MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Planes

PLANES (Two and a Half Stars)
U.S.: Klay Hall, 2013

letadla

In movies, especially movies intended for kids, originality isn’t everything. Adults are sometimes another story.

Planes, as most of us know by now, is a kind of knockoff of Cars and Cars 2, two Pixar films that were pet toons of now Disney head John Lasseter (who co-wrote and directed them)– and were also popular with audiences and toy-buying parents, though trashed by a lot of critics. Planes is a popular and somewhat trashed cartoon show, too. But cute.

Planes—which isn’t a Pixar movie but sure as, uh, heck looks, feels and sounds like one—is actually a product of Disneytoon Studio, another of the branches of the Disney animation empire now run (very well) by Lasseter. Stylistically, it’s in the same groove as Cars, but with cute little big-eyed planes whirring around instead of cute little big-eyed cars—or, for that matter, cute little big-eyed toys, monsters, fish or robots. Yet though Planes can get overly familiar, the movie, which was originally intended as a straight-to-video item, then upgraded to a theatrical release, has its moments.

It’s the story of yet another international race (like the Grand Prix in Cars 2), this time with a plucky little underdog—predictably adorable crop-dusting plane Dusty Crophopper (voiced by Dane Cook)—rising up from the American heartland (in this case, Propwash Junction) to compete against the superstars of the sport. Dusty, with an omnipresent grin under his propeller, is a working stiff with dreams of glory who finally gets his chance when he makes the cut for that round-the-world championship race—where his main competition is swaggering multi-trophy champ and bully-plane Ripslinger (Roger Craig Smith, exuding ego).

Our cute little hero enlists the help of his buddies, Chug the Truck (Brad Garrett), Dottie the Forklift (Teri Hatcher), and even recruits a heavy-duty coach, the dark-tempered but sky-savvy Skipper (Stacy Keach), a war vet with a legendary rep. When Dusty surprisingly makes it into the finals—against Ripslinger and an international gallery that includes crusty Britisher Bulldog (John Cleese), French-Canadian bombshell Rochelle (Julia Louis-Dreyfus), Rochelle’s devoted serenading suitor El Chupacabra (Carlos Alazraqui) and Indian ace Ishani (Priyanka Chopra)—the stage is set, the race is on, and the lovable clichés come tumbling out like gumballs from a gumball machine.

To say you’ve seen it all before is putting it mildly. Lasseter sometimes seems, especially here, like a big jubilant child unloading his huge toy chest for all his playmates—which is usually a pleasure but sometimes, at least lately, predictable. He was the executive producer for Planes – it’s a Disneytoon Studio production rather than a Pixar one—and he helps gives the movie a classy-looking, energetic shine. It’s a good-looking show despite its unoriginal, uninspired but not uncongenial script. Much of what’s in the two Cars movies (the characters, the plot, the backgrounds, the cornball. somewhat stereotypical humor, the would be heartfelt themes, even the presence of super-sports announcer Brent Mustangburger (voiced, as in Cars 2, by Brent Musburger)—has its equivalent in Planes, except that Planes is heavier on uplift and lighter on jokes.

It’s a less adult-friendly movie than the Cars twosome. But, with its skyful of cute little planes and thrills in the clouds executed with the current Disney Studio panache, it’s definitely kid-friendly. It’s a nice-looking movie, and that’s what gives it some redeeming value for adults. Director Klay Hall and writer Jeffrey M. Howard (both veterans of Disney’s “Tinker Bell” video series), are two cartoon-makers who both obviously love aircraft (reportedly since boyhood) and they’ve dreamed up, or borrowed, a story that has lots of scope and space for spectacularly cute flying scenes. After all, their movie was intended as a straight-to-video item, so it‘s already something of an over-achiever. At its best, especially when it’s airborne, Planes is still, well, cute.

 

Be Sociable, Share!

Comments are closed.

Wilmington

awesome stuff. OK I would like to contribute as well by sharing this awesome link, that personally helped me get some amazing and easy to modify. check it out at scarab13.com. All custom premade files, many of them totally free to get. Also, check out Dow on: Wilmington on DVDs: How to Train Your Dragon, Treasure of the Sierra Madre, The Darjeeling Limited, The Films of Nikita Mikhalkov, The Hangover, The Human Centipede and more ...

cool post. OK I would like to contribute too by sharing this awesome link, that personally helped me get some amazing and easy to customize. check it out at scarab13.com. All custom templates, many of them dirt cheap or free to get. Also, check out Downlo on: Wilmington on Movies: I'm Still Here, Soul Kitchen and Bran Nue Dae

awesome post. Now I would like to contribute too by sharing this awesome link, that personally helped me get some beautiful and easy to modify. take a look at scarab13.com. All custom premade files, many of them free to get. Also, check out DownloadSoho.c on: MW on Movies: The Girl Who Kicked the Hornet's Nest, Paranormal Activity 2, and CIFF Wrap-Up

Carrie Mulligan on: Wilmington on DVDs: The Great Gatsby

isa50 on: Wilmington on DVDs: Gladiator; Hell's Half Acre; The Incredible Burt Wonderstone

Rory on: Wilmington on Movies: Snow White and the Huntsman

Andrew Coyle on: Wilmington On Movies: Paterson

tamzap on: Wilmington on DVDs: The Magnificent Seven, Date Night, Little Women, Chicago and more …

rdecker5 on: Wilmington on DVDs: Ivan's Childhood

Ray Pride on: Wilmington on Movies: The Purge: Election Year

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon