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Onward: Dragon High | Pixar Scenes Explained

Yeah.....but.....it doesn't explain the super big plot hole at the end:

So, Ian is trapped by the dragon rubble and Dad is just up the hill with Barley. Ian can see them have a conversation before Dad fades away, but he's trapped so he can't join them. That's my beef:

Aside from the fact that neither Barley or Dad seems concerned about whether Ian is potentially hurt under the rubble, they don't think for one second about walking down the hill to Ian so they can all have a last chat together. As a result, it created this stupid sappy "I didn't need Dad because I had my brother" thing for no reason.

The problem is, it doesn't cause any emotional impact with me because it's stupid. Seriously: they were right up the hill, just walk down. Barley can have his private moment on the way and Dad and Ian can talk before he runs out of time. If they were going to separate them, it should have been far enough away so there was no way to get them together.

Instead it felt like playing hide and seek with a little kid: you can't see me, so it means I can't see you. In other words, it's like they felt Ian couldn't get to them, so it meant they couldn't get to him. Stupid plot device.

As a fan of Pixar, they should be thankful they had the pandemic to blame for this one tanking, because it would have done poorly anyway. At least this way their might be an insurance cover on it to make up some of the losses.

Further, I hated the "Dad only being legs" plot device. I would rather had seen him as a semi-transparent ghost who can't speak than the form they chose for him. It was just creepy.
 

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Just curious> We {mostly me} join Disney+ for 3 months. I have seen over my life time almost of the pictures that interested me. However, I couldn't see that the amount of content that D+ has, really wasn't enough to keep me for me. Sci-fi is great interest to me. Might join again next year. Any insights..
db
 

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Yeah.....but.....it doesn't explain the super big plot hole at the end:

So, Ian is trapped by the dragon rubble and Dad is just up the hill with Barley. Ian can see them have a conversation before Dad fades away, but he's trapped so he can't join them. That's my beef:

Aside from the fact that neither Barley or Dad seems concerned about whether Ian is potentially hurt under the rubble, they don't think for one second about walking down the hill to Ian so they can all have a last chat together. As a result, it created this stupid sappy "I didn't need Dad because I had my brother" thing for no reason.

The problem is, it doesn't cause any emotional impact with me because it's stupid. Seriously: they were right up the hill, just walk down. Barley can have his private moment on the way and Dad and Ian can talk before he runs out of time. If they were going to separate them, it should have been far enough away so there was no way to get them together.
I really feel like you missed the point of that scene.

Ian spent the whole movie trying to create a reunion with his dad that he felt he was owed. At the end, he realized that he didn't need that moment at all. Barley needed that moment, so Ian let him have it.

Ian never really knew his father. The dad died when Ian was too young to remember him. They never had a relationship. But Barley did have a real relationship with the dad. What Ian came to understand is that the father being taken away was a much bigger loss to Barley than it was to him. Barley needed that closure more than Ian did.

Ian could have called out for help when he was trapped in the rubble, but he stopped himself, because he wanted Barley to have that moment. He finally recognized that Barley filled the role for him that the dad filled for Barley. So he sacrificed his own desire create a father/son relationship that never existed to allow Barley to have the closure on his own relationship.

NetworkTV said:
As a fan of Pixar, they should be thankful they had the pandemic to blame for this one tanking, because it would have done poorly anyway. At least this way their might be an insurance cover on it to make up some of the losses.
The trailers for the movie were awful, and I went into it with low expectations. Contrary to your experience, I found the movie much better than it initially looked, and that finale hit me with a huge emotional wallop.
 

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I really feel like you missed the point of that scene.
I got the point, I just thought the execution made it sloppy and pointless. Had they executed it better, it would have been more heartfelt and made a bigger impact. Having a good point and making that point are two very different things.

The whole movie felt like it was made via a flow chart on how to make a Pixar film, then they forgot that they were actually making a Pixar film in the process.

Like you, I thought it was better than the trailers made me think it would be. However, I disagree about the ending. Far from sticking it, it was a total face plant.

Then again, I hated the ending of the "The Myst" and the series finale of "Lost".

