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Ultimately, while the finale is admirably earnest and The Good Dinosaur’s heart is in the right place, as a movie it's an absolute chore to get through, with characters and story that are far from the tightly structured Pixar we’ve come to know and love. From a technical perspective, The Good Dinosaur is jaw-droppingly gorgeous, although the decision to juxtapose photo-real settings with cartoonish dinosaur designs is still one of the studio's more befuddling choices. The movie bathes itself in Western genre tropes and aesthetics, which isn’t an issue unto itself - Pixar tackling a Western is exciting! - but again when your whole movie hinges on a protagonist as insufferably dumb as Arlo, the slower pace becomes a hindrance. Which is a massive problem seeing as how Arlo commands the majority of the screentime with the dialogue-less Spot. First-time filmmaker Pete Sohn took the reigns, and while the film’s emotional ambition is admirable, it suffers from a whiny, unlikeable protagonist in Arlo - the titular good dinosaur - and a meandering story. The picture famously went through an incredibly tumultuous production that led to director Bob Peterson’s removal and an entire creative reworking from the ground up. But ultimately what matters is the film, not the box office, and unfortunately, The Good Dinosaur is a complete and utter snoozefest. While the 2015 entry The Good Dinosaur scored more positive reviews than Cars 2, it stands as the studio’s lowest-grossing film in history by far-which is even more striking when taking into account that Pixar films released over a decade earlier, without the benefit of 3D ticket prices, made more money. RELATED: Every Disney Animated Movie Ever Made, Ranked From Worst to Best Without further ado, I present a complete ranking of all the Pixar movies from worst to best.Įditor's note: This article was last updated on Mato add Turning Red. 2015 was the first time in history where we saw two Pixar films released in the same year, and now the studio is splitting its time between theatrical and Disney+ releases.Īs the studio shows no signs of slowing down, now seems like an opportune time to look back at how Pixar’s oeuvre stacks up so far.
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The stumbles came eventually, inevitably, but the studio is always pushing ambitious ideas. That formula was repeated time and time again, as Pixar forged ahead with what seemed to be an impossible track record of greatness. Story, character, and emotion are king, and if you nail all three without pandering, you just might have something special on your hands.
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The folks at Pixar-headed up by the future “brain trust” of John Lasseter, Andrew Stanton, Pete Docter, and the late Joe Ranft-moved forward with the idea that animated films weren’t only for kids, and kids don’t need (or want) to be talked down to. Pixar eschewed the tradition of fairy tales, sing-a-longs, and overly kid-oriented storytelling in favor of a more bold and mature approach. Sure, Toy Story ushered in a new visual medium, but it also shook up the animated feature film world in much more fundamental ways. Within a decade, CG would replace hand-drawn 2D animation as the dominant medium at Walt Disney Animation Studios, and the animation world would remain forever transformed.īut Pixar’s legacy doesn’t begin and end with technology.
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Not since Snow White and the Seven Dwarves has the medium of animation been so significantly rocked, as new technology brought colorful CG to audiences for the first time ever. The arrival of Toy Story-and by extension Pixar Animation Studios-in 1995 forever changed how we see movies.
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