MONSTERS UNIVERSITY Pits Monster Geeks Vs. Greeks

MONSTERS UNIVERSITY Review:

- Is PIXAR slumping? I don't know. I hope not. Is this one of those late-period Simpsons things, where the argument is brought up that they're not as good as the glory days, but that a only-okay-for-Pixar movie is still better than most of the competition? Maybe. Pixar was so good for so long, churning out original hits like Finding Nemo, Ratatouille, and Wall-E, that everyone sort of wondered when the other shoe would drop. When Toy Story 3 came along and was (improbably) actually the best Toy Story yet (and one of Pixar's best), it was cemented: Pixar really could do no wrong. But lately, the momentum seems to have shifted a bit. Cars 2 was solid, but many were less than impressed. Brave didn't live up to its pre-release hype. And now, Monsters University is, of all things, a prequel. A prequel?! Aren't prequels where good franchises go to die? Isn't a prequel - that most hackneyed and cliched of Hollywood franchise-building tactics - a bit below the high standards of excellence that Pixar is known for? The very idea of it was off-putting.

On paper, Monsters University if not exactly a riveting concept. Was anyone really demanding the "secret origins" of Mike and Sulley from Monsters Inc., told as a send-up of 80's-style geeks vs. greeks college comedies? Not so much. But Pixar does tend to do these things well, and with Pixar you can expect a love and care put into the movie that other studios wouldn't bother with. You can also expect a level of thematic depth that most animated films don't possess. As familiar as the setting and conventions of Monsters U may be, the story undoubtedly takes some unexpected and thematically-complex turns. In short: I don't know that MU's jokey, cutesy, prequel premise was ever going to lend itself to cinematic greatness - but damned if Pixar doesn't aim high.

As mentioned, the movie's plot details the first meeting of Mike and Sulley, when both are just starting out as students at the prestigious MU. Mike is the classic monster underdog - not inherently good at being scary, but determined to succeed anyway thanks to a combination of perseverance, doggedness, hard work, and heart. He's convinced that if he studies hard enough and gives it his all, he'll overcome his deficiencies as a scarer, and become one of the greats. Meanwhile, Sulley arrives at MU with a rep as a gifted scarer, thanks to his family name, and the fact that his dad was a legend. Sulley is practically destined to be a great scarer - a second-generation blue-chipper who may not be much for studying and technique, but who makes up for it with good genetics and natural talent. Mike and Sully start out as rivals, but after getting into some trouble together and facing the wrath of MU's intimidating Dean Hardscrabble, both get kicked out of the scare program, and become desperate for a way back in. Enter the Scare Games - MU's annual inter-fraternity scaring competition. Mike and Sully make a deal with Hardscrabble to let them back into the scare program if they manage to win the games - though they'll face expulsion from MU if they lose. The Dean agrees, but that means that the unlikely pair has to join a fraternity. The only one that will have them is Oozma Kappa (OK!) - a motley crew of losers and rejects. Their chief competition is Roar Omega Roar - a bunch of big-shot frat-monsters with designs on winning the games.

What I quickly realized about Monsters U is that it's really a comedy, and maybe the most overtly comedic movie that Pixar has made. The movie has its roots in things like Animal House and Revenge of the Nerds. There's lots of homage to other college comedy classics, and there are a lot of winking references that movie fans will enjoy. What's more, the script from Dan Scanlon, Daniel Gerson, and Robert Baird is typical Pixar goodness. The dialogue is clever, the jokes (both verbal and visual) are snappy and at times hilarious, and the characters - even the side ones - are sharply defined and creatively conceived.

I'll focus in for a minute on those visuals. While MU doesn't have the scope or scale of Pixar classics like The Incredibles or Wall-E, its comedic elements allow Pixar's crack team of animators to really have some fun. There's all sorts of brilliant little Looney Tunes-esque visual gags (including a great one that pays off in a hilarious post-credits scene). And while there is an old-school, Saturday morning cartoon-style charm to some of the characters and jokes, there are also some undeniably cool action scenes (primarily the competitions from the Scare Games) that have a sleek, videogame-esque sense of dynamism. Finally, there are some moments of unexpected visual beauty in the movie that really wowed me. In particular, scenes in which the monsters travel into the "real" world - where us humans live - have a stunning look and feel to them, as the textures of the animation become grittier and darker, and the cartoonish monsters take on a legitmately-monstrous heft and weight. The character designs, overall, are are really cool. From the winged, demonic Dean Hardscrabble to the oddball members of Oozma Kappa, MU is overflowing with cool characters (loved the punk rock riot grrrls of the HSS sorority). So even if MU doesn't have the big, dazzling, jaw-dropping moments of a Wall-E, it's still got visual flair to spare.

