Benson Shum brings joy to Disney destroyer
Interview: Benson Shum
He grew up sketching trees in Stanley Park, now the Vancouver animator is breathing life into the pixels behind Ralph Breaks the Internet, the latest adventure for two arcade characters learning to console each other.
Ant-Man and The Wasp Give a Nice Buzz
Movie Review: Ant-Man and the Wasp
The laws governing the very big and the very small are different, and this ant-hero story of a nice thief and outlaw physicists taking on big foes brings fragmented intimacy to the ever-expanding Marvel Comic Universe.
Incredibles 2 Too Much Toon, Too Little Tone
Movie review: Incredibles 2
The long-awaited sequel to The Incredibles picks up the Parr family where we left them, but the world and our innocent sense of wonder has changed. Maybe that’s why Brad Bird’s Incredibles 2 feels a little out-of-sync, despite its cinematic skill.
Pixar’s Ted Mathot Talks Technology, Education, Incredibles’ Design
Interview: Ted Mathot
The talented artist says working under the wing of Oscar-winner Brad Bird helped him make the big leap from storyboard artist on The Simpsons to story supervisor on The Incredibles 2. But this could just be the beginning for the Boston native. Now a fledgling graphic novelist, Mathot's own stories seem poised to fly.
A Wrinkle in Time Offers Waking Daydream
Movie review: A Wrinkle in Time
Ava DuVernay’s big-budget Disney adaptation of Madeleine L’Engle’s teen classic takes an earnest route through fairyland and physics, making for a strangely static ride and a Mardi Gras parade of bejewelled movie stars.
Three at-bats, but no TIFF hits on this day in cinema sports
#TIFF16: Critic's Dispatches
Seasoned critic sacrifices a Blue Jays game to take in The Queen of Katwe, Planetarium and The Bleeder but finds little to celebrate beyond a sweet mid-movie slumber
By Jay Stone
TORONTO — I went to three films today, which means I didn’t get to watch the Toronto Blue Jays game on television. The films weren’t great as cinema, but they were excellent as distractions from the Toronto Blue Jays. For the record, the Boston Red Sox beat the Jays 11-8, and I went 0-for-3.
The first movie was The Queen of Katwe, a Disney movie based on a true story about a teenage Ugandan girl who lives in dire poverty on the bad side of a small African village — mud streets, bare shacks, a cacophony of people trying to sell maize to people in cars stuck in monumental traffic jams at red lights — and becomes a chess champion.
Yes, it’s that movie, which suited my fellow movie-goers to a T. They laughed and applauded on cue, which makes me think The Queen ...
Pete’s Dragon rekindles kid imagination
Movie review: Pete’s Dragon
Pulling inspiration from childhood touchstones such as Puff the Magic Dragon, The Jungle Book and Lassie, David Lowery's remake of Pete's Dragon may play to a familiar formula, but it's still warm and fuzzy and fun to cuddle
What’s The BFG? Spielberg and Rylance reunite for kid romp
Movie review: The BFG
Steven Spielberg brings Roald Dahl's story of a little girl and a vegetarian giant to the big screen with gorgeous visuals and a sentimental streak, but a somewhat jumbled storyline that leaks emotion and suspense
Finding Dory, losing story
Movie Review: Finding Dory
Ellen DeGeneres returns as a fish with short-term memory loss in a largely forgettable sequel to Finding Nemo
Sadness still makes her happy
People: Phyllis Smith
The veteran star of The Office says voicing the role of Sadness in Disney-Pixar's Inside Out was a joyous experience that continues to animate her life
By Katherine Monk
Finding true joy in sadness is the stuff of self-help books, but for Phyliis Smith, it’s become the defining moment of her career—and she’s still in it.
Speaking over the phone, apparently from the Midwest home she grew up in with her siblings, Smith’s voice is charged with audible enthusiasm as she talks about her time working on Inside Out.
Released theatrically June 19th by Disney-Pixar, the animated feature about an eleven-year-old girl named Riley remains one of the biggest hits of the year, standing at number three for the year with over $355 million in domestic receipts.
Now out on home video today, Smith says the minute the movie premiered at Cannes, people told her it would be a turning point—including executive producer and member of the Pixar brain ...