Brave Discussion

[Mojoguy]

Oh, damn it, THR gave it a rotten

Wow, I didn't expect a rotten so soon. THR is a pretty big reviewer too.

Edited June 11, 2012 by Mojoguy

[druv10]

Here is the blurb by THR.

A film that starts off big and promising but diminishes into a rather wee thing as it chugs along, with climactic drama that is both too conveniently wrapped up and hinges on magical elements that are somewhat confusing to boot.

http://www.rottentom...ws/?sort=rotten

Edited June 11, 2012 by druv10

[kayumanggi]

Reviews are good so far but not spectacular.

Define good and spectacular please.

[kayumanggi]

I respect THR's review. But not because a film is "conventional" or "familiar" doesn't mean it's bad. Pixar has set the bar so high, people now tend to nitpick. No matter what, I'm gonna watch this.

[kayumanggi]

I like the reviews so far. I expect big numbers.

[cookie]

Good to know that the embargo has already been lifted.

Disappointing to know that Hollywood Reporter's review was rotten.

Edited June 11, 2012 by C00k13

[Mojoguy]

So THR gave a rotten review because this movie just isn't special enough? Hmmmmmm.

[kayumanggi]

I'll be there OW front and center with all women big and small but I'll see it in 2D this time because Pixar usually doesn't bring it with the extra dimension.

Brave’s ancillary home video value will be robust, allowing viewers the frame-by-frame ability to more fully savor the movie’s creative visual depth. But its top-notch 3-D treatment makes for an immersive theatrical experience that should resonate with audiences worldwide. http://www.screendaily.com/reviews/brave/5043162.article

On a sensory level, however, Brave is almost entirely a delight. The wild beauty of Scotland, of the verdant forests and the craggy peaks, is lovingly rendered with a gorgeous palette of painterly colors and in very agreeable 3D. http://www.hollywoodreporter.com/review/brave-review-disney-pixar-335633

[kayumanggi]

So THR gave a rotten review because this movie just isn't special enough? Hmmmmmm.

I really don't get it. A lot of stories out there are familiar and conventional and yet got a fresh from them.

[kayumanggi]

I expect a sub-80 RT score which is perfectly fine.

[Noctis]

Yeah, I'm not expecting this to hit 90%.

[kayumanggi]

THE HOLLYWOOD REPORTER

What results is a film that starts off big and promising but diminishes into a rather wee thing as it chugs along, with climactic drama that is both too conveniently wrapped up and hinges on magical elements that are somewhat confusing to boot. Not only is the tale laden with standard-issue fairy tale and familiar girl empowerment tropes, but the entire project lacks the imaginative leaps, unexpected jokes and sense of fun and wonder that habitually set Pixar productions apart from the pack. Its ideas seem Earthbound.

On a sensory level, however, Brave is almost entirely a delight. The wild beauty of Scotland, of the verdant forests and the craggy peaks, is lovingly rendered with a gorgeous palette of painterly colors and in very agreeable 3D. Even better, the voicings here are among the most exceptional and pleasurable of any animated film you might care to name. Working in pronounced Scottish accents that, to be sure, don't approach the often undecipherable ones heard in Ken Loach films, Scottish actors Macdonald and Connolly are a joy to listen to, as is Thompson, even if too many of the conversations are argumentative in a repetitive vein. Patrick Doyle's active and resourceful score is another major plus in a film that has played it safe instead of taking chances and going for something new.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

SCREENDAILY

The thirteenth animated feature film from Pixar Studios, Scottish-set Brave is essentially a body-swap movie impressed upon a comfortable fable-of-yore narrative template, wherein an at-odds parent and child rediscover their love for one another against a backdrop of magic-infused conflict. Amiable and action-packed without being overbearing about it, and marked by a new level of visual complexity, even by Pixar standards, the film peddles with assurance and panache the pleasant tale of a new young heroine.

Brave’s detailed animation work is gorgeous. The increased textures of things like animals or Merida’s hair are areas in which animation rendering have been steadily improving over the last half-decade, but the complexity here of some of the movie’s clothing, sails and other tapestries is downright remarkable.