Of course, the voice actors are another big reason as to why the movie succeeds. While it's a little hard to imagine the aging voices of Billy Crystal and John Goodman as belonging to fresh-faced college students, both (particularly the amazing Goodman) are so good in general that that initial weirdness factor soon dissipates. The movie overall though is loaded with smartly-cast voice actors. Helen Mirren shines as Dean Hardscrabble. Steve Buscemi is a lot of fun as Mike's geeky roommate Randy. And Aubrey Plaza has some of the movie's funniest moments as deadpan Scare Games ringleader Claire.

And what's interesting about the movie is that while much of its structure follows the usual college comedy template, it takes an interesting left turn towards the end. It doesn't get uber-dark or anything like that, but things also aren't *quite* as awesome-happy-everyone-is-amazing as you might expect. In the world of Disney, dreams always come true. But in the slightly-more-complex world of Pixar, sometimes it's less about dreams and more about making the best of what you have. It's a unique message - especially for a kids movie. A message that maybe not everyone is going to be a movie star, or a pro basketball player, or President. But maybe there are other things that are just as good, even if they're a little less reach-for-the-stars huge. In an age where kids and teens are constantly made to believe that they are one YouTube viral video away from being a TV star, it's a refreshing, if humbling, message from Pixar.

So what doesn't work? Well, for one thing, there's the line between paying homage and repeating what's come before. Sure, for kids the whole college setting and geeks/greeks rivalry may seem new, but there is something that's at times a little numbing about seeing a movie like this revisit so many tried-and-true genre conventions. Again, some of it may be the whole holding-Pixar-to-a-higher-standard thing. But it does feel a little disappointing to go from such a wholly original and imaginative idea in Monsters Inc. to a much less original and imaginative premise for its prequel. The comedy helps, and like I said, the movie is very sharp and funny. But it also feels relatively lightweight and fluffy as compared to the usual Pixar fare. I'd also chalk that up to the movie's rather mundane college campus setting. Pixar has fun with it, by subverting things to fit the whole monsters motif, but personally I don't think they go far enough. It seems like there is more opportunity for world-building, that isn't fully taken advantage of. And then there's just the usual case of prequelitis. You can't help but feel like it's sort of a stretch to shoehorn in this whole backstory to the world of Monsters Inc.

Overall though, I really enjoyed the film, and I think it will pleasantly surprise those who may have dismissed it offhand. It's funny, clever, a fun remix of college comedy films from back in the day, and has some really eye-popping character art and animation. Not a Pixar classic, but a positive sign that, hey, even when these guys don't hit a home run, they're still among the best in the biz.

My Grade: B+

WRECK-IT RALPH Has Got Game

WRECK-IT RALPH Review:

- There's something that's just inherently awesome about the fact that Wreck-It Ralph even exists. I mean, within the insular world of videogaming, there's no shortage of nostalgia for the medium's 80's and 90's glory years. But within the larger pop-culture universe, it's not exactly common to see the likes of Bowser, Chun-Li, Dig-Dug, and Q-Bert treated with the same kind of iconic status as their film and TV contemporaries. And yet, whole generations have now grown up with these digital characters as omnipresent and as revered as were the great screen icons or TV personalities of days gone by. Where gaming has often felt trivialized in pop-culture has often been misguided attempts to translate interactive games into non-interactive narratives. Yes, games have become more and more story-driven in recent years, but still ... they are games, and the narrative exists as part of a larger world or experience. And that's why Wreck-It Ralph is so cool - it's not a Pac-Man movie or a Dig-Dug movie ... the film skips over any attempt to bring a complex storyline to relatively simplistic characters. Instead, it goes the meta route - going inside the world of videogames and imagining the inner-workings of how this world functions - a brilliant melding of Toy Story and Tron. And so ... old-school gamers will be thrilled to see a movie that reverently calls out and gives props to so many touchstones of gaming culture (in doing so, acknowledging that this is now truly mainstream, pop-culture).

