4 ms·

I suppose "art" is meant as "technique" here. Modern large productions are so standardized today it is not an uncommon feeling one is watching the same movie ev

I suppose "art" is meant as "technique" here. Modern large productions are so standardized today it is not an uncommon feeling one is watching the same movie ever end ever. I think the last Pixar movie that was worth is "Up" (OK I have not seen them all). My main grief is that surprise is only obtained with a combination of visual effects, fast rhythm and loud sounds, and no more with the story. Relationships between characters is déjà-vu, so many times a conflicting parent/children relationship, where the parent is reflective but wrong and the child impulsive but right and they end up reconciling and admitting they were both partly right in the end. In "Soul" they play a bit with this pattern although I would hardly call this creativity. And finally many animation movies are also shameless green washing (here thinking of Wolfwalkers). Remember the critical tone of Wall-E?

mkl 6y ago
Là-haut = Up
- jerome-jh 6y ago
  OK edited :) To summarize my mind, I think the only american animated movie that's worth saving in the last 10 years is Disney's Frozen. It has some harshness, complex character relationships and appeals both to adults and children.
  - wegs 6y ago
    Frozen teaches kids all the wrong lessons. Shirk your responsibilities. Ignore your community. Focus on yourself. "Let it Go" is like an ode to everything I dislike about American culture. It's so very American. Best animated movie I've seen in the past decade was probably Moana, but I can't say I've seen many.
    - Closi 6y ago
      Well, actually the moral of Frozen is the absolute opposite - by shirking her responsibilities the community suffered, and she had to go back and face reality to restore the kingdom. The moral of the story was 'running away is not the answer'. "Let it go" as a song needs to be considered along with it's reprise: Elsa: "I'm such a fool, I can't be free. I can't escape from the storm inside of me... I can't control the curse! Oh I'm afraid I'll only make it worse. There's so much fear - you're not safe here, i.... i.... can't...." It's the same underlying moral story as the Lion King - Simba runs away and starts living the easy life, only for the community he left behind to suffer, and he has to become brave and face his responsibilities. The song "Let it go" is basically just "Hakuna Matata" from a story perspective. Is Hakuna Matata an ode to everything you dislike about American culture too? (Also the underlying story of Frozen is actually Danish)
      - jfengel 6y ago
        The uplifting music of Let It Go is an odd contrast to the film's message. As is the whole character of Elsa, who is seen as the protagonist of the film, when in fact she's practically the villain. Ana is the protagonist, but almost comes off as a sidekick. You can feel the film's heritage, in which Elsa really was supposed to be the villain. It didn't evolve that way, setting up a genuine shock at the big reveal. Let It Go ends up mashing the I Wish song and the Villain Song, and (with Menzel's breathtaking voice) comes out doubly exciting. It makes the film feel a little uncoordinated, in a way that I like because it doesn't just follow the tropes. But I think they didn't even understand that success themselves, and the sequel was rather poor. It dismissed the fact that the first film turned out to be about sisterhood, in a genuinely touching way, and thus lost its heart.
    - jerome-jh 6y ago
      "Let it go" is pretty early in the movie, that's not the conclusion. To the contrary at the end Kristoff turns its steps to help stop a feminicide.
    - jimbob45 6y ago
      I’m fairly sure they created “Let it go” before they really knew what the story would be about. They knew it was a snowy movie, knew they wanted something to rhyme with the traditional “Let it snow”, and vaguely had the idea that an angsty girl would be singing the song. As a result, the lyrics are incredibly generic and hardly seem to fit her specific situation.
      - Closi 6y ago
        You are half right, according to the song writer Robert Lopez the original movie structure and plan just had the placeholder title “Elsa’s Badass Song” and he was told to go write it, and then came up with let it go. But it was still very early in the process and it was the first song to be written that actually made it into the movie. The extended soundtrack includes quite a few of the early songs that didn’t make it into the movie where they were still trying to work out what the style of music was going to be and who the characters are, so the music and story were definitely co-developed together.
