Showing posts with label David Ogden Stiers. Show all posts
Showing posts with label David Ogden Stiers. Show all posts

4/02/2009

DVD Review: Lilo & Stitch -- 2- Disc Big Wave Edition (2002)


Catching a Wave on DVD



Previously Available







Since Dr. Spock never wrote a book on how to raise an unruly alien, it's up to mischievous Hawaiian half-pint troublemaker Lilo (voiced by Daveigh Chase) to come up with her own set of rules when she brings her new blue “dog” home from the local animal shelter.

Unaware that the pet she names Stitch is in fact Experiment 626-- the illegal, extraterrestrial product of mad scientist Dr. Jumpa Jookiba (David Ogden Stiers) -- who escaped execution after crash landing in his space pod to Earth, Lilo decides that the best way to train the newest member of her tiny family is to encourage them to emulate her idol, Elvis Presley.




In the brand new lush two-disc Big Wave Edition set for the Oscar-nominated feature film, Lilo & Stitch—which boasts a 125 minute all encompassing documentary on the making of the feature on disc two—we’re once again treated to one of Walt Disney Studios' most bizarre yet creative tales about an unlikely friendship.

The film centers on the two titular outcasts including the havoc-wreaking, antisocial mostly sour but ultimately Disney certified sweet Stitch and the adorable Lilo who is just one misstep away from being removed from the custody of her overwhelmed, hard-working big sister Nani (Tia Carrere).

Just the sixth offering from the studio to be set in present day (following Oliver and Company)-- as the DVD set’s fascinating documentary reveals, the film employed the same collaborators who’d contributed greatly to the action-packed and girl-power work Mulan (co-writers and directors Chris Sanders and Dean Deblois. Likewise, it was essentially inspired as the cinematic answer posed during a Roy Disney hosted retreat that asked the animation staff what could become the Dumbo of their generation.




Using a breathtaking but artistically challenging to approach involving water colors to capture the light, ambiance and magic of Hawaii (studied firsthand by the animators upon visiting the island of Kaua’i with cameras and sketchbooks in hand), Lilo & Stitch actually had its origins as far back as the early 80s when it was initially conceived as a failed children's book.

While the film begins on uneven footing in its ominous outer-space opening which may frighten the youngest viewers (that in fact prompted me to skip ahead to chapter six when watching it with a toddler the second time around), eventually the tried and true Disney morals of family, loyalty, and friendship persevere despite its unorthodox and dark-tinged plot that wouldn't feel out of place in the oeuvre of Tim Burton or perhaps the early and sometimes admittedly twisted shenanigans in which Pinocchio found himself in the Walt Disney classic.




In his 2002 review published following the film’s release, America’s most beloved critic and scholar Roger Ebert correctly marveled in dismay that Scooby-Doo-- the “wretched” film in which he “deplored… as a blight on the nation's theaters,” grossed $54 million during its opening weekend. And furthermore, while revealing his disappointment with that statistic, he shared his belief that subsequently “if there is justice in the world, ‘Lilo & Stitch’ will gross $200 million,” before he eventually succumbed in relenting that “there is not justice” and instead “a herd instinct” as he feared that Scooby-Doo would continue to win out.



However, despite Scooby-Doo’s theatrical success (which was usurped by Minority Report) that eventually guaranteed Scooby-Doo a sequel, there is no legacy involving that work whereas there is one for Lilo & Stitch as it raked in over twenty nominations and eight wins from critical circles and industry organizations (including that Animated Feature Oscar nomination which found it losing out to Hayao Miyazaki’s Spirited Away).



Moreover, as reported by Wikipedia-- to date the film “has been the only Walt Disney Feature Animation/Walt Disney Animation Studios production released during the 2000s to meet with critical approval and make its cost back during its original theatrical run,” not to mention the four direct-to-video sequels and two season spanning television spin-off series that followed.

Refreshingly, it also breaks what has become tradition for the studio by featuring a girl who isn't unrealistically shaped in Disney Princess fashion not to mention being one of the few animated films produced by this or any other studio that prominently feature characters that are not Caucasian. Although, this being said, I must admit that both upon my initial viewing on the big screen seven years ago and even today, I still am a bit mixed on some of the seemingly unflattering and overly “broad” ethnic animation of the characters of Nani and Ving Rhames’ Men in Black meets Pulp Fiction child custody worker character in particular.




Despite this, overall, I feel it's a step in the right direction for the studio to pave the way for hopefully subsequent animation efforts of others that follow by embracing diversity and contemporary storytelling. And additionally—while the outer-space sci-fi bookend seems a bit out of sync with the rest—I adore the imaginative touches seasoned throughout such as the ageless and hip compositions of Elvis Presley and more importantly the return to watercolor animation.

It's the sheer and unparalleled beauty of this film (echoed recently through some of the scenic “on the road” sequences employed in Bolt) that make this well-deserved two disc special edition treatment of Lilo & Stitch all the more welcome in a world where-- despite the incredible breakthroughs in the field of animation, 3-D, and CGI—we’re used to a certain video-game like look. Thus, it's extremely important to find our animation palette cleansed once again by just how gorgeous an effect can be reached by placing a paintbrush on paper.