Still, unlike some of the older-skewing Pixar films that tell stories aimed as much as adults as they are kids, Wreck-It Ralph - from Disney proper - is much more a traditional Disney flick ... it's even got a princess (albeit a pretty nontraditional one). Perhaps that's where I found the movie just a bit frustrating - finding out that a lot of the call-outs to old-school games were more of a surface-level thing. Because even as many of us will love the shout-outs to the Konami code and Metal Gear Solid, the tone of the film is, nonetheless, decidedly kid-centric. That's not necessarily a knock, but I did feel that too often the movie felt overly simplistic and, well, kiddie. Maybe the outward similarities to the Toy Story series raised my expectations, or maybe all the old-school references made me think that this would be tonally more aimed at adults. But whatever the case, there's still a lot to like in Wreck-It Ralph. Visually appealing and filled with memorable and funny characters, kids are guaranteed to love it. But its saccharine-tinged sweetness may grate, just a bit, on those old enough to actually know what the Konami code is.

WRECK-IT RALPH paints a picture of videogame characters as blue-collar clock-punchers. By day, the characters dutifully go about their pre-programmed roles - whether that involves fighting off alien hordes, racing go-karts through candy-coated fantasy lands, or, in the case of Ralph, smashing an 8-bit building so that the user-controlled Fix-It Felix can strive to repair it. Essentially, Ralph is a nice guy, despite the fact that he's long filled the role of videogame villain, and has been programmed with a penchant for reckless destruction and Hulk-esque smashing. But because of his villain status, Ralph is a pariah among the other denizens of his videogame. His nemesis Felix is revered as a do-gooding hero, worshiped by all of the other non-playable characters in the game. Felix goes to parties and is cheered when he enters a room. Ralph lives in a dump (literally), and his only refuge is a support-group for videogame villains, where he commiserates with the likes of M. Bison and Bowser. Therein lies the most brilliant conceit of Wreck-It Ralph - that all videogame worlds are connected through a Grand Central Station-esque hub, and that during off hours, the various characters - from 8-bit pixel-blobs to realistically-rendered next-gen warriors - co-mingle.

That idea is where, to me, Wreck-It Ralph is most captivating. On a quest for medals that might change his status from villain to hero, Ralph violates videogame taboo, and leaves his game in search of new adventures and opportunities. Seeing Ralph explore the inter-game hub-world is visual eye-candy, and a fun game of Where's Waldo-style spot-the-character. Even better is when Ralph ventures into a modern Halo/Gears of War-esque game, where he encounters Calhoun - a badass woman warrior who shows him the ropes. This is the most exciting sequence of the film - a breathtaking series of action set-pieces that are also thrilling in how they juxtapose Ralph - a simple, 8-bit character - with the sleek, grim n' gritty world and complex gameplay of that typifies the modern era of games. Ultimately though, this section of the movie is sort of a tease. The next game-world that Ralph journeys to - the fruity-pebble world of Sugar Rush - is where the remainder of the movie is set. And so suddenly, the movie that promised to be some sort of mad-genius meta-analysis of the evolution of videogaming becomes a pretty standard-issue Disney story.

Once in Sugar Rush - a kart-racing game that's like Mario Kart high on pixie-stix - Ralph meets one of the movie's breakout stars, Vanellope. Vanellope is a "glitch" - she fades in and out of existence and is, like Ralph, a bit of an outcast in her own game. But while Ralph was a vital part of his game - albeit the villain - Vanellope's glitch status prevents her from even properly participating in her game's races. Eventually, we learn more about why that is, and how this fate befell Vanellope. But once introduced, she and her big brother/little sister relationship with Ralph sort of takes over the movie.