    - dragonwriter 6y ago
      > Frozen teaches kids all the wrong lessons. Shirk your responsibilities. Ignore your community. Focus on yourself. Reading Frozen as teaching that is like reading Veerhoeven’s Starship Troopers (which, sure, is abysmal on all sorts of other grounds) as an endorsement of Fascism. Yea, those things occur in the movie, but the movie is quite specifically about it producing bad outcomes that must be dealt with by people doing exactly the opposite.
      - wegs 6y ago
        You don't read Frozen. You watch Frozen. You watch it in first grade through maybe through eighth grade, but probably at that point, you're too embarrassed to go to a little children's movie. As much as I understand the more nuanced messages which could be taken out by a more sophisticated audience, much more so, I see the impact the movie has on actual real-world little kids. I both read and watched Starship Troopers as an adult.
        dragonwriter 6y ago
        > You don't read Frozen. “read” as in “to understand and give a particular meaning to written information, a statement, a situation, etc.” > You watch it in first grade through maybe through eighth grade, but probably at that point, you're too embarrassed to go to a little children's movie. Well, I mean I was a lot older when I watched it, but when my then-four year old watched it his commentary indicated that he saw the problems stemming from the behavior problem it highlighted pretty well. Not sure my almost-three-year-old got it, but she hasn't shown any sign of inverting the message as badly as you have.
  - dmitriid 6y ago
    Frozen is as cliched and as boring as possible. Compare it to, say, Coco. Or Zootopia. Or Klaus. Or, if we're talking about relationship with parents, Inside Out.
    - jerome-jh 6y ago
      Truly it has quite a bit of depth and is not predictable from the start. Certainly it appeals more to girls. Pixar movies tend to be rather didactic: "OK we are going to talk about [death|depression|aging|following your passion]" whereas the best kid movies just tell a great myth.
      - dmitriid 6y ago
        > Truly it has quite a bit of depth and is not predictable from the start. It... really isn't. There's not much depth or unpredictability. It's the regular Disney hero journey: oh, I'm a misunderstood loner, oh, I've found my own path, oh, I've prevailed. Oh, and comic reliefs. There are "unexpected" twists as in "wow, these sisters don't need a strong man to save them", and that's as much depth as it gets. Unlike, say, Coco. Which actually: - "has harshness". There's an actual murder involved. There's the uncomfortable truth of people losing their memory. People facing death etc. What harshness is there in Frozen that we haven't seen 15000 times before? Most Disney musicals from before 2000 have significantly more harshness than anything Frozen has. - "complex character relationships". The relationship between Miguel and his relatives, especially grandmother. The ever evolving relationship between Miguel and Hector. In Frozen there's next to zero character development except "suddenly we don't talk, suddenly I'm strong, suddenly we're good, suddenly sister powah". - "appeals both to adults and children". Coco definitely caters to a more grown up children who understand the concept of getting old, and death. Frozen is for the kindergarteners who will hug an Olaf plushie and sing Letitgo on repeat. The scene where Miguel sings to Mama Coco is such a gut punch to anyone who has relatives with memory loss, Frozen couldn't even approach the depth of it in the wildest dreams. The same goes for all other movies in my list. Frozen is a flashy loud entertainment for kindergarteners. It's definitely not "the only American animated movie that's worth saving in the last 10 years". > whereas the best kid movies just tell a great myth. And Frozen fails to tell that myth. It's flashy, loud, with memorable songs. And the first quality animated musical in a long while. That's why it is memorable. But "the only animated movie in the past 10 years that deserves to be preserved"? Hahaha, no.
  - pdpi 6y ago
    10 years is a lot of time, and "worth saving" is a very low barrier. I'd classify Kubo And The Two Strings, and Inside Out as must-watch films. Spiderman: Into The Spiderverse set new boundaries for what's possible with animation. Moana, Zootopia, Big Hero 6, Wreck-it Ralph, The Incredibles 2 and Finding Dory are all pretty good films, and definitely tick all the boxes you listed. I'm not even looking at Anomalisa, Isle of Dogs, and other such more adult-oriented animated films.
KineticLensman 6y ago
