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    Sample Movie Reviews1

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    The film Wall-E is a Pixar animated sci-fi film that tells a story through minimal dialogue. It follows the character Wall-E, a robot left on a future Earth that has become entirely covered in garbage. Wall-E goes about his work compacting trash while developing a personality and curiosity. He is fascinated by human artifacts he finds. The film is largely silent for the first hour as it shows Wall-E's world and daily routine, which is influenced by silent films. When a new robot named EVE arrives, Wall-E falls for her and his world is changed. The film addresses environmental themes but is ultimately a story of romance.

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    Sample Movie Reviews1

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    The film Wall-E is a Pixar animated sci-fi film that tells a story through minimal dialogue. It follows the character Wall-E, a robot left on a future Earth that has become entirely covered in garbage. Wall-E goes about his work compacting trash while developing a personality and curiosity. He is fascinated by human artifacts he finds. The film is largely silent for the first hour as it shows Wall-E's world and daily routine, which is influenced by silent films. When a new robot named EVE arrives, Wall-E falls for her and his world is changed. The film addresses environmental themes but is ultimately a story of romance.

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    The film Wall-E is a Pixar animated sci-fi film that tells a story through minimal dialogue. It follows the character Wall-E, a robot left on a future Earth that has become entirely covered in garbage. Wall-E goes about his work compacting trash while developing a personality and curiosity. He is fascinated by human artifacts he finds. The film is largely silent for the first hour as it shows Wall-E's world and daily routine, which is influenced by silent films. When a new robot named EVE arrives, Wall-E falls for her and his world is changed. The film addresses environmental themes but is ultimately a story of romance.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    6 views8 pages

    Sample Movie Reviews1

    Uploaded by

    farzana butt
    The film Wall-E is a Pixar animated sci-fi film that tells a story through minimal dialogue. It follows the character Wall-E, a robot left on a future Earth that has become entirely covered in garbage. Wall-E goes about his work compacting trash while developing a personality and curiosity. He is fascinated by human artifacts he finds. The film is largely silent for the first hour as it shows Wall-E's world and daily routine, which is influenced by silent films. When a new robot named EVE arrives, Wall-E falls for her and his world is changed. The film addresses environmental themes but is ultimately a story of romance.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
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    Film Reviews

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    Abigail Breslin in a scene from "Kit Kittredge: An American Girl" from HBO Films.

    Kit Kittredge: An American Girl (G)

    By Rene Rodriguez, The Miami Herald

    Walking in to see Kit Kittredge: An American Girl, I was unaware the movie
    was spun off from a popular line of toy dolls -- more than 14 million of them
    have been sold. Nor did I know about the anticipation and excitement many
    little girls have for the movie, which is the fourth in the series (the previous
    three, made for TV, are available on DVD).

    I still have no opinion on the toys, but I can definitely vouch for the film
    living up to expectations. Shot with the burnished, luxurious
    cinematography of a big-budget movie, and cast with actors who never
    treat the material as if it were beneath them, Kit Kittredge: An American
    Girl is a thoroughly satisfying and engaging children's picture that never
    forgets those kids probably didn't get to the theater by themselves.
    Director Patricia Rozema and screenwriter Ann Peacock avoid
    condescending to their target audience -- or, for that matter, to their adult
    guardians -- by treating their child protagonists with care and respect. It
    helps, too, that they have the amazing Abigail Breslin (Little Miss
    Sunshine) in the lead role of 9-year- old Kit, a bright and winsome girl in
    Depression-era Cincinnati who aspires to be a reporter for the Cincinnati
    Register.

    Kit is constantly submitting to the paper her stories, such as a piece on the
    World's Fair, without much luck. But as the Depression starts to affect the
    lives of her closest friends -- and then, inevitably, her own family -- Kit's
    priorities change. Her father (Chris O'Donnell) goes to Chicago to find work
    and promises to return, but doesn't. Her mother (Julia Ormond), in a
    desperate attempt to save their home, starts taking in boarders, such as a
    traveling librarian (Joan Cusack), a magician (Stanley Tucci) and a fallen
    socialite (Glenn Headley) awaiting word from her own husband, who has
    gone to New York in search of employment.

