This Is It. The Way MJ Would've Wanted To Be Remembered

Michael Jackson's This Is It will offer Jackson fans and music lovers worldwide a rare, behind-the-scenes look at the performer as he developed, created and rehearsed for his sold-out concerts that would have taken place beginning this summer in London's O2 Arena. Chronicling the months from April through June, 2009, the film is produced with the full support of the Estate of Michael Jackson and drawn from more than one hundred hours of behind-the-scenes footage, featuring Jackson rehearsing a number of his songs for the show. Audiences will be given a privileged and private look at Jackson as he has never been seen before. In raw and candid detail, Michael Jackson's This Is It captures the singer, dancer, filmmaker, architect, creative genius and great artist at work as he creates and perfects his final show.

Ever since the project was first announced in August, the new documentary Michael Jackson’s This Is It has been shrouded in mystery. According to initial reports, Sony Pictures paid $60 million to acquire hundreds of hours of behind-the-scenes footage showing Jackson–who had died a little over a month before–rehearsing for his big comeback concert series in London. What exactly would that footage reveal? Would Jackson be a slurry, stumbling mess? Or would we see a flicker of the great entertainer– the King of Pop–who dazzled audiences for decades with thrilling dance moves and unstoppable tunes? Sony stoked the mystery by putting the footage on instant lockdown; aside from a short trailer, no scenes from This Is It have found their way onto TV or the web, which, in theory, only heightens its must-see appeal. To further fuel the hype, the studio decreed that the movie would only play in theaters for two weeks, borrowing a successful gimmick that Disney employed last year for its Hannah Montana concert flick. Not even critics got the chance to check out This Is It ahead of time. So, I did what any other good MJ fan would do. I went to the premiere scheduled for 11 PM Tuesday night. Surrounded by hundreds of fans, I found my seat, got completely comfortable and waited patiently for the actual movie to start. After a few movie trailers, at around 11:10, the lights went down, the screen went dark and…and…and…

And we saw a movie. The world didn’t spontaneously heal itself, the future of the music industry didn’t automatically become brighter and Michael Jackson didn’t rise from the dead and start doing the moonwalk. After all the pre-release and pre-show hype, This Is It is just a movie–a surprisingly well-made and compelling movie, but a movie nonetheless. In a way, all the studio-manufactured brouhaha surrounding the film may be doing it a disservice, as it leads viewers to expect a cinematic spectacle to rival a summer blockbuster like Star Trek or Transformers 2. But in reality This Is It is a more modest picture. This isn’t a concert movie–it’s a movie about the making of a concert. Director Kenny Ortega, a longtime Jackson friend and colleague, takes the audience through the show’s set list song by song–beginning with “Wanna Be Startin’ Something” (of course) and concluding with “Man in the Mirror”–revealing how each tune was going to be performed live onstage from the choreography, to the special effects to the King of Pop’s own vocals. Much of the footage is taken from a series of almost complete rehearsals, where the dancing is in place, but not all of the effects are complete and Jackson often sings along to backing vocals in order to go easy on his voice. There are also clips of additional material that would have been worked into the show; for “Smooth Criminal,” Jackson had himself digitally inserted into a series of film clips from old ’40s gangster pictures and Ortega shot new 3D footage of monsters tearing it up in a graveyard to accompany “Thriller.” In some cases, CGI-animatronics stand in for effects that were never finalized; “Earth Song,” for example, would have climaxed with an actual bulldozer rolling onstage to confront Jackson. If you’re at all interested in the art of stagecraft, This is It provides an invaluable look at what goes on behind-the-scenes of a mega-budgeted concert. Indeed, in some ways, seeing the process by which the show was put together is almost more interesting than the finished product ever would have been.

But what about the man at the center of the spectacle? Well Jackson–or as the entire crew calls him, MJ–is alternately engaged, enraged, enthusiastic, impatient and joyful. In other words, he’s an artist in his element, doing what he loves to do. His voice is strong and clear and he moves with the same grace he displayed throughout his life. Clearly the film has been edited to show him at his best, but, to his credit, Ortega does occasionally allow us to see behind his beautiful exterior. In some scenes, Jackson is visibly frustrated when the band misses a note or a dancer doesn’t execute a move correctly. And while we never see him offstage, a few moments do hint at his personal troubles. After rehearsing “Beat It” Jackson is so winded, he can barely speak–his age finally catches up with his body. Earlier, Jackson stops singing right in the middle of a medley of Jackson 5 tunes and launches into a rambling, nonsensical speech about his inner ear problems while Ortega humors him from offstage. One wonders how many more moments like that one are on the cutting room floor. Clocking in at almost two hours, This Is It does feel overlong. Part of that can be chalked up to the normal ebb and flow of a concert–some songs are simply better than others and everyone will have their own opinions about which tunes they would rather have seen cut from the set list. Personally, I could have watched Jackson rehearse “The Way Your Make Me Feel” and “Billie Jean” for a half-hour without growing tired of either song. On the other hand, his renditions of “Earth Song” and “They Don’t Care About Us” wowed me, but may almost put others to sleep. This Is It is far better than it had any right to be, largely because Ortega avoids turning the film into an overly sentimental obituary for Jackson. There are no images of teary-eyed fans despondent over the sudden death of their idol or awkward testimonials from Jackson’s peers and colleagues. In fact, the movie never addresses his death at all beyond a closing dedication. The focus here is entirely on the work that Jackson did while he was still alive. There is obviously much more to Michael Jackson’s legacy than this single concert, but that’s for future films to explore. For now, This is It provides a valuable service–it allows a gifted musician to deliver the career-capping performance he wanted the world to see, but never got the chance. This documentary gets an astounding 5 on my "Go See" scale. There will never be another quite like MJ and this is the way he should be remembered.

This Is IT. The Spotlights Last Shine On an Icon

Hollywood has long taken music icons and turned them into silver screen stars. The "Concert" film has been done with many of today's big music stars, U2, and The Rolling Stones to name a few, and now Michael Jackson stars in what is listed as footage shot solely for his own personal collection. "This Is It" is footage shot of Michael's final rehearsals before what would have been his return to the stage after a twelve year absence. The final fifty performances of this tour were sold out in advance and the King Of Pop wanted his fans to see perfection, this films delivers, albeit on a sad note.

The film showcases the dedication Michael had to his fans, the time and effort he took to make sure that every note of every song was perfect. He not only wanted the music to be right, he also wanted the dancers to be showcased and to become in essence a part of him. The movie is directed by long time friend Kenny Ortega that is a compilation of interviews, rehearsals and backstage footage of the Legend himself. Each song showcased in the film are among Michael's greatest hits, Billy Jean, Beat It, Bad, and of course Thriller. The dance portion of the show is toned down for Michael, he was, one must remember in his fifties, the biggest dance routine was for Thriller, Michael takes it easy during this song, and seems at times more worried about being able to carry the vocal portion of the songs then anything else. This dedication to each song, each step in the rehearsal process takes the fan deeper into the man's mind. he wants the fans who come to watch him to experience something that they wont ever forget.

It must have worked because the sold out audience clapped along with the songs, snapped their fingers and even sang along with their hero. One thing that should be pointed out is that this really isn't a "concert" film it is more of a making of film. Although this does nothing to distract from the movie at all, the fans deserve to understand what it is that they will be seeing. Michael would have wanted it that way. Would Michael have wanted his fans to see this film? It is after all nothing but rehearsal footage of Michael and Kenny directing the musicians, and dancers, leaving Michael to say over and over again, that this is why we rehearse. The movie studio, having paid an extraordinary sum of money for the rights to the footage, want the mans fans to go in thinking they will get a behind the scenes look at one of Michael's concerts, that isn't what you get, it is close but it is after all just footage of several rehearsals. We see as Michael oversees several facets of the show, some new animation sequences that were shot just for the concerts, we see how eleven dancers are turned into eleven hundred, we see new 3D footage being shot for the Thriller number, we get behind the scenes as Michael adds footage for Smooth Criminal and we see some footage for Earth Song, this number ends with a huge bulldozer coming onto the stage and stopping just short of Michael who would be standing at the stages edge.

I must confess that I am not nor have I ever been a Michael Jackson fan, but seeing the way the man took the time to make sure he delivered the best for his fans, and also the way that the beat grabbed you, no matter your taste in music, and soon has you snapping your fingers right along side the man or woman next to you. I must say that I now have an admiration for the man and his talent. The Michael we see on screen in This Is it is far removed from the man in his twenties, even his thirties, but he still has the desire and drive to put on a great show. Even if it is just archive footage.

I give This is It a 4 and on my avoidance scale a 0, I can not recommend this movie any more so than by saying it is nearly as flawless as the man himself. I understand that Michael was marred by controversy throughout his life, but this movie isn't about his life it is about his talent, his love and his ability to make people happy, just with his voice. Take your family, maybe introduce the kids to the King of Pop, if they don't already know more about the man then you do. if you have never seen a concert performance by this man this is your ticket to what would have been his farewell, and if you have seen one of his shows then by all means don't miss his last.

This Is It is rated PG for some Suggestive Choreography and Scary Images

Running time is 1 hr. 51 mins.

The Fourth Kind... Real Or Just A Mind Game?

Horror movies are all the buzz this time of year, we have so many thrown at us that it is hard to sort out the good from the bad, we have seen the small budget movie (Paranormal Activity) that has become overnight one of the biggest grossing films of the year, not to mention one of the best. We have gotten the countless remakes, of what were originally semi poor movies (The Stepfather) to begin with. We also get the movie that leaves you shaking your head in disbelief. That is exactly what "The Fourth Kind" does, it makes you wonder, and along the way it has a few little scares in store for you.

Dr. Abigail Tyler (Milla Jovovich) follows up on a study that was started by her late husband, she began videotaping sessions with traumatized patients and unwittingly discovered some of the most disturbing evidence of alien abduction ever documented. Their accounts of being visited by alien figures all share disturbingly identical details, the validity of which is investigated throughout the film. Some of the movie is archive footage and at the films start is almost more of a disturbance than entertaining, by the middle of the movie you hardly notice it.

When Dr. Tyler's patients all recount the same stories, about waking up around three AM and seeing an owl outside their window Dr. Tyler decides to place them under hypnosis. Her first subject is Tommy (Corey Johnson) when he goes under we witness his trauma, the fear in his eyes is incalculable and later when Dr. Tyler is called to his home by Sheriff August (Will Patton) Tommy murders his family and then commits suicide. Joined by her colleague (Elias Koteas) and a Sumerian translator (Hakeem Kae-Kazim), Dr. Tyler puts another patient under, Scott (Enzo Cilenti) the results are just as scary, we see through distorted camera footage what we will undoubtedly think of as demonic possession where Scott appears to be levitating off the bed. When Scott is paralyzed by the experience Sheriff August comes to Dr. Tyler's house to arrest her, it is the lone fact that Dr. Tyler had witnesses present that the sheriff doesn't arrest her. Leaving an officer outside of the Tyler house, the sheriff leaves, he is soon back when the officer reports something hovering over the house. We later find out that Ashley (Mia McKenna-Bruce) was abducted by the Aliens, this is what is considered The Fourth Kind.

The archive footage is scary at points and sometimes it is not much more than static, it is during these moments that the movie takes an almost unreal feeling, we see through the distortion that the person on the other side of the camera is almost something like a distorted human, mouth hanging agape beyond what we assume is normal, the sounds coming from the person are guttural and menacing.

I give The Fourth Kind a 3 and on my avoidance scale a 0, this is one of those small budget movies that will leave an impression on you long after you have walked out, and if you are a believer or not, you will be astounded by some of the footage and one in particular, the scene where they show the space craft hovering over Dr. Tyler's home seconds before her daughter is said to be abducted. The special effects are so intense that you feel drawn into the story, the archive footage becomes more of a character than some of the others, it becomes something that feels more real than the story itself. When we see Dr Tyler in the footage we immediately see that life has not been easy on her, and as the movie unfolds we see why it hasn't and we become attached to her and what it is that she appears to be going through. As a cynic I started to think about what plot twist Hollywood would throw at us and I am glad to say that they spare us this usual tactic.

The Fourth Kind is rated PG-13 for Violent/Disturbing Images, Some Terror, Thematic Elements and Brief Sexuality

Running time is 1 hr. 39 mins.

