into being nothing original or new at all. It's just a weird hybrid of Ice Age (deliver the human baby to other humans), The Lion King, and a bunch of other stuff you've already seen.

That said, the animation, the background animation, is amazing. It's so amazing that at times I questioned whether it was CGI or not. The dinosaurs, though, are cartoony, and don't really fit their environment. They stick out like the proverbial sore thumb.

The other good thing is Sam Elliot as Butch, the cowboy T-Rex. The whole thing with the T-Rexes as cowboys and the Raptors as rustlers was fairly amusing, and Elliot is the cowboy. I mean, you can't really get more cowboy than Elliot. It just oozes out of his voice.

But that's about it for the good.

The problem is that Pixar should have just let this movie die. When you have to, essentially, fire the guy who came up with the idea because he can't put the story together, you should start to re-think whether you should be making that movie. When, after doing the voice recording for the entire movie, you decide to re-write the script and re-record everything, you need to be re-thinking whether this is a movie you should be doing. Then, when you decide to dump virtually all of the voice actors and replace them, you really need to be thinking about whether this is a movie you should be doing. The Good Dinosaur was not a movie Pixar should have been doing.

I suppose I'm glad I saw the movie. Well, I am. It is a Pixar movie, and I wouldn't have been able to deal with just not seeing it, but, then, I wish I hadn't seen it. I certainly won't be buying it. It's the first legitimate failure from Pixar. There's no "Pixar" quality to it at all. It's mediocre at best, just as a movie, but, from Pixar, it's a disappointment. Completely.

You Light Up My Heart (pictures I like)

Fallacies of the Church (interlude)

For those of you who have been following this series and even more so for those of you who have been enjoying this series:
It's not over!

Basically, life has just been too busy for me to be able to put together more of the posts in this series, which take a bit more work than one might think. Hopefully, once we get through the holidays, the series will return in January. There are some big topics coming up, so keep a lookout for the return of Fallacies.

Oh, wait... Fallacies have never left.

Clone Wars -- "Legacy of Terror" (Ep. 2.7)

-- Sometimes, accepting help is harder than offering it.

[Remember, you can sign up to join the Clone Wars Project at any time by clicking this link.]

I'm not a big fan of zombies, especially more modern zombie stories with all of their supercharged zombies of utter destruction. I just don't find it interesting. That said, this is one of the more freaky and memorable of all of the Clone Wars series. When we got to the episodes with the return to Geonosis, my younger son immediately got excited about getting to this episode (several episodes into the Geonosis story arc); I can't blame him.

The zombies in this story are... well, they're gross and, yes, freaky. And they want to make the Jedi just like them. Now, doesn't that just sound like so much fun?

One of the things I find interesting in this episode is how unstructured the Jedi actually are, despite appearances to the contrary. There is almost no command structure at all. The Masters and Jedi Council are in control but, really, any Jedi may decide to do whatever he or she pleases without regard to what anyone else says. This is why in The Phantom Menace Qui-Gon and, later, Obi-Wan can decide to train Anakin despite the Council's disapproval. Direct orders other than from Knight to Padawan are rare. Each one feels and uses the Force differently, I suppose.

The other thing about this episode is that it might be the clearest picture yet that we've had about the dynamic between Obi-Wan and Anakin. Anakin is always ready to rush in and solve all of the problems with his lightsaber, rarely stopping to think first. Obi-Wan is more cautious. He's the negotiator and wants to see if there's a non-violent answer first. He also likes to have a plan. His role in the relationship is to hold Anakin back, to make him pause and look before leaping. Anakin is always there to jump in when things get hot if circumstances don't go Obi-Wan's way.


"When this doesn't go as planned, which it won't, I'll be ready."

Brooklyn (a movie review post)

I went into Brooklyn with very little idea of what it was about. That's fine, though, because I've been trying more, lately (lately being the last few years), to know less about movies before I go see them (it's a complicated process; don't ask) so I have fewer preconceptions and expectations. Basically, all I knew was that it was about a girl who moved to Brooklyn.

As it turns out, that's really all it's about, a girl who moves to Brooklyn. More specifically, it's about an Irish girl who moves to Brooklyn because she can't find work in her small village in Ireland. It's also a love story. It's the love story of the girl and the Italian boy she falls for, but it's also the love story of the girl and the city she falls in love with.

The movie is good. It's not great, but it's solid, and I enjoyed it. The relationships between the girls at the boarding house where Eilis stays are colorful, to say the least, and the boarding house scenes, mostly around the dinner table, are quite humorous.

The acting, for lack of a better way of saying it, is steady. Saoirse Ronan does a good job of playing someone who is rather lost and confused for much of the movie but, as such, her role is a bit understated. I like Jim Broadbent, but that's mostly just about him. Emory Cohen, as Tony, is probably the most dynamic of the cast. He certainly carries a lot of charisma with him in a bit of a James Franco kind of way. But, really, there's nothing remarkable here. No one to write home to Ireland about.

This next part is a bit spoilery. That's all the warning you'll get.

The biggest issue for me with the story is that Eilis is so passive. She doesn't move to Brooklyn because she wants to; she moves because her sister arranged it because her sister felt she would have better opportunities in the United States. A priest her sister knows arranges for her a place to stay and a job. She falls in love with the boy not because she falls in love with him but because he falls in love with her.

Later, when she has to return to Ireland because of a family death, she almost stays because she just keeps doing the things other people arrange for her: a new job, a new boy, a return to her old, small life. It was distressing to watch her just go along. But only mildly distressing because Eilis seems so unconcerned herself, unconcerned to the point of not even reading the letters she's receiving from her boy in Brooklyn.

The movie just goes on like that until you -- or, at least, I -- wonder what's going on and what's going to happen because, just from a time perspective, the movie must be almost over and there's no real way out for her from what's going on. The way that comes is sudden and contrived and leads to the only active choice that Eilis makes, the choice to return to Brooklyn. And the movie ends. We do get to see her get back, but, really, it's that sudden, and I was left feeling a bit... unsatisfied.

My wife liked it more than me.

But let me go back and say again: It's a good movie, and I did enjoy it. It's just not great. The rising action is too slow and doesn't rise high enough for the conflict, when it happens, to provide much of a climax, then the movie is just over. But, maybe, that's the way of life, which is really what this movie is: life. I wouldn't say it's a must see, but it's worth watching.

The Leaf Dance (a sonnet for my wife)

The Leaf Dance

The brown leaves rustle in the wind,

slowly crawling along the trail,

beckoning us to follow them.

“Fall is in the air.” Chimneys send

off'rings of scents into the pale

Autumn sky as the light grows dim.

Your shins flash in the dusk as you

expose your calves, lifting your skirt

and dancing through the crunching leaves.

I take your hand and pull you to

me, stealing a kiss as you flirt

away into the falling eve.

I chase after, pulled in no small part

by the cords that bind our hearts.

copyright 2015

** ** **

I'm not going to offer much in the way of explanation for this. I will say only two things:
1. Fall is my wife's favorite season.
2. She loves, with a child's delight, to step on crispy, fallen leaves.

So this is for my wife.
Because I love her.

This Was a Ship (pictures I like)