The Good Dinosaur (2015) – Reverse version of “Finding Nemo”?

Growing up is Pixar’s most important topic, and often, they know how to make it never old. One of the most important aspects of maturity is overcoming fear. Grow up, step outside the world, face challenges, learn and experience new things, always scary. And when we return, we are not always the heroes, but more mature and knowledgeable, about the world and ourselves. We are “bigger”.

In The Good Dinosaur, Pixar’s second animated movie of the year, the viewer can see that after his journey home, Arlo seems bigger than he really is. To the extent that the mother mistook him for his father. But like an old saying, it’s important not to be on the destination, but on the road. Will your adult journey – with a human boy named Spot, but behave and be treated like a pet – convince viewers?

Good Dinosaur is like an inverted version of Finding Nemo, the same of Pixar launched in 2003. The world of Nemo underwater and Dinosaur on shore. The protagonist Nemo is the father, and Dinosaur is the child. Both have to find a way home (with the father to find the son first). Both of them lost their loved ones in front of their eyes and had a great influence on psychology, here is the phobia of fear. On the journey, they accompany a road friend who is unlikely to communicate (Dory has forgotten and Spot does not speak), encountering a trio that looks fierce but turns out to be kind (three sharks, three Dinosaurs) … And if you follow, you can find more similarities.

There is no denying that the Good Dinosaur has a very interesting premise, of a fantasy world where dinosaurs survived meteorites. But it seems that director Peter Sohn, in his first directing of the first feature film (he was best known for his lovely Little Cloudy film in 2009), had so much trouble developing it. If Inside Out last summer reaped the trust of the majority of fans of a young Pixar winding up creative energy, then Dinosaur evoked the days of Cars 2 or Brave, the multiplayer phase. Had to say “Pixar is dead”. If Inside Out conjures up hours of hard work, hard work, research, Dinosaurs are like random ideas flashed or picked up with no choice. The dinosaur world advances to the agricultural society is not bad, but it is not convincing enough. It’s small, lacking in community, lack of dreamlessness as well as interesting things that keep viewers excited, as it has with the world in Riley’s mind.

Pixar movies are always a “two in one” journey, exploring themselves and exploring the world. Pixar often depicts strange worlds that are so close to being so great that adults will find their own eagerness to look at things around for the first time. A family of dinosaurs planted individually, several other dinosaurs were raised, and a large horned nest for small animals, and ended. Although the Good Dinosaur graphics platform is absolutely superior, it can be revolutionary in terms of detail and clarity (some scenes without Arlo appear in the frame, I will not distinguish It can not fill the unfulfilled expectations. Where do we go to Pixar for graphics quality? And will not for the reason of dispersing two films in a year to reduce expectations, to self satisfaction. That is not too difficult, but Pixar’s special position in our hearts.

What’s worth waiting for is that, in addition to the lessons and messages about overcoming the fear that we have learned in Finding Nemo, the wonderful moments that children will remember are gone forever and the adult is sobbing. What turns the Good Dinosaur into a memorable and independent work, and makes a Pixar movie Pixar. But it was not there, in this movie. In a natural space that is majestic and beautiful enough to sparkle, with scenes showing repeated firefly effects, the two main characters Arlo and Spot become out of touch and lack of connection. To fill the emotion. Although there is no shortage of fun humor moments. And I have to ask myself why is that?

Could this be due to Peter Sohn’s embarrassment in building the base for the character? In Partly Cloudy, he did very well in both the visual formation and personality of the cloud and the bird, and brought warmth. But 90 minutes is another story. Good Dinosaur is not new in the plot, but not necessarily psychological. The subject of fear is very close, and one of us is fearful, but we will not be able to understand without understanding its origins. We used to sympathize with Father Marlin’s fear in Nemo, because of his tragedy in the past. We sympathize with Lightnight McQueen because he had a taste of failure. Pixar backgrounds are somewhat overlooked in the Dinosaur. Why is Arlo afraid? A natural fear from the beginning is not a good way to start.

Or perhaps because of the limping in reversing the role between Arlo and Spot influenced? The relationship between humans and “something” (toys, monsters, robots …) has always been the mainstream in Pixar. But in which human beings are always human, and “something”, despite its soul and humanity, is still the figure of the imagination. Their role is irreversible. At Good Dinosaur, Sohn tried to let the viewer see the “boy” inside Arlo. Even choosing a way to create a picture does not fit the environment (Arlo looks like made of bubbles or plastic), to express emotions. But for what? When I turn around, I still think that the story of a lost human boy and the dinosaur baby help, will be or more moving.

Or it could be because of the harsh historical background which is difficult to exploit properly. It brings subconscious violence. This can be a personal problem. I was annoyed when my dad asked Arlo to use the sticks to kill the beast, Spot, and he was going to do it (with the words “I’ll end you”). How many beasts were killed before? Or in the scene of food spoiled for Arlo, he bit off the head of a beetle, causing it to die in the headless scene. Though there was a lot of laughter going on around me, I did not feel comedic at all. And a drug scene of two children? The scenes only appear in the film R marks such as Ted or A Million Ways To Die In The West? This comes from Peter Sohn’s inability to control the limits.

These limps made Arlo’s journey not really convince me that he had learned something when he returned. That he was bigger than his shadow. No more or less than what Marlin in Nemo learned. The difference between Arlo is that Marlin is the choice. To put Arlo out in the world is a flood, and Marlin is love. It was a moment that showed Marlin formally facing his fears. Arlo’s journey is filled with heroic action, but none of that comes from his own choice. And because of poor construction, the family affinity and friendship in the movie does not support enough to make us see the man appear within him, through experience. But still just a boy.

The Good Dinosaur is not necessarily a bad movie, compared to the general standard, still very easy to see and charismatic enough for families at the end of the year. But it is Disney’s standard, not Pixar. For the fans of this studio, it would feel as insecure as it was eased with Inside Out past. The insecurity of hearing Pixar break the rules for two films in the same year, in a rare confidence. The insecurity of not seeing another magic moment again, and can only be placated with the next movie instead of an answer.

Leave a Reply

Your email address will not be published. Required fields are marked *

error: Content is protected !!