The recent Pixar ending I loved was that of Coco. Now that's how you make me wonder how that dust got in my eye and who the heck is cutting onions. Of course, the king of that sort of thing will always be "Up" for me. Darned onions....
 

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‘Parenthood’ Alum Erika Christensen‘ Cast In New Line’s ‘KIMI’ For HBO Max & ‘Cheaper By The Dozen’ Remake At Disney+
By Amanda N'Duka

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Christensen has also been added to the cast of the upcoming Cheaper By The Dozen reimagining, which will premiere on Disney+. She’s joining previously announced stars Gabrielle Union and Zach Braff in this latest version from Black-ish creator and executive producer Kenya Barris.

Co-written by Barris and Grown-Ish EP Jenifer Rice-Genzuk Henry, the family comedy centers on a multiracial, blended family of 12, navigating a hectic home life while managing their family business. Union and Braff are set to play the parents and the 10 newly announced actors will round out the dozen as the children.

Gail Lerner will direct the pic while Shawn Levy, who directed the 2003 iteration starring Steve Martin and Bonnie Hunt, is set to serve as executive producer alongside Union. The film is currently in production in LA and is slated to debut on the streamer sometime next year.

Most recently, Christensen is perhaps best known for her six-season starring run as Julia Braverman-Graham on NBC’s acclaimed TV series, Parenthood. Other notable credits include Swimfan, The Banger Sisters, The Perfect Score, and Flightplan.

 

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Disney’s ‘Stargirl’ Sequel Adds Al Madrigal, Sarayu Blue, Chris Williams & Nija Okoro

By Anthony D'Alessandro

EXCLUSIVE: The Julia Hart directed Disney feature sequel to Stargirl continues to expand its cast with comedian Al Madrigal, Sarayu Blue, Chris Williams and Nija Okoro joining.

Stargirl 2 follows Grace VanderWaal’s title protagonist as she journeys out of Mica into a bigger world of music, dreams and possibility. The script is based on the original character from Jerry Spinelli’s best-selling book of the same name. VanderWaal will write and perform new original music for the sequel. Hart co-wrote with her husband Jordan Horowitz.

The four new actors join a growing cast that includes Uma Thurman (Roxanne Martell, a musician who Stargirl idolizes), Judy Greer (Stargirl’s Mom), Judd Hirsch (Stargirl’s neighbor Mr. Mitchell), Elijah Richardson (Stargirl’s beau Evan) and Tyrel Jackson Williams (Terrell, Evan’s older brother).

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‘Evil Dead’ Star Bruce Campbell Does April Fools’ Day Right With Fake ‘Doctor Strange 2’ Script

Though c’mon man, now we want this to be true
Ross A. Lincoln

You have a lot of pranks to choose from on April Fools’ Day, but most of them are pretty bad. Luckily, we have one for you that definitely is not bad, and it comes courtesy of “Evil Dead” star (and national treasure) Bruce Campbell.

Campbell is of course a frequent collaborator with “Evil Dead” director Sam Raimi and when he isn’t in a starring role, he usually shows up for a cameo, as he did in all three of Raimi’s “Spider-Man” movies. As such, even though it hasn’t been confirmed — unless this Tweet by Campbell from February counts — everyone assumes he’ll be also appear in some capacity in “Doctor Strange in the Multiverse of Madness,” which Raimi is directing.

So it is that Campbell tweeted “Oops. This slipped.” along with a photograph of a watermarked screenplay page this afternoon featuring a meetup between Doctor Strange and Campbell’s Ash Williams, the main character of the “Evil Dead” franchise.

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Not Marvel related but Stan Lee related:

John Woo to Produce Chinese Superhero Movie Based on Story by Stan Lee

The film will feature Lee's take on the legend of the Monkey King, which he put together in 2016 for a comic book project that was unpublished at the time of his death.
Hong Kong filmmaker John Woo is set to produce a Chinese superhero movie based on a story created by the late Stan Lee and his longtime collaborator Sharad Devarajan.

