**½/****
screenplay by Mark Andrews and Steve Purcell and Brenda Chapman and Irene Mecchi
directed by Mark Andrews, Brenda Chapman
by Walter Chaw Brave…isn't. Not very. It's by far the most conventional Pixar film, and while it's better than either Cars, that's only because the Cars movies are simply awful. Brave has a plucky girl heroine who disobeys her mother, makes a hash of things, then solves everything at the end through the murder of the antagonist. It has an adorable animal sidekick (three of them, actually), treats an entire culture like a broad ethnic joke, and misses every single opportunity to be about something. Huzzah! When we say as a culture that something's for children, we mean that it's better–unless we're talking about media culture. Brave is for children, and its only connection to things like WALL·E, Finding Nemo, Monsters Inc., The Incredibles, or Ratatouille is its company's pedigree, fading fast until Brad Bird or Andrew Stanton decides to strap 'em on and jump back in the ol' computer-animated saddle, riding to the rescue as the company founded on their beautiful complexities descends into absolute, uncontroversial, shallow mendacity.
Anyone who's ever seen a Disney movie could have written the script for this one–just swap out the culture, insert a couple of culturally-specific jokes and familiars, and there you have it: box-office gold, a fast food tie-in, and a naughty, adult-themed costume. Princess Merida (Kelly Macdonald) doesn't hold to tradition, so when her Ma (Emma Thompson) shoehorns her into a corset to be auctioned off to a neighbouring clan's inbred prince, Merida takes up her trusty Hunger Games bow and shows all the boys that a girl can shoot, too. Mortified, Ma and Merida have a throwdown, leading to Merida stumbling upon a Witch™ (Julie Walters) in the beautifully-rendered CGI forest from which she requests a magic cake that will change her Destiny™. The cake, instead, turns Ma into a bear, which, given that Ma's husband, the King (Billy Connolly), is obsessed with murdering bears, is not so great. This leads to a moment where Merida declares to her father that she will not allow him to kill her mother, which should have a ton of Pixar emotional weight and gravitas attached to it, but is instead like that piece of gristle in a hot dog. It's already bad; now it's worse. There's a time-limit to the curse (à la Beauty and the Beast, The Little Mermaid, etc), stuff about haggis and how stupid and bellicose are the Scots, a final battle, reconciliation between mother and child, and a Legend™ around which it all revolves like a monkey on a hurdy gurdy's chain.
Sure, Brave is beautiful–you can see every single frickin' wet hair on the bear's body when it's hunting for salmon–but it has no longevity. People will love it, yet it will be no one's favourite. It's empty and it would be offensive, too, if anyone were looking out for the Scots–and if you really want to dig into it for some reason, I'm sure you could also say something about the portrayal of women in traditional roles. There are precious few stakes throughout and the message at the end is seemingly that if you shake the tree, you'll get beaten down until you toe the line; that mother is the bad guy who desperately needs to loosen up and listen to her hormonal progeny, spiralling out of control; and that dad is funtime/boys will be boys. But who's digging? The only thing Brave inspires me to investigate is why a trio of art-department people, videogame designers, and the woman who directed that smash hit Prince of Egypt were entrusted with a project that looks and acts like one expensive missed opportunity. I'm telling you, as the father of a wonderful, quirky, strong, amazing little girl, I was breathless with anticipation over a Pixar film with a female protagonist. Imagine my disappointment when they gave me another Disney one.
Also, if you were asking: La Luna, the opening short about three generations of guys who clean the moon, is edgeless treacle–the animated-short version of Oscar-baiting.
I hope Brad Bird or Andrew Stanton do return to Animation, because they can’t direct live-action worth a damn. MI:4 and John Carter were both crap.
“I’m telling you, as the father of a wonderful, quirky, strong, amazing little girl, I was breathless with anticipation over a Pixar film with a female protagonist. Imagine my disappointment when they gave me another Disney one.”
Damn shame. I feel the same, and I don’t want to be disappointed.
Classy as always, Caption Boy
I wanted BRAVE to be Pixar’s PRINCESS MONONOKE (or at least it’s NAUSICAA) and instead we get a retread of THE LITTLE MERMAID, red hair and all? How disappointingly lame, Pixar.
The Disney Way: nothing solves everything forever like a wedding and the bad guy dying at the end.
That scene in Up where an old man plummets to his doom is still seared onto my retinas.
I had this sinking feeling reading in the NY Times (last week) how much effort was put into getting Merida’s hair “just right.” For some sad reason Paris Hilton and Kim Kardashian crashed into my mind. I was so hoping this would stand tall alongside my Pixar greats: Finding Nemo, The Incredibles, Ratatouille, and Toy Story (all.) Aw well, I guess I’ll just power up the blue-ray and watch Hit-Girl SERIOUSLY Kick Ass!
Having only seen the trailers, the risible predictableness of the story and plot doesn’t surprise me at all. It practically screamed “we’re finally making a film with the female as the star, are you happy now?!?” to quell the backlash (like Mrs. Incredible, Violet, Jessie, Dory and EVE are chopped liver?), and everything else just raised whelp, generic in my jaded eyes.
I dunno, I don’t think this will go over well critically; there’s blood in the water after Cars 2, and a lot of folks don’t like ridiculous success and are possibly (idiotically) hoping for Pixar to prove themselves just as fallible as every other production company.
I don’t think the answer is as simple as Stanton and or Bird coming back into the fold. (Though I would love it if at least Stanton did – sorry Cameron, Bird is 4 for four, and Ghost Protocol is a rousing piece of not only action cinema but proof positive the man’s got the goods – the cutting and spacing and pacing of the non-action scenes are as good as you’ll find in modern day filmmaking – I present to you the shot of the Cruise’s non-chalant head bob of “yeah, I know, wtf?” look to the prison guards during the breaking out of prison that Bird can frame a scene as good as anyone directing live action today). No, what the company needs is an infusion of talented new blood. Who and where are the young Stanton’s, the young Bird’s? Have they been developing them in house, or are they still out there, maybe still in school, maybe in different mediums? While I think Docter is the least talented of the big 3 (as his two films are a mere great instead of astounding), I’m giddy as all get out for his new one, The Untitled Pixar Picture That Takes You Inside the Mind (and I can’t be the only one hoping for some kind of “Barton Fink” homage in that, can I?).
Now, now, Cameron, M:I 4 was excellent. Walter will tell you that. Am with you on Stanton though; I doubt he’ll ever top Nemo or WALL-E.
Actually, now having seen BRAVE, I quite liked that they decided to have the entire story revolve around family miscommunication and a mother-daughter feud where both act out and pay the price. I think it is one of the better Pixar’s and it’s nothing at all like the Disney Princess movies….Walter’s review of ‘towing the line’ being the solution to the film is a misconception, there is clearly a younger-generation molding tradition and cultural mores to their purpose. Also a wedding and a Murder is also false. *SPOILERS* There is NO WEDDING and the murder is releasing a failed king from bondage, and it certainly hints that the Will-O-The-Wisps are the souls of Scots who failed to pass their own tests of maturity and or morality. I think there are some right story elements hiding just out of sight in this one, and that it’s going to age pretty good in the Pixar canon. Certainly it approaches the two Brad Bird features (i.e. the Best Pixar Films!)
You Know u are an idiot. While this wasn’t great, the 2 Cars movies were among the best. It is so obvious that u aren’t an American.
Great article nicely explanation thumbs up for Mark Andrews, Brenda Chapman