Come and Play A New Game With Jigsaw

The makers of the Saw films continue to make Rube Goldberg roll over in his grave with this sixth film in the series. Saw VI finds Detective Hoffman (Costas Mandylor) the target of a FBI investigation, but that won’t stop him from continuing the murderous mayhem started by Jigsaw (Tobin Bell).

After SAW V, I was convinced there was nothing that could be done to make this sixth installment of Saw work. As the torture and violent murders still are a huge part of the latest, it once again focuses on a couple of main relationships. Yet this time, Tobin Bell is featured in a very satisfying way as his connection to many of the characters in the series is explained. Now, it is a bit of a challenge to talk about what worked without giving too much away. What can I tell you without revealing too many secrets and surprises? If you don’t want to hear any spoilers at all, I suggest you stop reading because as much as I don’t want to ruin it for anyone, there will be spoilage (although very minimal, I promise). The key reason why Saw has been a successful franchise stems from the web that it spins. While it started off fairly simple in the beginning, it has expanded this time to a large and frightening subject… health care. Much of John Kramer’s frustration comes from how his doctors and all the so-called experts handled him as his sickness spread. And this chapter explores the chances at life that are rejected and simply not taken, simply for the almighty dollar. If this sounds overly preachy, it kind of is, but at the same time it is very relevant and also a little more relatable than you’d expect. But, as the traps are set and the game is played, one man in particular is given the chance to roll the dice. Peter Outerbridge is William, a man who has made a career out of deciding what and how much health insurance he should provide. He is a key player in the vicious life lesson many receive. I won’t say anything more about the plot, well, for the most part I won’t. It is hard to imagine the sixth film in this series would pack quite the punch as this did. But much like the third, this second trilogy finale answers the questions that have been asked and even supplies a conclusion that mostly works. It is terrific to see a couple of familiar faces whether it be in flashback, or possibly somewhere else. It is also great to see the expanded role of the lovely and talented Betsy Russell. She is quite good as Kramer’s widow and yes, we finally get a glimpse inside that box of hers. While there were a couple of choices that weren’t explored nearly as well as they should’ve been, the film has the sense to really focus on what the hell is going on. I even warmed up to Costas Mandylor as Jigsaw’s apprentice, Detective Hoffman and why he became Kramer‘s bitch. While he didn’t quite work for me when his true nature was revealed earlier in the series, I think he had a bit more to work with this time around.

There was an interesting look that each one of these films have contained. Both James Wan and Darren Lynn Bousman gave the series the stylistic, visually orgasmic look as the camera speeds around a potential victim (or student), and that bit of trickery is used here, but only slightly. There is a very cold and colorless atmosphere as the detectives investigate the continuing murders, but the traps and such are hot and bright. It feels like a Saw film, yet somehow first time director Kevin Greutert is able to cut down a tad on the visual acrobatics, and focus on telling a story. As the editor of the previous five, he adds a clarity to it that hasn’t been seen for awhile. In many ways, the look and feel of six is like a crossbreed of one and three. And yes, it really does work. Any qualms about six? Sure. With any sequel, especially when you are up to six, you could stand to lose a few pointless characters. One of the lead players wasn’t utilized quite as well as they could have been, thus, they don’t generate all that much sympathy or interest. I also felt that another main character was sort of shortchanged with their big final moment. It is too quick and they just seem to get off too easily, purely with an interest of making the ending scream sequel. Sure we already know there will be a sequel, so I don’t think making it so blatantly obvious is necessary. And yes, a couple of performances aren’t always hitting the right mark, but for the most part, I really gave two cents about folks I didn’t care about before. In the end though, Saw VI works and it works much better than I would’ve ever expected. The franchise might even benefit from ending here, but we all know that won’t happen. We’ll just have to wait for a whole new set of games to leave riddles and clues with… or will we? Whatever happens, Saw VI will still be one of the best and most fascinating in the series. This one gets a gory 3 on my "Go See" scale.

Two Many Saw Films Doesn't Make This One The Charmer

Once again Hollywood, with little or no originality left has brought out the retread machine and released another one in what appears to be a long line of stupid unnecessary movies. "Saw VI" is just another excuse for the filmmakers to try to outdo the last movie, here they fail miserable. Once again we get the story mainly told in a flip flop between present, past and flashback. This wasn't good in any of the first five so why do they think it will be better here?