Disney enthusiasts and especially those interested in the creative process will want to be sure to explore the second disc’s in-depth documentary that contains candid footage of the film from the story development and earliest sketches (along with interviews from those involved) that elevate Lilo & Stitch into Disney vault territory by letting us into the inter-workings of the filmmaking process as evidenced in other recent releases such as WALL-E and Mary Poppins.



Thus, this addition makes the two-disc Big Wave set equal for adults the plethora of kid-friendly games, music videos, and mini-extras including a “DisneyPedia” tour of the Hawaiian islands on the first disc. Released in the same week as Disney’s Bolt—this new release of Lilo & Stitch also gives fans the opportunity to get a free collectible Bolt plush dog with the purchase of both films (set to expire on 6/30/09 or until supplies last). And while luckily this "dog" will prove to be more house-trained than Lilo's, it probably wouldn't hurt to play him some Elvis Presley now and again.


10/27/2008

Together Again for the First Time (2008)





Digg!

In the world of filmmaking, the dysfunctional family is mined for both comedic and dramatic gold but ever since the beginning of the 90's ushered in a new era of cynicism, a new sub-genre emerged-- namely the dysfunctional family holiday movie. Whether it provides slapstick and ridiculous fodder for Chevy Chase and Randy Quaid to play off of in National Lampoon's Christmas Vacation , the multicultural Thanksgiving film What's Cooking? or in the wickedly painful Christmas dramedy The Family Stone, it's become a popular formula for box office success.

Likewise, at least two upcoming theatrical releases-- Four Christmases starring Reese Witherspoon and Vince Vaughn and Nothing Like the Holidays with Debra Messing and John Leguizamo are taking a similar approach. And while those have the benefit of the Hollywood marketing machine and A-List talent behind them, I was a bit more skeptical when I received a review copy of another dysfunctional holiday film, director Jeff Parkin's Together Again for the First Time.

View the Trailer




However, I couldn't have been more surprised or delighted by this cute little indie film that begins on similar terrain but builds into a moving climax and above all, remains far more likable than the cruel Stone. Based on a play written in 1985 which debuted at Brigham Young University by author Reed McColm, the origins for the film version of the play began to take shape when McColm and his good friend Jeff Parkin were pursuing advanced degrees at USC.

Although it is set in Spokane, Washington in the dead of winter, it was filmed in Provo, Utah in the middle of summer. This Christmas comedy about the blended Wolders-Frobisher family comprised of people who as the box promises "don't like each other very much," finds everyone coming together after seven years for an old fashioned family Christmas, after having avoided each other since their parents' marriage.

We first see our main character Roger (Kirby Herborne) narrating from a bus terminal in what we realize will be the middle of the the film as he takes us back to the roots of what was obviously a horrific reunion, which began when he and his British girlfriend Brenda (Larisa Oleynik) fly in from college. According to Roger, the only reason he's bothered to return home is out of concern for his younger brother Jason (Blake Bashoff), a sensitive boy who serves as the go-between between his mother and stepfather and may have turned to drugs while trying to hold his family together.

Although Roger aspires to persuade his brother to leave home and join him and Brenda, any hope of a serious conversation between the brothers is thrown out of whack with the arrival of the three Frobisher girls-- Roger and Jason's step-sisters. And despite the fact that their stepfather Max (wonderfully played by David Ogden Stiers) is as gentle and easy going as they come-- even though he's constantly ordered around by his Martha Stewart like-wife, Audrey (Julia Duffy), a radio DJ dubbed a "benevolent dictator... who vomits Christmas"-- Max's three daughters are as unpredictable as Disney stepsisters.

While the lovely but dim youngest daughter Chinelle (Lauren Storm) arrives at the house first with the announcement that she's become engaged to "the most wonderful man in America," quickly celebration by her parents are halted when they realize that her fiance Carey (Joey Lawrence) was the ex-boyfriend of her meanest, self-involved older sister Sandra (Kelly Stables). Sandra and her less cruel and often overlooked sister Kaye (Michelle Page) arrive in town like a hurricane, with Sandra commandeering her stepbrother's car, insisting that if she doesn't drive she'll be carsick.

Upon stepping inside Audrey's over-decorated home, the family slowly begins to simmer to a dangerous boil that explodes in the second half when Audrey springs an unwelcome surprise on everyone wherein, instead of presents being unwrapped, their frustrations are all revealed in a scene that has to be seen to be believed. While admittedly, the film as a whole hasn't quite shaken its stagy feel as it's slightly predictable and a few major conflicts seem resolved a bit quickly (given its 85 minute running time), much to its credit-- some of the arguments and truces do feel believable. Moreover, it's much easier to empathize with the Wolders-Frobisher clan than it is to relate to most hyper-real, nearly cartoon like characters with whom we're usually presented.

Harmless and consistently entertaining-- Together is also benefited by the fact that its release on DVD shelves and for sale on Amazon.com tomorrow from PorchLight Entertainment beats the similarly themed upcoming major releases Four Christmases and Nothing Like the Holidays. But more importantly, Together Again for the First Time is sure to garner great-word-of-mouth among those who scour the shelves for something off-the-beaten-path and also when it arrives on cable television, where it should do quite well.





It's Beginning to Look a Lot Like Christmas
(Find Your Favorites Below at Amazon)