At this point, I'll mention the voice-acting in the film - because it's hard to talk about Vanellope without mentioning the fantastic voicework of Sarah Silverman. Silverman helps make Vanellope one of the most distinct female leads ever in a Disney flick - quirky, witty, smart-assed, and packing some serious 'tude. I like the Vanellope character a ton, and I suspect that girls and women are quickly going to embrace her as sort of a cult-favorite - because she is so different from what we typically get in a Disney movie. There are so many things about Vanellope that are a bold choice - from the choice of Silverman to voice her, to the semi-sadistic glee she takes in getting back at those who've belittled her and kept her down. Vanellope is, in many ways, sort of awesome. And yet ... she makes bathroom jokes. Lots of them. And rides a very, very fine line between being endearing and just plain annoying. Maybe part of that lies in how her story takes over the movie at the expense of the chance to see more cool videogame worlds or characters. Maybe part of it is that it's sometimes hard to feel overly sentimental - as the movie wants you to - about such a smart-alecky character. Whatever the case, I'll profess that over the course of Wreck-It Ralph, I kept going back and forth between admiring Vanellope's moxy and wondering if/when she might be gobbled up by a flashing-blue ghost. I guess I felt similarly about Sugar Rush itself. I loved it as a sort of parody of overly-cutesy and whimsical game worlds. But as a setting for over half the movie to take place in, with a neverending stream of candy and sugar puns in tow? After a while, I was desperate to see what other worlds were out there in videoland.

But back to the voicework in the film - it's pretty excellent overall. John C. Reilly is right in his sweet spot as lovable lug Ralph. Jack McBrayer could play Fix-It Felix in his sleep, but he does the part to perfection. I actually think that perhaps Jane Lynch was a bit miscast - her distinct voice evokes more stern school principal than badass space marine, but as always, Lynch gives the part her all. Meanwhile, Alan Tudyk channels golden age comedy icon Ed Wynn in his portrayal of the affably evil King Candy. It's another part that is highly entertaining, but borders a bit on annoying in certain segments - although what Tudyk does from a purely vocal perspective is pretty remarkable. There are all sorts of other impressive vocal turns here (my favorite was a cameo from 24's Dennis Haysbert as a space-marine commander). But I'll go back and give Reilly even more credit, because he really does carry the film and make Ralph into a sympathetic, all-too-human character.

Wreck-It Ralph opens strong - with its eye-popping look inside this imaginary, virtual world of intermixing videogame characters and concepts. But Ralph's overarching premise eventually takes a backseat to the saga of Vanellope and Sugar Rush, and loses some momentum. The film itself takes on some of the characteristics of the Sugar Rush world - losing a bit of its bite and satirical edge in the process. But I was pleased that the movie pulled itself together for an exciting finale, that combined action, humor, and heart to end on a crowd-pleasing yet still-slightly-subversive note. And throughout the film, there are so many great little visual touches - the distinct way in which the 8-bit characters move as opposed to the more modern ones, for example - that shows the level of care and thought that was put into this universe. At the same time, a lot of issues were sort of touched on that I would have liked to have seen explored more. How does an 8-bit character feel in a world where he's now outdated? How do the arcade characters (and their real-world owner) feel about a world where arcades are quickly becoming extinct? Again, some of these story points are touched upon, but the movie does sometimes seem content to do that Where's Waldo thing I mentioned earlier. As cool as it is, it can be a little distracting at times. Especially given that Disney got permission to use some of the iconic characters (Pac-Man, Sonic), but not all (no Mario, for example). It gives a slight feeling of randomness to the movie - like there was a lot of last-minute scrambling to make adjustments based on who was or wasn't licensed to use (and on a sidenote, I'll admit I was slightly bothered by the fact that so many non-arcade game characters and concepts - things that have their roots in home game consoles - appeared in a world that was supposed to be linked to a physical video arcade - anyone else bothered by this?). That said, yes, I got a huge kick out of a lot of the references, and all of the visual and aesthetic tributes in the film. The ending credits alone are a gorgeously-rendered homage to classic videogames that will make even the most hardened geek crack an appreciative smile.

Wreck-It-Ralph is a fine effort from Disney - it's got visual sparks, great characters, and a heaping helping of heart. It may suffer a bit from trying to be all things to all people, rather than a completely unfiltered creative vision. There is that sense that this one, perhaps, suffers from needing to appeal to the Disney-kid demographic and be a cross-platform franchise hit, rather than just a great movie. But hey, it's funny to think we're now living in a world where today's kids need to be taught videogame appreciation, and that a movie like this one might familiarize them with the greats. I'll say again that Wreck-It-Ralph is a great kids movie - but it doesn't do quite enough to transcend its genre or its Disney trappings, to advance to that proverbial next-level of awesome.

My Grade: B+

BRAVE: Can Pixar Stay On-Target?