Patrick Doyle’s score is agreeably multi-flavored, highlighting the movie’s Scottish roots without tipping over into cloying reverence for the sake of homage.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

EYE FOR FILM

As communication becomes a problem in a very physical sense, mum and daughter must learn to listen to something more primal than the sound of their own voices if they want to restore their relationship. This might sound like typical teen fodder but there is a lightness of touch, sharpness of comedy and beauty of visuals at work here. Scotland is rendered in all its glory, from deep moss greens to the crisp white of snow-covered mountains, offering a perfect backdrop for Merida's metaphor hair. As with all good animation, much of the emotion and spirit comes from the strength of the visuals, rather than the scripting, with Elinor's attempts to virtually straitjacket her daughter and Merida's insistence on freeing her hair, saying more about their relationship than 10 pages of script.

When verbal exchanges are called for, however, they have a refreshing authenticity, with Billy Connolly (who plays Merida's father), Macdonald and others clearly being given a fairly free reign when it comes to incorporating Scots slang into the mix. In fact, Kevin McKidd's Young MacGuffin (he pulls double duty as dad, too), speaks so quickly in Doric that many of the jokes will be lost on non-Scots, although that, in itself, is all part of the gag. The end result feels surprisingly Scottish in spirit, even though it was largely crafted in the States.

Edited June 11, 2012 by kayumanggi

[Totem]

As long as it manages 200m domestic I'm happy, anything less than that is just crap.

[kayumanggi]

HEY U GUYS

It wouldn’t be Pixar without the usual attention-to-detail that comes with the painstaking attitude their animators assume towards the visuals, and Brave isn’t one to defy this tradition. From the wide-angled scenic shots, to the inner workings of both the castle and the witch’s cottage, ensconced within the thick, moss-covered tree branches that burrow deep into the forest floor in which it resides, Brave depicts a version of 10th century Scotland as if it were ripped straight from a fairytale. Each of DunBroch’s four clans have their own specially-designed tartan, and the costumes and look of each character allow for a detailed insight into their personalities, beliefs and vices.

Brave is indisputably polished to a fantastical sheen, yet under the immaculate surface it finds itself not only entrenched in Scottish mythology and folklore, but also – second perhaps only to Wall-E and Up – Pixar’s most down-to-earth and empathetic release. Where some would be nonchalant about letting narrative come second to visuals, the screenwriters here – co-directors Mark Andrews and Brenda Chapman, amongst other auxiliary contributors – ensure Brave’s narrative remains front and centre, bringing the exceptional blend of heart, wit and dark undertones Pixar fans have become accustomed to.

As much as the central narrative absorbs attention, the murky territory it finds itself in towards the latter half is noticeably darker than other children’s films, and may prove too much for the younger, more impressionable members of the audience. The brief interludes of humour, mostly provided by King Fergus and Merida’s three wayward younger brothers, are a welcome reprieve, allowing the writers – and more importantly, the voice actors – to have some fun with these characters. At times, it rolls over into feeling a little childish for the overall tone that Brave establishes, but that’s a minor flaw that can be pardoned considering the wide age-range Pixar films typically appeal to.

It’s not just Connolly who’s a valued contributor as King Fergus; the whole cast put their Scottish heritage to good use (while Walters fakes it admirably with a convincing accent). It all adds to Brave’s general sense of accuracy and attention-to-detail. Macdonald, in particular, is key to Merida’s success. Her incomprehensible position as an underrated actress mirrors that of Merida’s under-appreciation as an archer or person capable of making her own decisions. Connolly, Robbie Coltrane and Kevin McKidd provide decent support in their respective roles, while Thompson and Walters often come close to stealing the show from under Macdonald’s more than adept feet.

What makes Brave truly special is that, even if it were stripped of its dazzling visuals, laugh-out-loud humour and dynamism, it would remain a clever, arresting and emotionally involving, yet inherently simple tale about the turbulent relationship between a mother and daughter and the fact that freedom may not be all it’s cracked up to be. It’s the emotional core, with all those extra elements sprinkled liberally on top that makes Brave the best animated film of the year, rewarding in droves. It’s quite simply, unrelentingly spectacular.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

REELSCOTLAND

Thankfully Brave doesn’t suffer from that well-known blight, Braveheartitis, wherin different nationalities attempt Scottish accents that sound worse than badly played bagpipes. Apart from Disney Pixar-regular John Ratzenberger’s suspect brogue, the dialogue is authentic throughout, with the cast even allowed to throw in a few “Scottishisms” during recording, including the catchphrase of a much-loved character from the Sunday Post newspaper.

The film’s visuals are as impressive as we’ve come to expect from the team behind Toy Story 3 and Cars, Scotland’s lush vegetation, ancient castles and human characters looking stunning throughout. Justice has been done to the country and her inhabitants, meaning it shouldn’t be too long before the tourists are out in force searching for DunBroch Castle.