Jigsaw (Tobin Bell) is finally dead, his wife, Jill (Betsy Russell) picked up a mysterious box and another test is running, all this before the opening credits are flashed across the screen. FBI Special Agent Peter Strahm (Scott Patterson) is dead, in what is a very uniquely cool way, and Detective Hoffman (Costas Mandylor) has emerged as the unchallenged successor to Jigsaw's legacy, or will he, Jigsaw has claimed that every one must be tested. When Det. Hoffman gets back to the police station he finds out that Agent Lindsey Perez (Athena Karkanis) is still alive, and back working the jigsaw case. When she and Dan Erickson (Mark Rolston) find a tape at the scene of a new jigsaw crime they tell Det. Hoffman that they are having it worked on to determine the real voice. Hoffman knowing it is his voice on the tape has to deal with these two individuals quickly, and he does.

All this time we are looking in on another person who is dealing with his test, William Easton (Peter Outerbridge) is an insurance agent dealing with a law suit, we also find out that he was Johns agent as well, one who turned down John's request for payment on a new cancer treatment. He is told via the old grainy television tape that he will have four tests to beat, the first is him against an older man who is the janitor (Gerry Mendicino) in the building where William's office is located. Each test that William beats he will get a key that will unlock one of the four explosive devices on his body. After besting the first test William is freed from the device he was trapped in, following the clues painted on the wall William comes across another person he knows all too well, William must help her cross a room full of hot steam pipes, the only way he can do this is to turn the steam off so she can walk across the open pipes, but when he does this the pipe next to the control valve opens and William is burnt by the steam. Getting to the end of the walkway William finds out the key to open the door has been surgically implanted in his body, he now must defend himself. This test ends in William's favor and he gets the second key.

The test for the third key includes all six of the employees that William has working to find flaws in peoples insurance claims, they are handcuffed to what looks like a spinning amusement ride. William is told he can save only two of them and while doing so he will lose something in the process, the group of six fight amongst themselves offering William everything under the sun to save them, the two he does save earns him the third key. During this test we meet Tara (Shauna MacDonald) and Brent (Devon Bostick) they re in a cell and in the cell is a vat that contains acid, in another cage we see Pamela Jenkins (Samantha Lemole) she is Williams sister. Tara and Brent are the family of the man who died when his claim was denied by William's company.

Unlocking all his shackles, and making it to the final room, William finds himself between the cell that holds Pamela and the cell that holds Tara and Brent, Tara and Brent decide William's fate, Tara can't kill him but Brent is so mad at William he has no problem pulling the lever. All of this is rolled out in between flashbacks of John (Jigsaw) talking to his wife, setting up tests and grabbing the new people. Jill opens the box with six envelopes in it but yet only gives Det. Hoffman five, this is not done cleverly it is shown several times, so when the final test is done we are not surprised it is Jill testing Det. Hoffman. Putting him into a contraption that he knows how to unlock and best was silly, if John knew Hoffman was going to be tested why not save a new device just for him.

These movies will continue to come out, every year until people wake up and see that it is the same retread over and over, we meet new people in the next story arc that as supposedly helping Jigsaw all along, while just in the previous movie they went out of their way to make it look like he was working alone. Scripts can be manipulated to do anything and the script writers of these saw movies have no moral fiber to speak of. Or money talks loud in Hollywood.

I give Saw 6 a 1 and on my avoidance scale I give it a 2 this is the type of movie where if you have seen any of the first five then you have seen this one, nothing new or creative here, just one trap to out do the previous one. If this is your type of movie, well I'm sure you are eagerly awaiting the seventh one, I'm sure it has already been green lighted. Again Hollywood lacks creativity and this is what we get year after year.

Saw VI is rated R for Sequences of Grisly Bloody Violence and Torture and Language

Running time is 1 hr. 31 mins.