    The backdrop is grim, and to its credit, the movie does not sugarcoat its
    portrayal of how the Depression affected the day-to-day lives of upper
    middle-class Americans who lost everything in the span of a month and had
    to figure out how to push forward.

    The filmmakers allow the story to unfold entirely through the point of
    view of Kit, who may not fully understand the severity of the situation, but
    is also more aware and resourceful than the adults around her realize. Kit
    Kittredge: An American Girl sends its heroine and her friends on several
    adventures, including a Nancy Drew-ish one involving some stolen
    valuables, but it's the movie's overall tone -- the innocence of children, as
    well as their surprising resiliency -- that elevates the film into something
    far more valuable than a feature-length commercial for toys.

    Cast: Abigail Breslin, Julia Ormond, Chris O'Donnell, Joan Cusack,


    Madison Davenport, Zach Mills, Glenn Headley, Jane Krakowski, Stanley
    Tucci, Wallace Shawn

    Director: Patricia Rozema

    Screenwriter: Ann Peacock. Based on the books by


    Valerie Tripp Producers: Elaine Goldsmith-Thomas,
    Lisa Gillan, Ellen L. Brothers
    A Picturehouse release. Running time: 100 minutes. No offensive material.
    Playing at area theaters.
    'Kung Fu Panda' falls flat

    Using his noodle: Panda Po (voice of Jack Black) begins his study under
    Master Shifu (Dustin Hoffman)

    By Claudia Puig, USA TODAY


    Though occasionally visually inventive, Kung Fu Panda is a
    disappointment when it comes to matters of simple black and white:
    the script.

    Everything that happens in this dull tale of Po, a paunchy panda who
    becomes a zealous kung fu fighter, is telegraphed well in advance. That
    might not have been a problem had the storytelling been more
    amusing.

    The story centers on the enthusiastic, if clumsy Po (Jack Black), a rabid


    armchair kung fu fan. Po's day job is to work in his family's noodle shop.
    When he's accidentally chosen as the kung fu master who will fulfill an
    ancient prophecy, he must rise to the occasion.

    Despite the panda being voiced by Black, the humorous moments are
    few. If you're going to cast someone as singularly quirky as Black, then
    take advantage of his eccentric persona. The role is so straightforward,
    it could have been played by anyone.

    And the supporting characters—a tiger voiced by Angelina Jolie, a crane


    played by David Cross, Lucy Liu as a viper and Jackie Chan as an agile
    monkey — are so lacking personality that you wonder why the
    filmmakers bothered to get such a cross section of talent.

    Sure, the message to believe in yourself is a valuable, if often-heard,


    one for young audiences. But it could have played out in a more
    creative way.
    Perhaps the most interesting character is Master Shifu, charmingly
    voiced by Dustin Hoffman. He whips Po into shape and reveals his own
    character.

    One sequence on a swinging wooden bridge is a visual treat, especially


    when seen in IMAX. But the film's climax doesn't show the fate of the
    bad guy. This lack of clarity might have more to do with plans for a
    sequel than bad storytelling.

    Perhaps children will be taken by Po's huggable appearance, but anyone


    older than 9 is likely to be bored.
    Movie Reviews

    by Bob Mondello

    'Wall-E,' Speaking Volumes with Stillness and Stars

    Listen Now [4 min 37 sec] add to playlist

    Enlarge

    Evolutionary thinking: Wall-E may have started out as a glorified trash


    compactor, but he's learned how to look to the sky. Pixar

    Wall-E

     Director: Andrew Stanton


     Genre: Sci-Fi
     Running Time: 97 minutes

    Rated G: Big-hearted and full of wonder, but too smart to be saccharine.