> My main grief is that surprise is only obtained with a combination of visual effects, fast rhythm and loud sounds It would be interesting to see a Pixar take on Stalker, a famously slow film, discussed just recently [0] [0] https://news.ycombinator.com/item?id=26126004 https://news.ycombinator.com/item?id=26126004
- jerome-jh 6y ago
  > Stalker Sounds like I'll have to watch it ... someday. With young kids you are pretty much limited in terms of what can be watched. Maybe one of the reason I am so angry about american animation I find so shallow ;)
  - inanutshellus 6y ago
    So wait, what're these non-US-made, deep, family-friendly films of which you speak?
    - jerome-jh 6y ago
      One I saw recently with kids is japanese anime "Okko's Inn" (see above).
philmcc 6y ago
I would be curious to see your list of movies, primarily aimed at children, where there are two protagonists who disagree in the beginning and don't end up reconciling in the end. ("Up", which you cited as the last Pixar movie that was 'worth it', is in fact largely a conflicted parent/child relationship) It reads as if what causes you 'grief' is actually the intended format of the content you are consuming. Yes, it's nice that Wall-E had a layer of critique of rampant consumerism (among other things), but it also had a joke about an unkillable roach too. My hunch is that the -primary- intended audience for these films spends a lot of time dealing with "conflicted parent/child relationships", and that you are simply not the intended audience. I don't mean to be overly critical of you here, I think if you take two steps back what you're saying is "the majority of these kids movies don't speak to me." A movie being "worth it" is pretty different from a movie "speaking to me", which is so subjective that it is hard extract actionable insights from. It's a hop, skip, and a jump from saying "I don't know why you like this flavor of ice cream, because I don't like it."
- jerome-jh 6y ago
  The best kid movies speak both to adults and kids, because they have several layers of understanding. That's what makes them great. I have not found those layers in recent Pixar movies, although I admit I skipped a number of them. The cause may be that they have to be so polished in order not to offend anyone. Maybe also their technical superiority in visual effects is somehow exempting them from telling great or controversial stories.
  - philmcc 6y ago
    I agree with you, as far as the dual layers of communication. The general feeling I get is that that's precisely why Pixar is a preferred studio over some of their competitors in the animation space. I didn't see Onward, but between that, Coco, Soul, and Inside Out, those are four moves that grapple pretty heavily with mortality, death, the afterlife, depression, which I'm assuming sails over the head of most kids. And even their earlier ones like Finding Nemo, Ratatouille, and Up have pretty serious things to say about childhood illness/"deformity", the role of the critic, and tragedy that similarly seem to be aimed -just- over the heads of kids. I think I'd need a definition of what a "great" childhood story is, but I'm pretty sure that neither Disney nor Pixar has "controversial" as part of their DNA. Much to the relief of parents everywhere, that's simply not what they're trying to do, so to judge them for not doing that is confusing. Perhaps you're looking for something more along the lines of A24 (Moonlight, The Florida Project, The Witch) from... Disney?
Closi 6y ago
> I suppose "art" is meant as "technique" here. Modern large productions are so standardized today it is not an uncommon feeling one is watching the same movie ever end ever. Art and technique aren't mutually exclusive - and the process of storytelling is both an art and requires you to fit the bounds of storytelling, just as a painting class might teach you line drawing techniques but still counts as art. The other thing to note is that you are listening to the same story over and over. This is the concept of the Joseph Campbell monomyth. All modern screenwriting is mostly based on the Campbell Hero's Journey, which argues that all great stories and myths are, at their core, the same. You generally follow a protagonist who moves from a place of comfort and is thrust into a new situation, where they need to overcome some sort of challenge which involves the protagonist needing to change as a person to overcome (i.e. metamorphosis). There are exceptions to this structure, like sometimes there isn't even a protagonist, but this is the general structure across the ages. Storytelling is usually seen as playing within the structure, rather than inventing a new structure. Usually writers who don't embrace structure end up naturally writing in the same structure inadvertently anyway, because the theory is that this reaches the core of what a story is.