The film will be an adaptation of Monkey Master, an unreleased comic book series that Lee and Devarajan created in 2016 as a loose riff on the Chinese legend of The Monkey King. The film will follow New York City archeologist Li Yong as he discovers an ancient prophecy about the Monkey King, which brings him to India where he uncovers a hidden power that transforms him into a modern-day superhero, The Monkey Master.

The film is in development and it's possible that Woo, famous for his action choreography in films like Face-Off, Mission Impossible 2 and Red Cliff, could later board it as a director.

Lee discussed the story in 2016 shortly after writing it, saying, "I have always been fascinated by the Chinese and Indian cultures, which are so philosophical and rich in tradition and morality. I've written countless superheroes of every nationality and every part of the world before, I've even created many heroes from other planets and galaxies, but Monkey Master will be unique in how it interweaves myth to create a modern day hero that will entertain fans across the world with his martial arts skills and unstoppable superpowers."

Woo and Devarajan, who is the founder and CEO of Graphic India, will serve as producers for the adaptation along with Gill Champion, president of Lee's former company POW! Entertainment, and Lori Tilkin, head of production at Woo's A Better Tomorrow Films. Lee and Devarajan previously collaborated on the Indian superhero property Chakra: The Invincible, which became a series of graphic novels and three films that aired on Cartoon Network.

The Monkey King is one of the central characters of the 16th-century classic Chinese novel Journey to the West, which is one of the most frequently adapted stories of traditional Chinese literature. Nearly every year there is a major Chinese film released that retells some aspect of Journey to the West's sprawling mythology.

Woo said in a statement that he's always wanted to make a Monkey King film of his own but that he had struggled to find a fresh way into the story. "The story by Stan Lee was such a unique version of it that incorporated the mythological character's unexplored journey to India and had all the elements I enjoy in filmmaking — great characters, action and adventure," he said in a statement. "I am excited to work with Sharad and Gill to bring Stan's vision for this new superhero character to the screen."

Added Devarajan: "Stan Lee was a mentor and friend who was one of the most influential creators of the 20th century. I am so excited to work with John Woo, Lori Tilkin and Gill Champion to honor Stan's Monkey Master creation and bring this superhero to the screen the way he always intended."

 

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Genndy Tartakovsky’s ‘Clone Wars,’ Now Available on Disney+, Was ‘Star Wars’ at Its Most Cinematic

The 2003-2005 microseries showed what can happen when a singular artist is allowed free rein to play in the "Star Wars" sandbox.

Genndy Tartakovsky produced the hand-drawn “Clone Wars” microseries between 2003-2005 and it’s been mired in obscurity ever since. Now it’s available on Disney+ as part of The Star Wars Vintage Collection,” which includes the two “Ewok” TV movies of the ’80s, the “Ewoks” animated series, and “The Story of the Faithful Wookiee,” otherwise known as the animated segment from “The Star Wars Holiday Special” that introduced Boba Fett. Yes, some of the much-maligned “Holiday Special” is now at your streaming fingertips!

Full disclosure: This “Star Wars” superfan is shamefully negligent when it comes to the “Ewoks” titles, but “Clone Wars” are another matter. Dave Filoni’s 3-D computer animated series “Star Wars: The Clone Wars,” which introduced Ahsoka Tano and wrapped up with its final episodes on Disney+ last year, is as good as any “Star Wars” ever produced. With big-screen-ready visuals and immersive, long-form, serialized TV storytelling, it went deeper into its characters than many of the “Star Wars” films. As a series of over 100 episodes, “The Clone Wars” also has its share of stinkers: There’s the episode where R2-D2 has a day of beauty, and the one that exposes a corrupt school superintendent on Mandalore. And then there’s the whole matter of Mama the Hutt. (That episode, “Hunt for Ziro,” is actually amazing, but only for diehards.)

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The Right Stuff Cancelled at Disney+

Disney+ has cancelled the space drama after just one season...producers Warner Bros. Television are reportedly shopping the series to other networks, though, with TNT and HBO Max said to be in the mix...

 

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Disney’s Live Action ‘Little Mermaid’ Set to Shoot in Sardinia

By Nick Vivarelli

Disney’s live action adaptation of “The Little Mermaid,” starring R&B singer Halle Bailey as Ariel, is set to shoot on the Italian island of Sardinia, known for its crystal clear emerald waters.