BRAVE Review:

- Brave has inevitably been discussed in terms of its place in the Pixar pantheon, and, given the knack for quality that Pixar has displayed over the years, that comparison to the company's previous efforts is likely inevitable. On the surface, Brave doesn't set off any warning signals to the naysayers who fear Pixar's track-record is at risk. It's not a sequel, it's not a cynical-feeling film. In fact, Brave had been touted as all sorts of things: the first Pixar film with a female lead, a feel-good film about empowerment, a bold, original vision. Oddly, while Brave has many good, and many Pixar-ish qualities, it also felt like the least Pixar-y Pixar film to date. In fact, its princess-in-peril storyline is more classic Disney than anything else. And the very traditional, fairy-tale esque story makes Brave a little more kiddie, a little less thematically-sophisticated, than the likes of Wall-E, Cars, or Ratatouille. Maybe it's unfair that we've come to expect Pixar films to be equally-appealling to adults and kids alike. But regardless, the level of storytelling and depth here simply doesn't hit the best-in-class level that I expected.

Set in a vaguely medieval Scottish kingdom, BRAVE tells the story of teenage princess Merida, who hates the rigidly-structured and thoroughly predetermined life that her station entails. Merida is a free spirit. She'd much rather be off exploring the woods, caves, and waterfalls of her kingdom, and practing her archery skills, than attending ceremonies and royal functions. So Merida is especially beside herself with anger when her parents inform her that it's time for her to start thinking about marriage. Specifically, they've arranged an event during which princes from three neighboring kingdoms will compete in various physical challenges in order to win Merida's hand. The uniting of kingdoms is politically a big deal, and so there's added pressure for Merida to get married - not just as a way of fully entering into womanhood, but also as a means of solidifying political alliances.

The fundamental problem here is that Brave sets up a pretty intriguing main character in Merida - who has the potential to be a fun and pretty kickass leading lady - but then, very quickly, the film devolves from more realistic, epic-seeming adventure to dumbed-down Disney stuff. Point being: Brave sets up Merida as an epic hero, but then places her in a story that's decidely less-than-epic. Without spoiling too much, Merida's reluctance to pick a suitor for marriage leads her into an angry conflict with her well-meaning but backwards-thinking mother. Merida storms off and, in the dark forest, is led by ghostly will-o-wisps to the cottage of an old witch. In classic fairytale fashion, Merida asks the witch for a spell that will change her mother. But of course, the spell doesn't work as Merida assumed it would, and suddenly, Merida finds herself in the midst of a very ugly mess of her own making - a mess that could put her, her mother, and the kingdom in jeopardy.

Again, without spoiling ... the somewhat silly results of the witch's spell never seem to gel with the more sweeping, lyrical tone established at the movie's outset. And I'll admit, given the relative lack of story info in the movie's marketing / trailers, I found myself pretty surprised and somewhat disappointed with the direction the plotline took. Brave turns out not to be an epic adventure movie as hinted at, but instead a coming-of-age romp with all sorts of cartoonish shenanigans driving its main plot - mistaken identity, magical hijinks, and many a moment of "seriously, you guys, this is all one big misunderstanding!".

Now, I sort of see what the movie is going for in its second act. It reverses the roles of Merida and her queen mother, putting them into a situation where the Queen's regal, proper manner is rendered useless, and Merida's survival skills, adventurous spirit, bravery, and quick-thinking are what keeps them safe. But this segment of the film sort of drags, and without a truly great villain or source of conflict, the characters seem to meander. Sure, the fearsome bear Mord'u - the monstrous beast that long ago took the leg of Merida's father - lurks in the shadows, threatening to strike. And I give the movie credit - some of the scenes with Mord'u are really exhillerating, dark, and intense. But the movie's mythology is too sketchy to give the bear - or many other elements of the film's backstory - the weight they need to really resonate.

