On the occasion of Elemental’s release, here’s our ranking of every Pixar feature to date.
The screenwriters are savvy enough to acknowledge that audiences have moved on from Ethan Hunt and the IMF.
From the beginning, the anxiety of the loss of family has been central to Pixar.
Everybody has a place, a role, a value. The trick—with people, with food, with films, with life—is selection; that is, to have good taste.
The physical boundaries of Red’s Dream and Knick Knack would be transformed into a more metaphysical form for Toy Story.
Among the certainties in the world of film criticism, there’s one that stands above all others.
Pixar has somehow gone from a well-liked animation studio to the last, best hope of the Hollywood studio system.
In all the hubbub about Kevin O’Connell’s 20th nomination, no one has brought up the fact that the sound mixer’s co-nominee for Transformers, Greg P. Russell, has 12 winless nominations under his belt as well.
Not every tech category where No Country for Old Men and There Will Be Blood are facing off will settle in either of their favor.
Ratatouille’s batch of technical nominations in the categories where adults are allowed to play renders this contest a no brainer.
The blogosphere couldn’t care less about this award now that Jonny Greenwood’s There Will Be Blood score was preemptively taken out of competition.
Hey, I just heard the funniest thing the other day.
If Brad Bird has a signature auteur trait it would be that each of his films are struggles with and reactions to modernity.