mkl 6y ago

Là-haut = Up

jerome-jh 6y ago
OK edited :) To summarize my mind, I think the only american animated movie that's worth saving in the last 10 years is Disney's Frozen. It has some harshness, complex character relationships and appeals both to adults and children.
- wegs 6y ago
  Frozen teaches kids all the wrong lessons. Shirk your responsibilities. Ignore your community. Focus on yourself. "Let it Go" is like an ode to everything I dislike about American culture. It's so very American. Best animated movie I've seen in the past decade was probably Moana, but I can't say I've seen many.
  - Closi 6y ago
    Well, actually the moral of Frozen is the absolute opposite - by shirking her responsibilities the community suffered, and she had to go back and face reality to restore the kingdom. The moral of the story was 'running away is not the answer'. "Let it go" as a song needs to be considered along with it's reprise: Elsa: "I'm such a fool, I can't be free. I can't escape from the storm inside of me... I can't control the curse! Oh I'm afraid I'll only make it worse. There's so much fear - you're not safe here, i.... i.... can't...." It's the same underlying moral story as the Lion King - Simba runs away and starts living the easy life, only for the community he left behind to suffer, and he has to become brave and face his responsibilities. The song "Let it go" is basically just "Hakuna Matata" from a story perspective. Is Hakuna Matata an ode to everything you dislike about American culture too? (Also the underlying story of Frozen is actually Danish)
    - jfengel 6y ago
      The uplifting music of Let It Go is an odd contrast to the film's message. As is the whole character of Elsa, who is seen as the protagonist of the film, when in fact she's practically the villain. Ana is the protagonist, but almost comes off as a sidekick. You can feel the film's heritage, in which Elsa really was supposed to be the villain. It didn't evolve that way, setting up a genuine shock at the big reveal. Let It Go ends up mashing the I Wish song and the Villain Song, and (with Menzel's breathtaking voice) comes out doubly exciting. It makes the film feel a little uncoordinated, in a way that I like because it doesn't just follow the tropes. But I think they didn't even understand that success themselves, and the sequel was rather poor. It dismissed the fact that the first film turned out to be about sisterhood, in a genuinely touching way, and thus lost its heart.
  - jerome-jh 6y ago
    "Let it go" is pretty early in the movie, that's not the conclusion. To the contrary at the end Kristoff turns its steps to help stop a feminicide.
  - jimbob45 6y ago
    I’m fairly sure they created “Let it go” before they really knew what the story would be about. They knew it was a snowy movie, knew they wanted something to rhyme with the traditional “Let it snow”, and vaguely had the idea that an angsty girl would be singing the song. As a result, the lyrics are incredibly generic and hardly seem to fit her specific situation.
    - Closi 6y ago
      You are half right, according to the song writer Robert Lopez the original movie structure and plan just had the placeholder title “Elsa’s Badass Song” and he was told to go write it, and then came up with let it go. But it was still very early in the process and it was the first song to be written that actually made it into the movie. The extended soundtrack includes quite a few of the early songs that didn’t make it into the movie where they were still trying to work out what the style of music was going to be and who the characters are, so the music and story were definitely co-developed together.
  - dragonwriter 6y ago
    > Frozen teaches kids all the wrong lessons. Shirk your responsibilities. Ignore your community. Focus on yourself. Reading Frozen as teaching that is like reading Veerhoeven’s Starship Troopers (which, sure, is abysmal on all sorts of other grounds) as an endorsement of Fascism. Yea, those things occur in the movie, but the movie is quite specifically about it producing bad outcomes that must be dealt with by people doing exactly the opposite.
