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Pickpocket (1959)
Does Michel want to be caught? Does he taunt the inspector because he feels untouchable, or is there another reason? As always, Bresson examines actions but offers little attention to motives, an approach that here seems to suggest that Michel’s choices may be a mystery even to himself, his threadbare theorizing only rationalization.
Pieces of April (2003)
Slyly, disarmingly, this bittersweet comedy-drama got past my defenses and got me in its corner, caring about its flawed, wounded characters, wanting to see them heed their better angels and overcome the legacy of their past mistakes and disappointments.
Piglet’s Big Movie (2003)
With Piglet’s Big Movie, Pooh finally returns to his roots, bringing three of Milne’s original tales to the screen for the first time in an anthology-style story. Framed as a series of flashbacks in a story with Pooh and his friends searching for the missing Piglet, the movie recalls the tales of Christopher Robin’s expedition to the North Pole, the house at Pooh Corner, and the arrival of Kanga and Roo in the Hundred Acre Wood. Running through all three episodes as well as the framing story is the film’s unifying theme, little Piglet’s big heart and heroism.
Pinocchio (1940)
Emotionally resonant, visually dazzling, imaginatively captivating, thematically rich, Walt Disney’s Pinocchio may just be the greatest of all the early Disney masterpieces, possibly outshining Snow White, Fantasia and Bambi.
Pirates of the Caribbean: At World’s End (2007)
If Dead Man’s Chest was inspiration gone amok, At World’s End is more — much, much, much more — of the same, only without the inspiration. In every respect it outdoes its predecessor, except in charm, entertainment and fun. Add Pirates of the Caribbean to the roster of franchises foundering on the rocks the third time out.
Pirates of the Caribbean: Dead Man’s Chest (2006)
The Raiders comparison is more apt here than in the original, where the swordplay and such was more energetic and well-done than inspired. The sequel takes the slapstick swashbuckling to a completely new level, evoking the ingenuity and physical comedy of a Buster Keaton or Jackie Chan set piece, crossed with the Rube Goldberg logic of a Chuck Jones cartoon.
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Even skeptics of the franchise must admit, I think, that the Pirates of the Caribbean films have generally aimed higher and been smarter than might have been expected.
Pirates of the Caribbean: On Stranger Tides (2011)
Was Catholic novelist Tim Powers’ 1987 historical fantasy-adventure novel On Stranger Tides in some way the inspiration, or an inspiration, not only for this fourth Pirates of the Caribbean flick, but for the whole franchise?
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
The most remarkable thing about Pirates of the Caribbean: The Curse of the Black Pearl is neither Johnny Depp’s mesmerizing performance, nor ILM’s literally eye-popping skeletal ghost-ship crew, but the sheer fact that the movie works at all.
The Pirates! Band of Misfits / In an Adventure with Scientists! (2012)
An Aardman film is always an exercise in absurdity, but The Pirates, directed by Peter Lord (Chicken Run) and Jeff Newitt, is possibly their silliest ever. This is the kind of film in which people say things like “Blood Island! So called because …it is the exact shape of some blood!” And: “You can’t always say Arrrrr! at the end of a sentence and think that makes everything all right.” And: “London town: the most romantic city in the world.” (Followed by: “London smells like Grandma!”) Those crazy Brits!
The Pirates! Band of Misfits [video]
The Pirates! Band of Misfits / In an Adventure with Scientists! in 60 seconds: my “Reel Faith” review.
Pixar and the Pope: Pope Francis’ Laudato Si’ and Pixar’s Wall-E
“The earth, our home, is beginning to look more and more like an immense pile of filth,” Pope Francis writes. “In many parts of the planet, the elderly lament that once beautiful landscapes are now covered with rubbish” (LS 21). From the outset Wall-E looks as if it had been created with these words in mind, projecting them into a dystopian future in which rubbish has expanded to cover the entire planet, even surrounding the Earth in a halo of space debris.
Pixar Toys and “Happy Monsters”
More insightful analysis on patterns at Pixar from Peter T. Chattaway…
Pixels (2015)
The idea of saving the world from alien invaders with classic video-game skills is not without a certain dumb appeal.
Places in the Heart (1984)
Sally Field gives an Oscar-winning performance as Edna Spalding, a wife and mother of two whose life is shattered by a sudden, pointless tragedy. In the aftermath, she is confronted by a bewildering array of hurtles which she never have imagined having to deal with, but must now rise to the challenge. These hurtles include financial dealings with condescending businessmen, a possibly shifty black drifter (Danny Glover), an unwanted and ungrateful boarder who is blind (John Malkovich), and a devastating act of God.
Planes (2013)
Both the big race and international flavor recall Cars 2 as well as DreamWorks’ Turbo, the protagonist of which had the same personal crisis as Dusty, a longing for speed he wasn’t built for. Yet Planes, in its modest way, cannily avoids the pitfalls that made those films unsatisfying.
Planes [video]
It may be Pixar Ultra-Lite, but Disney’s Planes is a pleasant change of pace from the likes of The Croods and Turbo.
Planes: Fire & Rescue (2014)
With this sequel to last summer’s spin-off from the franchise that descended from Pixar’s Cars, the World of Cars has left behind not only stock cars, the open road, specific real-world settings and Larry the Cable Guy, but racing itself. Practically nothing is left of John Lasseter’s original vision, except those blasted windshield eyeballs. In this melancholy year without Pixar, it’s worse than no reminder at all.
Planes: Fire & Rescue [video] (2014)
Looking at those Cars eyes is worse than having no remnant of Pixar at all this year.
Planet of the Apes (2001)
Helena Bonham Carter is also convincingly simian as the chimpanzee Ari, though less so than Thade, since she has to be visibly feminine and potentially attractive to the human lead (Mark Wahlberg). But the gorillas, like Attar (Michael Clarke Duncan) and Krull (Cary-Hiroyuki Tagawa), are as compellingly realistic as Thade, if not quite as expressive.
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