Rango (2011)

3/5

Rango tells the story of a lizard (Depp) who stumbles into a Western. The town of Dirt is inhabited by other similarly-sized creatures, although sometimes it's really difficult to tell what kind of animal each character is supposed to be, and they are in the midst of a water shortage crisis. Rango manages to earn himself a sheriff's star by unwittingly taking out the town's predator and is soon tasked by the mayor (Beatty) with giving the townspeople hope in the face of rapidly dwindling resources. They must find out who is stealing their water and why before it's too late.

The acting is solid, the animation is fun, and the pacing is fluid. The plot is essentially a rehashing of Chinatown with the occasional twist and turn to make it a little bit more exciting and kid-friendly in the hopes that it doesn't feel predictable. Unfortunately, it is predictable. Adding failed plan after failed plan in the last 10 minutes doesn't make it surprising. It just makes it painful for everyone waiting for the film to end.

The best part about this movie is probably the character of Rango, who seems to be able to confabulate on the fly in a very entertaining manner. It makes for a clever script with sharp dialogue, including some excellent jokes, but on the whole I didn't get much out of it. Ultimately, the film tried too hard to satisfy too many different genres that it never really impressed me on any one of them. All in all, this is a strange but fairly mediocre film that entertains but doesn't stick with you. Watch it if it sounds interesting, but don't go out of your way to see it.

IMDb link: http://www.imdb.com/title/tt1192628/

Toy Story 3 (2010)

4.9/5

Toy Story 3 is another spot-on piece of entertainment to come out of Pixar. The plot follows the toys' attempt to escape the prison-like Sunnyside daycare center after being mistakenly discarded as trash while Andy moves his stuff for college. The new toys were far more interesting than those in the second one and the recurring toys were given even more texture and complexity. The incinerator scene was both harrowing and heartwarming, and surprisingly draining emotionally. The second half of the film is directed effortlessly as a prison escape, and there are thrills and creativity aplenty. The inventiveness of the animators allows them to envision an alternate world for the toys with its own set of rules (especially with respect to Mr. and Mrs. Potato Head) that feels completely believable and fresh. And just as you think there is no way the toys will survive, the writers blindside you with a surprise you never could have expected.

The concept of abandonment makes its somewhat tired presence here once more, but a few more interesting thematics crop up as well. The toys could easily represent parents who must be there for their kids at every waking moment, even when the kid grows apart with teenage rebellion or adult maturity. If so, the daycare allegory doesn't really follow. It feels like a closer approximation of heaven and hell. And what would donation represent? I see some very intriguing potential here, but I'm not so sure it was fully thought-out.

This movie is tough to rate. On the one hand, the storytelling and technical precision make this a splendid film to enjoy. On the other hand, I miss the refreshing, eye-opening take on our world that the first one presented. I wish this one had blown me away with its thematics as much as it did with its visuals and storytelling. But maybe I'm being too hard on it and expecting too much from it. It really is a joy to watch.

IMDb link: http://www.imdb.com/title/tt0435761/

Nashville (1975)

4.9/5

Robert Altman's Nashville is a truly astounding picture. The film follows a series of singers at various stages in their career, whose lives intertwine during a few days in Nashville. In all these people resides a common love for music, which makes the film feel like a living, breathing entity whose experiences are those of everyone involved. Thus, we see the aged singer (Gibson), who must give up his fans to the younger generation. We see the Lothario rock star looking for true love (Carradine), the son in his father's shadows who never got to sing (Peel), the backup singer waiting for her chance at fame (Black), and the radiant celebrity with her adoring fans (Blakley). Throughout these few days, a reporter from the BBC tries to interview the celebrities (Chaplin), a politico tries to promote his presidential candidate (Murphy), and a bizarre man with goofy glasses performs magic tricks and gives rides to random women on his motor-tricycle (Goldblum). And there are many more characters I don't have space to describe. While these 20 or so personages are introduced in the first 20 minutes, they make such an impression on you that you remember them for the entire movie.

The editing in this movie is pure magic. There are five or more storylines taking place at any one time, each one with overlapping dialogue and music. And yet there is never a confusing moment in the picture. You always know exactly where you are and exactly which people are involved. And it is hilarious and moving all at once, thanks to stellar writing and acting. However, the weakest aspects of this movie are its lighting and cinematography. Bland, washed-out colors and cheesy extreme zooms heavily date the film. Combined with a 2.5 hour running time (which probably could have been trimmed to 2 hours), the film fails to invite modern audiences in. But give it a chance, because this is a truly magnificent portrait of American culture.

IMDb link: http://www.imdb.com/title/tt0073440/