Dienstag, 12. Mai 2009

Oben: Äußerst positive Rezensionen von TIME und Hollywood Reporter

Steuert Oben einen Platz auf dem Pixar-Podium an?

Seit Erscheinen dieses Trailers bin ich mir ja ziemlich sicher, dass Oben eine Position auf der besseren Hälfte meines persönlichen Pixar-o-Meters ergattern wird. Und dass Pixar die Produktion von Oben bereuen wird, halte ich schon seit langem für absurd. Diese Einsicht hat leider nicht jeder.

Wenigstens bei den Kritikern schlägt Oben eine ähnliche Richtung ein, wie WALL•E und Ratatouille vor ihm. Die Filmkritiker von TIME und The Hollywood Reporter sind jedenfalls begeistert:

"though it's not yet summer, we can declare that Up, like WALL-E, will prove to be one of the most satisfying movie experiences of its year.


a wonderful big picture. [...] Winsome, touching and arguably the funniest Pixar effort ever, the gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it.

It's also the ideal choice to serve as the first animated feature ever to open the Festival de Cannes, considering the way it also pays fond homage to cinema's past, touching upon the works of Chaplin and Hitchcock, not to mention aspects of "It's a Wonderful Life" "The Wizard of Oz" and, more recently, "About Schmidt."

Boxoffice-wise, the sky's the limit for "Up."


Borrowing "WALL-E's" poetic, economy of dialogue and backed by composer Michael Giacchino's plaintive score [...]

Meanwhile, those attending theaters equipped with the Disney Digital 3-D technology will have the added bonus of experiencing a three-dimensional process that is less concerned with the usual "comin' at ya" razzle-dazzle than it is with creating exquisitely detailed textures and appropriately expansive depths of field."

- The Hollywood Reporter

"The movie stirs lots of cinematic echoes, some natural — Walt Disney's Dumbo was a touchstone for Docter — and some weird. The dragging of a large structure over rugged South American terrain is also a motif in the Werner Herzog epic Fitzcarraldo.


It revels in a minimum of dialogue, deft comic underplaying and a style the Pixar people call simplexity. "We tried to push caricature," Docter says, "and the language of shapes — to make these drawings an expression of the characters. Carl wants to stay enclosed in his box of a house. He's just kind of square."


Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work."


Warum nur müssen wir bis September warten?

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