    - wegs 6y ago
      You don't read Frozen. You watch Frozen. You watch it in first grade through maybe through eighth grade, but probably at that point, you're too embarrassed to go to a little children's movie. As much as I understand the more nuanced messages which could be taken out by a more sophisticated audience, much more so, I see the impact the movie has on actual real-world little kids. I both read and watched Starship Troopers as an adult.
      - dragonwriter 6y ago
        > You don't read Frozen. “read” as in “to understand and give a particular meaning to written information, a statement, a situation, etc.” > You watch it in first grade through maybe through eighth grade, but probably at that point, you're too embarrassed to go to a little children's movie. Well, I mean I was a lot older when I watched it, but when my then-four year old watched it his commentary indicated that he saw the problems stemming from the behavior problem it highlighted pretty well. Not sure my almost-three-year-old got it, but she hasn't shown any sign of inverting the message as badly as you have.
- dmitriid 6y ago
  Frozen is as cliched and as boring as possible. Compare it to, say, Coco. Or Zootopia. Or Klaus. Or, if we're talking about relationship with parents, Inside Out.
  - jerome-jh 6y ago
    Truly it has quite a bit of depth and is not predictable from the start. Certainly it appeals more to girls. Pixar movies tend to be rather didactic: "OK we are going to talk about [death|depression|aging|following your passion]" whereas the best kid movies just tell a great myth.
    - dmitriid 6y ago
      > Truly it has quite a bit of depth and is not predictable from the start. It... really isn't. There's not much depth or unpredictability. It's the regular Disney hero journey: oh, I'm a misunderstood loner, oh, I've found my own path, oh, I've prevailed. Oh, and comic reliefs. There are "unexpected" twists as in "wow, these sisters don't need a strong man to save them", and that's as much depth as it gets. Unlike, say, Coco. Which actually: - "has harshness". There's an actual murder involved. There's the uncomfortable truth of people losing their memory. People facing death etc. What harshness is there in Frozen that we haven't seen 15000 times before? Most Disney musicals from before 2000 have significantly more harshness than anything Frozen has. - "complex character relationships". The relationship between Miguel and his relatives, especially grandmother. The ever evolving relationship between Miguel and Hector. In Frozen there's next to zero character development except "suddenly we don't talk, suddenly I'm strong, suddenly we're good, suddenly sister powah". - "appeals both to adults and children". Coco definitely caters to a more grown up children who understand the concept of getting old, and death. Frozen is for the kindergarteners who will hug an Olaf plushie and sing Letitgo on repeat. The scene where Miguel sings to Mama Coco is such a gut punch to anyone who has relatives with memory loss, Frozen couldn't even approach the depth of it in the wildest dreams. The same goes for all other movies in my list. Frozen is a flashy loud entertainment for kindergarteners. It's definitely not "the only American animated movie that's worth saving in the last 10 years". > whereas the best kid movies just tell a great myth. And Frozen fails to tell that myth. It's flashy, loud, with memorable songs. And the first quality animated musical in a long while. That's why it is memorable. But "the only animated movie in the past 10 years that deserves to be preserved"? Hahaha, no.
- pdpi 6y ago
  10 years is a lot of time, and "worth saving" is a very low barrier. I'd classify Kubo And The Two Strings, and Inside Out as must-watch films. Spiderman: Into The Spiderverse set new boundaries for what's possible with animation. Moana, Zootopia, Big Hero 6, Wreck-it Ralph, The Incredibles 2 and Finding Dory are all pretty good films, and definitely tick all the boxes you listed. I'm not even looking at Anomalisa, Isle of Dogs, and other such more adult-oriented animated films.