Production crew of the hotly anticipated Disney pic, directed by Rob Marshall, is expected to start disembarking in Sardinia in coming weeks. The shoot will be moving from London’s Pinewood Studios to the small seaside village of Santa Teresa di Gallura, on the island’s northern coast, according to a local press report, which sources have confirmed. The area is known for its stunning, super clean seafront, rocky shore and Bronze Age artifacts.

Cameras are expected to start rolling in early summer on the Sardinia portion of the “Little Mermaid” shoot, according to local tourism official Fabrizio Scolafurru, who was speaking with Sardinian newspaper La Nuova Sardegna.

The proud Sardinian official said “Little Mermaid” will involve some 300 people working on the island location for a total of “roughly three months.”

The Sardinia Film Commission, citing a non-disclosure agreement with the studio, declined to comment on the report. Disney did not immediately respond to Variety’s request for comment.

Disney scouts are currently in Sardinia making the final rounds to pinpoint exact marine and other locations for the film, as well as carrying out prep work, one local source told Variety.

The island’s dreamlike landscape combining rugged coastlines, uncontaminated nature and mysterious ancient stone structures called nuraghe, is a well-established magnet for international productions spanning James Bond classic “The Spy Who Loved Me” to George Clooney-directed TV series “Catch-22,” and more recently Austrian writer-director Ulrike Kofler’s 2020 melodrama “What We Wanted,” now streaming globally on Netflix, as well as Netflix’s upcoming Dwayne Johnson-led actioner “Red Notice.”

In line with its nature-friendly spirit, productions shot in Sardinia are made to respect so-called Green Set protocols to reduce their environmental footprint. The island offers financial incentives comprising a local co-production fund and hospitality cash rebate on top of Italy’s 30% tax credit (with a roughly $22 million cap), which also has a cash-back structure allowing producers to use 80% of the incentive while they shoot.

The Little Mermaid” went into production in 2020, but was subsequently delayed by the pandemic. Besides Halle Bailey in the lead as the mermaid princess who dreams of being a human, the pic stars Melissa McCarthy as her evil aunt Ursula, Jonah Hauer-King as Prince Eric and Javier Bardem as King Triton.

The upcoming film will incorporate original songs from the 1989 animated classic, as well as new tunes from original composer Alan Menken, with lyrics by “Hamilton” creator Lin-Manuel Miranda. Miranda is also producing along with Marshall, Marc Platt and John DeLuca. Jessica Virtue and Allison Erlikhman are overseeing for the studio.

A release date for “Little Mermaid” has yet to be revealed by Disney though a 2022 outing is likely.

 

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Mark Elliott Dies: Longtime Voice Of Disney Trailers Was 81
By Greg Evans

Mark Elliott, who before becoming the voice of numerous Disney promos and trailers had already used his vocal skills to prepare audiences for Smokey and the Bandit, The Goodbye Girl and, through a radio campaign, Star Wars, died Saturday in Los Angeles following two heart attacks and a battle with lung cancer. He was 81.

“Mark was a true gentleMAN,” wrote friend and fellow voiceover artist Joe Cipriano in a Facebook tribute. “Getting to share all of our scenes in Lake Bell’s In a World was icing on the cake.” (Both Elliott and Cipriano appeared in Bell’s 2013 film about movie trailer voice-over artists.)

Elliott’s career with Disney began with a 1977 trailer for the studio’s rerelease of 1950’s Cinderella. His association with Disney would continue into the early years of the 21st Century, with credits ranging from trailers to his narration of narration for the anthology series The Magical World of Disney.

Born in Cedar Rapids, Iowa, Elliott worked in various radio markets before landing in Los Angeles in 1970, moving into the city’s voiceover landscape with the trailer for 1977’s Smokey and the Bandit and radio voiceovers for Star Wars. Other non-Disney credits include trailers for The Goodbye Girl (1977), Chariots of Fire (1981) and, in 1983, All the Right Moves. Also that year, Elliott voiced the series finale promo for M*A*S*H.

 
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