These backdrops mesh well with the film's more stylized and cartoon-y main characters, beings that were very obviously generated by a computer. The whole thing has the feel of a landscape painter tweaking nature just so. No, these are the grand vistas of the West as we might expect them to look, with every single beam of sunlight carefully positioned and every shrub artfully placed. However, while they're certainly far more naturalistic than anything Pixar has done before, saying they're photorealistic is not quite accurate. You'll see plenty of reviews that highlight the photorealism of the movie's scenic backgrounds (taken from real US Geological Survey data of the American West!). If there's a reason to give The Good Dinosaur a mild recommendation (and I give it the very mildest of recommendations), it's the film's visual excellence. The Good Dinosaur might be the most beautiful film Pixar has ever made The Good DInosaur's visual splendor drips off every frame. While Pixar has survived such directorial shake-ups before (most notably on the sublime Ratatouille), it's evident from the earliest that nobody ever quite knew what The Good Dinosaur was supposed to be.įirst, though, a word on the film's visuals. This reflects the film's troubled production process, during which its original director, Bob Peterson, was removed in 2013 and replaced with current director Peter Sohn. It feels like a patchworked compilation of a dozen screenplay drafts (complete with five people credited for coming up with the film's "story" - the outline that eventually becomes a full script). But even though Pixar and the prehistoric era should have been a natural fit, The Good Dinosaur is hollow on a storytelling level, mostly cobbled together from other, better sources.
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