Tinkerbell

Tinker Bell's greatest adventure yet takes place in Autumn, as the fairies are on the mainland changing the colors of the leaves, tending to pumpkin patches, and helping geese fly south for the winter. The rare Blue Moon will rise, and when its light passes through the magical Fall Scepter that Tinker Bell has been summoned to create, Pixie Hollow's supply of pixie dust will be restored. But when Tinker Bell accidentally puts all of Pixie Hollow in jeopardy, she must venture out across the sea on a secret quest to set things right in Tinker Bell and the Lost Treasure.

The second volume in the new Disney fairy series, Tinker Bell and the Lost Treasure, is really superior--mostly because it addresses some of the complaints I had about the first installment. While "Tinker Bell" was aimed at and appealed mostly to little girls, the hackneyed direct-to-video (and "catty" plot) was jettisoned in favor of a narrative and style (i.e., more humor and adventure) that holds greater appeal for boys in the family, and yes, adults. I was impressed that this time, Disney created a "world." From the magical opening sequence that shows fairies helping animals prepare for winter and ripening corn, you know you're in for some stunning animation. Beads of water roll down the threads of a spider web, a cricket cuckoo clock brings back memories of Gepetto's workshop, and the fairy wings themselves look like marvelous. Like "The Flintsones," there are sequences where the delight comes from just seeing the animators' take on an everyday activity sized down to a Pixie world, whether it's a Pixie dust factory or a little boat that Tink makes to deliver the dust. You can't help but smile and marvel at each sequence. But let's face it, the whole idea of a movie based on fairies is going to appeal mostly to little girls. It's almost as if someone at Disney woke up and said, "Hey, why do they have the market cornered on fairies? We have the most famous fairy of them all . . . Tinker Bell!" Once again, Mae Whitman, who gave voice to Shanti in "The Jungle Book 2," handles the voiceover chores for the main character, while Lucy Liu is Silvermist, Raven-Symoné is Iridessa, Kristin Chenoweth is Rosetta, and Anjelica Huston is Queen Clarion. But the main secondary character this time is Tink's friend Terrence (Jesse McCartney), an earnest young man (I mean, pixie) who screws up because of clumsiness and causes a temporary rift in their friendship. And I can't help but think that someone at Disney may have slyly suggested that a boy character might broaden the family appeal. More humor and adventure makes it more palatable to boys, too. But my chief complaint about Tinker Bell in the first film was that she was almost unrecognizable. Sure, characters evolve, but "Tinker Bell" presented a golly-gee good girl whose flawless goody-two-shoes act seemed galaxies away from the character in Peter Pan who ordered Wendy shot down and pulled her rival's hair. This time, Tink has a temper, and that's good, because nothing's worse than a two-dimensional character in a three-dimensional CGI movie. At least now she's more believable, and that temper and impatience of hers ins nicely woven into the plot.

In the animation department, Disney does a fantastic job once more. Tinker Bell and the Lost Treasure is a visual delight, and the cartoonists' and animators attention to detail gives the stunning picture quality something to showcase other than the clarity and style itself. The animation is superb. We're not talking TV-quality drawing or animation. This is feature-quality work. The plot may not be the most original, but at least it's not the kind of high-school jealousy nonsense we got in the first installment. This outing, the queen decides to entrust Tinker Bell with the job of constructing a scepter which will hold a rare moonstone. Then, like something out of Indiana Jones, that scepter has to be placed in just the right spot so the Blue Moon can hit the stone and somehow create pixie dust. Don't try to think about this too hard. It's a fairy world. It doesn't have to make sense. Anyway, tinkers are builders and repair specialists, which is good, because with a friend like Terrence around, things tend to get broken. It's when the moonstone itself crashes that the adventure part begins, for Tinker Bell decides to go off in search of a magic mirror that went down in a shipwreck, a mirror that contains one last wish. Now, see, you're thinking again, and I told you to suspend belief. That's why Tinker Bell and the Lost Treasure is still going to appeal mostly to little girls. Boys will wish for more moments like the bat trying to chase down and eat Tink's firefly friend, Blaze. Maybe the next installment will address this deficiency. Certainly there's more humor this outing, and Tink has more personality because she's allowed flaws. Maybe people at Disney are reading the reviews and taking them to heart. Stranger things have happened. This gets a 3 on my "Go See" Scale.

