‘Til death do us part’ is not a thing in Pixar’s Mexican odyssey about life, death and family that bounds them altogether.
Review: Seven years in making with thorough research in Mexico along with solid team led by Lee Unkrich to celebrate appropriate representation (including writer, Adrian Molina, who got eventually promoted into co-director), Pixar’s nineteenth feature, Coco, results in a highly respectful tribute to Mexican culture and tradition, specifically, ‘Dia de los Muertos’ a.k.a. The Day of the Dead.
In preparation of the carnivalesque, marigold-laden Mexican festivity of the dead, 12-year-old Miguel Rivera (voiced by Anthony Gonzales) is entangled in a fateful adventure between life, death and family that bounds them altogether. The boy only wants to follow his passion—to simply play guitar and sing like his hero, a famous Mexican singer and actor, Ernesto de la Cruz (Benjamin Bratt)—much to his shoemaker family’s dismay due to a past predicament. When a talent show is held at the town’s plaza, Miguel ignores his family’s cries of refusal and joins up anyway. For that, he steals the monumental guitar from de la Cruz chapel, which makes him cursed and strands up in the Land of the Dead. Continue reading “Coco (2017) – Review”
There was a tale about a father who goes voyaging across the ocean only to find his missing son; that moving tale is sweetly narrated by Pixar into Finding Nemo (2003). It was a story of parental bond, specifically a father-son bond; however, the show-stealer was apparently not the main characters. It was instead a sidekick: an annoying Ellen DeGeneres-voiced blue tang fish which suffers from short-term memory loss. It’s undoubtedly Dory.
Apparently, 13 years have passed since Finding Nemo, but Pixar senior, Andrew Stanton is seemingly has more materials to tell. Taking place on year after the quest for Nemo, Dory suddenly gets a glimpse of childhood memories about her parent. This sudden revelation pushes the forgetful Dory against her limits to another voyage across the ocean. Then it leads to another quest for Marlin (Andrew Brooks), the legendary dad, along with his son, Nemo (now voiced by Hayden Rolance), to find Dory, who tries so hard finding her parent. It’s a finding-ception after all. Continue reading “Finding Dory (2016) – Review”
Pernah ada kisah luar biasa tentang seorang ayah yang berpetualang mencari anaknya yang hilang sampai ke ujung samudera; kisah itu dituturkan dengan manis oleh Pixar melalui mahakaryanya, Finding Nemo (2003). Kisah itu memang tentang parental bond yang menyentuh; namun, bintang kisah itu justru bukanlah tokoh utamanya, melainkan seorang (or seekor) sidekick: seekor ikan biru pelupa bersuara Ellen DeGeneres yang tingkahnya selalu menggemaskan dan (lebih tepatnya) menyebalkan. Siapa lagi kalau bukan Dory.
Sudah 13 tahun berlalu sejak Finding Nemo, namun ternyata senior Pixar, Andrew Stanton, masih punya materi untuk diceritakan. Bersetting hanya satu tahun pasca pencarian Nemo, Dory tiba-tiba mendapat ingatan tentang masa kecilnya, tentang orang tuanya, yang membuatnya bersikeras ingin menemukan mereka meskipun dengan keterbatasannya. Dimulailah perjalanan membelah samudera yang melibatkan Marlin (Andrew Brooks), si ayah yang legendaris, bersama putranya, Nemo (kini diisi suaranya oleh Hayden Rolance) untuk mencari Dory yang mencari orang tuanya. Finding-ception. Continue reading “Finding Dory (2016): Kisah tak terlupakan dari si ikan pelupa. Eh, kisah apa tadi?”
Review: In this year zero of newly-established Pixar’s one year two features campaign, those savvies have already made differences with the patient zero, the Psychology 101 for family, Inside Out—which got released previously and immediately overshadows the second feature, The Good Dinosaur.
As implied by the title, The Good Dinosaur is another animated take on these pre-historic reptiles, which apparently is a familiar face to cinema as seen in Dinosaur or The Land Before Time or most recently Ice Age. Even when handled by Pixar’s veteran helmer and first-time director, Peter Sohn, it’s a surprisingly formulaic straight-forward family-friendly drama with nothing even close to Pixar inventive storytelling. However, it got serious penchant on visuals and cinematography, even with Pixar standards, it’s still an innovation. Continue reading “The Good Dinosaur (2015) – Review”
For kids, Inside Out might be a visually stunning find-a-way-out adventure. Yet, for grown-ups, Inside Out is a rollercoaster of emotion.
“Do you ever look at someone and wonder, ‘What is going on inside their head?’” Joy opened the movie.
After 2 years of hiatus, Pixar finally returns with a very ambitious 2-film rampage—Inside Out and The Good Dinosaur.
Approximately 2 months following the US release, Inside Out finally hits Indonesian theatre. Expectations are sky-high, considering positive reviews by critics and that 98% tomato score in Rotten Tomatoes.
Inside Out, hereafter, could top my sky-is-the-limit expectation with a clever drama and, most importantly, a personal emotion roller-coaster in Pixar’s inventive way. Continue reading “Inside Out (2015) – Review + Lava”
La Luna, sebuah film pendek Pixar yang dirilis untuk menemani Brave tahun 2011 lalu, mampu menjadi semacam milestone dalam dunia perfilman animasi. Bahwasanya, selama ini film animasi selalu diidentikkan dengan kisah-kisah lucu yang mengocok perut, namun La Luna mendefinisikan ulang film animasi dengan gayanya sendiri. Pixar sendiri mengatakannya, “Timeless!” Continue reading “La Luna (2011): Fabel Masa Kini dari Pixar A”