To that end, I was surprised at how relatively one-note a lot of the characters in Brave turned out to be. Like I said, Merida has all the elements to be a great new character (even if the free-spirited female archer thing now seems a bit played out post-Hunger Games). But to me, the number-one most important relationship in the film was the one between Merida and her mother Elinor, the queen. But Elinor felt flat as a character. Some shred of backstory might have helped us understand her, but as presented she's just the typical stern-mom-with-a-stick-up-her-bum. To be honest, the movie tries for something very, very tricky. Because the way it's set up, Merida is presented as the rebellious teen who needs to learn a lesson in responsibility and growing up. But, the twist here is ... even though Merida acts out and rebels, she's also basically right about everything she says. She's rebellious, but in a way that makes her seem - to us, the modern audience - less like an obnoxious teen and more like a perfectly-in-the-right modern, empowered woman fighting against an oppressive society that treats objects like women, man (sorry, obligatory Big Lebowski reference). But what I'm getting at is: the movie makes it very difficult to know who to root for. We root for Merida, of course, but the movie's structure keeps making it seem like Merida's the one who needs to learn a lesson, not her mom. Afterall, Merida is the one who ran off and made a deal-with-the-devil and ended up endangering her family in the process. And yet, anyone with an ounce of liberalism in their veins will hate Elinor and sort of hope she gets what's coming - it is she, afterall, who's keeping her daughter from being all-she-can-be.

And that's the weird thing about BRAVE that left me with mixed emotions. On the surface, it's got a positive message for young girls - you can be whatever you want, you can be kickass, you can be brave, and a hero, and don't have to conform to outdated gender roles. All of that is great, and I support it 100%. But Brave presents this message awkwardly. Like I said, Merida is both a fight-the-power feminist and sort of a punk teen. We're never quite sure how much of her behavior is true equal-rights liberalism and how much is just brattiness. What's more, the movie's girl-power message is pretty on-the-nose. It's so spelled out, that it almost feels outdated. Like, it's 2012, shouldn't an animated kids' movie now just, you know, take it for granted that a girl can kick ass and be smart and tough and independent? I don't remember, say, Hunger Games sermonizing about how Katniss could be a badass despite being a girl - she just was. You know? Now sure, I recognize that a.) Brave is aimed at younger kids, and b.) it's set vaguely in the past, at a time when presumably women had less independence (though *that* is never really spelled out). Still, the message of the movie, to me, was delivered in a somewhat awkward, and maybe even outdated fashion.

All that said, BRAVE is a gorgeous film. The Scottish highlands and landscapes are breathtaking to behold, and the quality of the backdrops is incredible. Similarly, the character animaiton is wonderful - full of life and personality, and ultra-expressive. From a purely aesthetic standpoint, I loved the look and feel of Brave. When it wants to be dark and scary (i.e. the parts with Mord'u), it oozes spookiness and shadow. When it wants to make us feel like we're there with Merida, exploring caves and waterfalls, the camera pulls back and sweeps us away in almost overpoweringly epic fashion. And when the film first introduces the ghostly blue will-o-wisps, the effect is understated yet haunting. As Merida follows the trail of wisps, each evaporating as she passes, there's an immersiveness to the action that was positively Nintendo-esque in its whimsical sense of discovery, mystery, and wonder. I also loved the very-Scottish soundtrack, thunderously boistrous at times and hautingly low-key at others. Again, Brave is quite simply an audio-visual marvel.

I also really loved the voice-cast. I've beocme a big fan of Kelly MacDonald from Boardwalk Empire, and she is fantastic as Merida. Emma Thompson is quite good as Elinor, and Billy Connelly is a hoot as the loud, mirth-making, revenge-seeking King Fergus. There are a number of other Scotts in the mix as well - Craig Ferguson, Kevin McKidd ... if only some of the other supporting characters really jumped out. As it is, the suitors and their families are all sort of one-joke characters. There's the nerdy suitor, the douchebag suitor, and the weird suitor who talks in an unintelligible mumble. None really gets a great moment to shine or to develop or change. But look, Kelly MacDonald is the star here, and no complaints about her great and memorable turn in the lead role.

BRAVE had a lot of fun moments. And at times - as in the harrowing final confrontation with Mord'u - it was downright riveting. But it just didn't wow me as I hoped and expected it might. A big part of that is that Pixar films tend to be seamlessly-realized animated universes. Characters, aesthetics, and narratives super-integrated to tell a very specific story in a very specific way - a way that tends to work on multiple levels for kids and for adults. Brave seems like more of a mash-up. Elements of classic Disney-style fairytales, elements of Pixar's more progressive aesthetics and thematics. In that way, it doesn't feel as visionairy, thematically cohesive, or as impactful as Pixar's best, and it also lacks the pure magic and sense of wonder of the timeless Disney animated films. There's a lot to admire in BRAVE, but it feels like a well-intentioned, yet flawed film from Pixar - perhaps the closest they've come to a misfire in a long while.

My Grade: B