Enjoy Toy Story In A New Dimension

Disney and Pixar started a very beautiful (yet sometimes rocky) relationship way back with a little movie called Toy Story. It was a story about toys… specifically, a boy named Andy’s toys. You see, his favorite, a little cowboy doll named Woody (Voiced by Tom Hanks) is starting to get replaced by another, more expensive doll named Buzz Lightyear (Voiced by Tim Allen). But the trick is, these toys are alive when the humans aren’t watching. The Toy Story films were early indications that Pixar would become the monumental name that it is now. And for the first time ever, you can watch the first two Toy Story films in the glory of 3D with a fun intermission for all you trivia buffs. It’s a theatrical double feature that goes to infinite and beyond with in Toy Story 1&2 Double Feature in 3D.

When Toy Story was released in 1995, it was met not only with critical praise, but audiences loved it. Pixar’s animation was beautiful, bold and exciting. But it wasn’t simply a good looking animated movie, it was also a wonderful script with a story that not only pleased the young, but also the young at heart. In fact, the original film was so popular that in 1999, Toy Story 2 once again delighted critics and audiences. It was the birth of a new and exciting company that continues to make classic after classic. And after fourteen years, in preparation for a brand new sequel, Pixar has revived the first two films in a two week theatrical release. That alone would be worth checking out for an even younger generation, but the fact that they are being released as a double feature, in 3D is an exciting way to revisit Woody, Buzz Lightyear and all the other toys.  When I sat back to watch these gorgeous films, it was easy to get excited as the new 3D element was really quite magical. Sure these films worked back in the day without the new technology, but when Buzz Lightyear goes “falling with style” around Andy’s room, it looked better than you can imagine. In fact, this new RealD version of the Toy Story films feels just as alive and relevant as it did upon its original release. In many ways, it felt more relevant. Many times, the 3D versions of animated features are sometimes better in just plain old 2D as it really doesn’t add to the experience, that is not the case here. The eye-popping effects burst off the screen and really seem to bring out a sense of fun in a story about a young boys toys coming to life. After all, theatre chains are still desperate to bring in audiences to enjoy the complete movie going experience, and this is certainly one way to do it. Especially since it is two movies for a single admission, and a fun intermission filled with trivia and all sorts of Toy Story goodness. When it comes to the films, I have to say that they really do hold up remarkably well. Toy Story was very unique. It was nice to see the kind of friendships that are explored in the films. From Woody (Tom Hanks) to Buzz (Tim Allen), all the way to the young boy Andy (John Morris) who is like every other kid who loves a toy one minute, and is ready to move on to another the next. I really enjoyed the original film. There was just he right amount of humor and even the slightest bit of drama. There was definitely a precursor to the later Pixar films as there are some serious subjects explored here. The most heartbreaking includes a bunch of toys that have been twisted beyond recognition by one mean little boy named Sid (Erik von Detten). The only thing that really changed from my first viewing of this film so long ago, to seeing it today, is that it seemed much darker in 1995. The misfit toys are both inspiring and sad, but not quite as dark as some of the recent Pixar fare.

As for Toy Story 2, I was more of a fan of this one than of the first one. I remember seeing it the first time and thinking it had more heart and humor than the first and who wouldn’t feel a little bit of heartbreak when Sarah McLachlan sang “When Somebody Loves You”? Yep, it brought a tear or two to my eyes. But I have to admit, seeing this baby in 3D made for a much more satisfying experience. Watching it again made me hope for even more talking toy fun when part three comes our way. But I think the basic idea of toys having this sort of longing to be loved and such is a really good one and Toy Story (and Toy Story 2) hold up very well in this classic double feature. Now for the bad news. If you are a parent, and you are hoping to relive the magic of both films with your kids, be careful, this is a long event. For some children, sitting in a theatre for merely an hour and a half might be a little painful, imagine three hours plus. Sure they have an intermission, but they may actually want to stay for that… I got at least half the trivia correct, a paled in comparison to the young tykes that surrounded me! But seriously, if you have a mini van full of children and are looking for some movie magic, you’d better hope that everybody really loves their Toy Story! Or else just check out the first one and wait for the special 3D version of Part 2 on DVD. This was well worth the wait and I'm now looking forward to Toy Story 3. This double feature gets a 4 on my "Go See" scale.