    “The first hour of Wall-E is a crazily inventive, deliriously engaging and


    almost wordless silent comedy of the sort that Charlie Chaplin and Buster
    Keaton used to make.”

    All Things Considered, June 27, 2008 · The camera descends, at the start
    of Wall-E, from outer space to a landscape that looks eerily familiar —
    and sort of not. The sun filters down through a brownish haze. What
    seem at first like skyscrapers turn out to be neatly stacked mountains of
    trash. Stillness is everywhere, broken only by the unlikely sound of a
    song from Hello, Dolly! — and a solitary figure zipping around a junk-
    strewn cityscape.

    Apparently, humans never changed course on pollution and


    consumerism, and sometime in the 22nd century they were forced to
    leave a planet they had turned into a giant garbage dump. But they left
    without turning off a robot they'd left behind. He's basically a trash
    compactor on treads — a Waste Allocation Load-Lifter: Earth Class, or
    WALL-E
    — who has, over the course of 700 years, developed a personality.

    He tries to puzzle out what mankind's detritus was for (a Rubik's


    cube, a spork, a fire extinguisher), and he saves a few items — an
    alarmingly fresh 700-year-old Twinkie, say, for his pet cockroach.

    But most of the trash he compacts and stacks, in a routine that is


    interrupted only when he falls head-over-treads for a sleek robot from
    the stars: EVE (for Extra-terrestrial Vegetation Evaluator), whom he
    watches from afar so he won't be incinerated.

    Eve has an itchy trigger-finger, it turns out.

    The first hour of Wall-E is a crazily inventive, deliriously engaging and


    almost wordless silent comedy of the sort that Charlie Chaplin and
    Buster Keaton used to make. Things turn more conventional in the last
    half hour, when pudgy, machine-dependent humans make an
    appearance, but the glow of that first part will carry you through.
    That and the majesty of the filmmaking: Wall-E's world, in all its epic
    decay, looks real. You can almost taste the dust. And it's emotionally real
    too — enough so that a cautionary tale about the environment, and about
    big corporations that don't take care of it, and about getting so caught up
    in our gadgetry that we forget to look at the stars all take a back seat to
    romance.

    So do some specifically cinematic subtexts. Director Andrew Stanton


    and his animators have slipped in nods not just to Hello, Dolly!, but to
    Star Wars and Blade Runner, An Inconvenient Truth and the comedies
    of Chaplin and Jacques Tati. More than just a nod to Chaplin, actually:
    Wall-E, with his workaholic scruffiness and his yearning for someone
    to hold hands with, might as well be Chaplin's Little Tramp.

    There's actually a nice parallel between this largely silent film and
    Chaplin's first sound film, Modern Times. In that one, the silent clown
    used the soundtrack mostly for music and effects, not for speech, just as
    Pixar does here. Chaplin only let you hear a human voice a couple of
    times, and only on some sort of mechanical contraption — say a closed-
    circuit TV screen — to emphasize its artificiality. It was his way of
    saying to the sound world, "OK, everybody's doing this talking thing
    now, but look how much more expressive our silent world is."

    For the first time in a Pixar movie, Wall-E's filmmakers give a nod to the
    world of actual actors and cameras — and make them artificial in the
    same way: by only letting you see them on video screens, where they
    look flat and washed-out compared to the digital world around them.

    But there's one difference. Chaplin knew he had lost the battle: Silence
    was finished; sound had won. In today's Hollywood, digital is what's
    taking over — in special effects, in green-screen work, in animation.
    And Pixar's animators, bless them, are at the
    forefront, insisting that imagery created on computers doesn't have to
    be soulless. Wall- E's images are filled with emotion, just as silent
    film's images were — even though its characters look like they're
    made of metal and plastic, and can't say a word.

    Wall-E is being sold as a futuristic fantasy, of course. But I have to say


    I'm just as gratified by their look back 70 years to silent movies as I am
    by their look forward 700 years to a silent planet.

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