KineticLensman 6y ago

> My main grief is that surprise is only obtained with a combination of visual effects, fast rhythm and loud sounds It would be interesting to see a Pixar take on Stalker, a famously slow film, discussed just recently [0] [0] https://news.ycombinator.com/item?id=26126004 https://news.ycombinator.com/item?id=26126004

jerome-jh 6y ago
> Stalker Sounds like I'll have to watch it ... someday. With young kids you are pretty much limited in terms of what can be watched. Maybe one of the reason I am so angry about american animation I find so shallow ;)
- inanutshellus 6y ago
  So wait, what're these non-US-made, deep, family-friendly films of which you speak?
  - jerome-jh 6y ago
    One I saw recently with kids is japanese anime "Okko's Inn" (see above).

philmcc 6y ago

I would be curious to see your list of movies, primarily aimed at children, where there are two protagonists who disagree in the beginning and don't end up reconciling in the end. ("Up", which you cited as the last Pixar movie that was 'worth it', is in fact largely a conflicted parent/child relationship) It reads as if what causes you 'grief' is actually the intended format of the content you are consuming. Yes, it's nice that Wall-E had a layer of critique of rampant consumerism (among other things), but it also had a joke about an unkillable roach too. My hunch is that the -primary- intended audience for these films spends a lot of time dealing with "conflicted parent/child relationships", and that you are simply not the intended audience. I don't mean to be overly critical of you here, I think if you take two steps back what you're saying is "the majority of these kids movies don't speak to me." A movie being "worth it" is pretty different from a movie "speaking to me", which is so subjective that it is hard extract actionable insights from. It's a hop, skip, and a jump from saying "I don't know why you like this flavor of ice cream, because I don't like it."

jerome-jh 6y ago
The best kid movies speak both to adults and kids, because they have several layers of understanding. That's what makes them great. I have not found those layers in recent Pixar movies, although I admit I skipped a number of them. The cause may be that they have to be so polished in order not to offend anyone. Maybe also their technical superiority in visual effects is somehow exempting them from telling great or controversial stories.
- philmcc 6y ago
  I agree with you, as far as the dual layers of communication. The general feeling I get is that that's precisely why Pixar is a preferred studio over some of their competitors in the animation space. I didn't see Onward, but between that, Coco, Soul, and Inside Out, those are four moves that grapple pretty heavily with mortality, death, the afterlife, depression, which I'm assuming sails over the head of most kids. And even their earlier ones like Finding Nemo, Ratatouille, and Up have pretty serious things to say about childhood illness/"deformity", the role of the critic, and tragedy that similarly seem to be aimed -just- over the heads of kids. I think I'd need a definition of what a "great" childhood story is, but I'm pretty sure that neither Disney nor Pixar has "controversial" as part of their DNA. Much to the relief of parents everywhere, that's simply not what they're trying to do, so to judge them for not doing that is confusing. Perhaps you're looking for something more along the lines of A24 (Moonlight, The Florida Project, The Witch) from... Disney?

Closi 6y ago

> I suppose "art" is meant as "technique" here. Modern large productions are so standardized today it is not an uncommon feeling one is watching the same movie ever end ever. Art and technique aren't mutually exclusive - and the process of storytelling is both an art and requires you to fit the bounds of storytelling, just as a painting class might teach you line drawing techniques but still counts as art. The other thing to note is that you are listening to the same story over and over. This is the concept of the Joseph Campbell monomyth. All modern screenwriting is mostly based on the Campbell Hero's Journey, which argues that all great stories and myths are, at their core, the same. You generally follow a protagonist who moves from a place of comfort and is thrust into a new situation, where they need to overcome some sort of challenge which involves the protagonist needing to change as a person to overcome (i.e. metamorphosis). There are exceptions to this structure, like sometimes there isn't even a protagonist, but this is the general structure across the ages. Storytelling is usually seen as playing within the structure, rather than inventing a new structure. Usually writers who don't embrace structure end up naturally writing in the same structure inadvertently anyway, because the theory is that this reaches the core of what a story is.