While Brave could perhaps have benefitted from some drawing out of a few plot threads, supplying more information on Mordu’s rich back-story and the giving the Lords more to do, that’s a minor quibble that proves the film doesn’t outstay its welcome.

With as much sparkle as a can of Irn Bru and without any of the lingering aftertaste of an undercooked haggis, Brave will entertain adults and bairns alike.

In brief, Brave is braw.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

SCOTSMAN

Brave emerges as a feisty foray with a fiercely feminist heroine at its core and its tartan credentials intact.

With enough cliff-hangers and setpieces to keep the narrative rolling along at a fair speed, there remain plenty of moments of calm in which to appreciate the rich visuals of a mythical Scotland – a tartanesque palette of soft blues and greens, all misty at the edges.

For a Pixar film, the obvious difference is that there are no gimmicks in the way of cars, bugs and toys.

Instead, it’s a film that relies heavily on relationships and characters, all laced with humour, derring-do and a dollop of Celtic chutzpah.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

STV

The latest animated blockbuster from the creators of Toy Story and Up is a brilliant and breathtaking feast for the senses - and makes the most of a fairytale Scotland.

Thankfully, though, the sweeping and stunningly beautiful film is a return to form after last year's (relatively) disappointing Cars 2.

Among the highlights is Kevin McKidd’s almost indecipherable north-east accent as one of Merida’s potential suitors, Young MacGuffin. He also plays Lord MacGuffin, with Robbie Coltrane (Lord Dingwall) and Craig Ferguson (Lord Macintosh) lending their considerable comic talents as part of the rowdy trio.

Billy Connolly is funny and massively charming as King Fergus, also boisterous but a loving and tender father. It’s the family dynamic that lies at the heart of Brave, and Connolly, Thompson and Macdonald work together marvellously in this respect – Merida’s tantrums sure to send shivers down the spine of parents the world over.

Mainly Brave centres around the mother-daughter bond, and there’s sure to be tears in the eyes of many as they shuffle out of the cinema this August.

This is the first Pixar movie to feature a female protagonist, and it’s come at just the right time – following a year of strong young girls taking the lead, from Katniss in The Hunger Games to Snow White in Snow White and The Huntsman.

It is without doubt the most visually stunning animated film seen to date, pushing boundaries in terms of what can be achieved. I could have spent two hours just looking at Merida’s amazing hair alone – its red curls mesmerising to behold – while the fantastic windswept scenery is about as strong an advert for visiting Scotland as tourism bosses could ever hope.

If there’s a criticism to be levelled at Brave, it’s that for much of the movie the stakes don’t feel particularly high, with too little sense of peril until close to the end. But this doesn’t matter too much when events are a huge amount of fun, and an enemy for Merida arrives in the shape of a huge, scarred, lumbering bear that should have youngsters covering their eyes.

Edited June 11, 2012 by kayumanggi

[kayumanggi]

BLEEDING COOL

Brave is a typically well mounted, handsome and attractive production. But it’s not just pretty pictures. Chewed over for years, Pixar’s eye candy is made to a sophisticated recipe, full of flavour and character. Nothing on screen is an accident. The film also sounds tremendous, including a couple of songs performed by Julie Fowlis.

The most authentically Scottish thing about the film would be the cast, with the distinct exception of John Ratzenberger, but we shouldn’t blame the studio for hanging on to their lucky charm. Kelly MacDonald replaced Reese Witherspoon as Merida at some point in production, and it seems to have been a faultless decision. She plays Merida as Scot through and through and convincingly teenaged, not to mention suitably feisty. Between MacDonald’s performance, and to a larger extent, the character’s course of action throughout the story, Merida becomes one of the most interesting, if grounded, Pixar protagonists yet.

As the film went from years of planning into the first stages of animation, the duty of directing Brave was passed from Brenda Chapman, who originated the story, to John Carter co-writer and second unit director Mark Andrews. Looking at the finished film there seems to be no obvious join, no clear discord or hard stutter as the film joins its style to its substance. Indeed, the style is the substance. Witness the difference between Elinor and Merida’s hair, or the colouring and cut of their clothes. Watch out for the lighting changes as the story arc curves. This film was formed with dedication to Pixar’s determination that everything is story.

Not every joke in the film works perfectly, and you may be surprised how small-scale a story it is, intimate and closed-in, but Brave is a rich, tender film and so exquisitely well-crafted that I was quite thoroughly won over.

Edited June 11, 2012 by kayumanggi