If you're just dropping by The House for Pixar Week, you should know that we have a lot of folks here who've written about Pixar in the past that you might have missed. (We cover other film and TV topics as well, so if you're interested in the cinematic arts in general, stick around.) But, in particular, you might like this piece from earlier this year by Elise Nakhnikian, who gives her personal picks out of Pixar's output.
"I don't think the people at Pixar are capable of making a bad movie—though Cars veered dangerously close to the line—but there are the Pixar movies you like and the ones you fall in love with. And for me, the best are the ones that shake off the constraints of the natural world, like a dog drying off after a dip.
Take Wall-E—at least, up to what my husband calls the Titanic portion of the movie. Until the two little love-bots start running around the space station, calling out each other's names for what feels like forever, the premise is ingenious, funny, and poignant all at once. It's also exaggerated just enough to make you think about the growing gap between nature and the American way of life without getting preachy or self-righteous. The setup on the space station is interesting too, until it degenerates into a standard chase scene/showdown, but the great parts of this movie are the huge chunks that need no dialogue at all, just music and sound effects and the occasional coo or cry or clip from Wall-E's favorite movie, Hello Dolly. The first half hour or so is the best part, a wordless ballet of motion, music, and sound effects. It's weird and wonderful, instantly recognizable yet strange, like a dream so intense it wakes you up. (This is the kind of movie Max Fleischer would have made if they'd had CGI in his day.)"
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