Monsters, Inc.

I thought Billy Crystal and John Goodman were great. I like them anyway, but I can't imagine anyone else in their roles. John Goodman comes across as a warm, fuzzy teddy bear type in so many of his roles, and this time he was actually drawn that way. Crystal and Goodman were great together, even when their characters showed signs of not getting along. And Boo sounded so natural, so childlike. There's no way an adult could have done her lines the way they were executed.

And the writing was so intelligent, this movie was not just for kids. There were a lot of clever jokes that kids might not get. Still, the warm and fuzzy qualities of so many of the monsters make this a perfect choice for kids as well as adults, and I really don't get why ABC couldn't give this a TV-G rating. It may have been a little violent or scary at times, but never all that intense. Kids see worse on Saturday morning.

Sully and Mike (voiced by John Goodman and Billy Crystal) are employees at Monsters Inc., a scream-fueled plant that provides power to Monsteropolis. Screams are generated by 'scarers' (and Sully is the best), who enter children's bedrooms via the closet and are harvested by their partners (in Sully's case, his best friend Mike). Extreme care must be taken, as children are highly toxic to monsters, so when one is accidently transported to the factory, pandemonium ensues. The film is the fourth of Pixar's full length animated features and like most of the studio's work, is excellent. The story is fun with a clever 'twist' to the ending, the animators manage to inject a tremendous amount of character and personality into the CGI characters, and the choice of voice talent is perfect (I especially liked Steve Buscemi as the chameleonic villain Randall). CGI technology has advanced considerably since the film was released but the imagery still holds up and the vast 'closet door' storage facility is great. Typical of the studio, there are a lot of amusing details in the background that are worth watching for. Good, timeless fun for all ages.

You may admire the hair detail on Sully the Yeti's arm, but you will be amazed at the warmth of characterization in `Monsters, Inc.,' surpassing even the great `Shrek' earlier this year. Goodman and Crystal are a comedic team reminiscent of the zaniest Martin and Lewis days. Crystal's Borscht-belt routines brought smiles even to this jaded and admittedly tough-on-comedy critic. I thought Eddie Murphy's donkey in `Shrek' was smart and funny; Crystal's one-eyed monster is even better with its wry and annoying wit.

Cleaning the environment of child contamination is a hilarious conceit that turns around the usual fears children have of monsters in closets. It is also a chilling parallel to the challenge of removing anthrax from today's letters. Generally, the allegorical underpinnings of animation are natural for the medium, powerful like the images of the novel `Animal Farm' for political and sociological levels of meaning. For example, the endless-door motif in this film is an ingenious metaphor for the scary and glorious possibilities the present and future hold for kids.

Even before you see this feature, Pixar offers the short feature `For the Birds' -- a brilliant takeoff on Hitchcock's memorable film besides being a great commentary on diversity. The expressions around the animated eyes, as the little birds deal with the big bird interloper, are more expressive than those of most contemporary film actors, with the exception of Brando, Pacino, Depp, and Streep.

The short trailer for `Star Wars II: Attack of the Clones' may precede the showing as it did ours for an added delight.

`Monsters, Inc.' is the best animated feature this year and one of the greatest of all time.

This is a very entertaining animated film. I've seen it twice and enjoyed even more the second time. Billy Crystal said he enjoyed making this film as much as any film he's ever done, so that's a good testimony that you'll get some laughs and enjoy this movie as an adult, too.

Kids will love it, I am sure. The "monsters" in here are funny-looking and almost lovable, nothing that would scare your kids (or you). Crystal has a bunch of funny lines but overall I found this to be as much if not more of a human interest story than a comedy.

There is a lot of sentimentality to it, even overdone a bit at the end, but that's okay. There is absolutely nothing offensive in here, either. The colors look spectacular, too.

MONSTERS, INC. (2001) **** (Voices of: Billy Crystal, John Goodman, James Coburn, Jennifer Tilly, Steve Buscemi, Mary Gibbs, Bonnie Hunt, Bob Peterson, John Ratzenberger, Frank Oz, Steve Susskind, Jeff Pidgeon, Sam "Penguin" Black, Daniel R. Gerson. (Dir: Peter Docter/Co-directors: David Silverman, Lee Unkrich)

There's something undeniably magical about a Disney movie that brings out your inner child and the streak continues to manifest itself in the latest with its fine track record with upstarts Pixar (the "Toy Story " films) in delighting children of all ages in one of the year's funniest (and most fun) films.

The childhood phenomena of imagining monsters lurking in one's bedroom closet or under the bed is in actuality a reality that exists solely for the world of the monsters to use all the energy extracted from a child's screams as their natural resource to power their communities and subsist in their parallel universe. Specifically Scream Heat ("We Scare Because We Care"), the corporate entity that harnesses the youngsters' reactions to its hard-working crew of creatures including our heroes James P. "Sulley" Sullivan (marvelously voiced by Goodman) and his best buddy Mike Wazowski (ditto Crystal). Sulley is a bear-like, blue and purple hairy and horned monster and Mike is a cyclopean lime green M&M clone. The two couldn't be more different yet both share their passion for their vocation and the only thing getting in their way is their rival colleague Randall Boggs (Buscemi, at his oiliest menacing), a reptilian nasty who wants to beat Sulley for the all-time factory record of most points racked up in a single day on the job … at any cost. Watching the proceedings is Sulley's father-figure boss Henry J. Waternoose (Coburn) – a cross between a crab and Edward G. Robinson – whose main priority is avoiding any "rolling blackouts" (in one of the film's subtle jabs at the current climate in our nation). Mike is in love with cutie pie receptionist Celia (Tilly) who also sports one eye and is afoot taller than him, with a hairdo sporting a Medusa twist (snakes sit atop her head) who wants something from him besides excuses to their frequently put-upon dates together. One day after work Sulley accidentally lets into their world a tiny 4 year old girl – a big no-no – legend has it that one touch is toxic and fatal! – which causes mass havoc wreaked upon the populace as the authorities attempt to corral the tyke while decontaminating the infected workshop's workers (a running gag has the SWAT like DEA agents popping in at a moment's notice whenever a sign of human contact – i.e. a small cotton white sock attached to an unsuspecting monster – makes its ugly presence known!) Mike is in a panicky sweat that they will lose their jobs and tells Sulley he can't hide Boo (the nickname the big guy dubs the adorable tot) and they must return her to her bedroom. Easier said than done when Randall gets wind of the partners abetting the unsuspecting crime and he too has his plans to use Boo for his own selfish endeavors…at any cost! The film is a laugh a minute romp and an incredible mix of state-of-the-art computer generated dynamics that truly enhance the candy-colored world of Mike & Sulley with its picture perfect depictions of moveable hair (see how Sulley's locks sway to and fro so naturally! A first for CGI imagery!) and expressiveness given to the one-eyed Mike who works his brow into a real sweat. Never before has voice talent been so perfectly matched and acted to a t than in the comic team of Crystal and Goodman with their characteristics smartly enhanced into their characters with Crystal's liberal use of his "SNL" Willy the Masochist ("Oh I hate when that happens!") and Goodman's burly, awshucks demeanor fits his soft-hearted meanie like a golden glove. Sulley is the true star of the show with his emotional overload not unlike a kid learning to make a new life transition as he discovers there's more to his existence than meets the eye (same for Mike; pun intended). When he realizes that Boo (by the way, nice job by the producers to use real-life 4 year old Gibbs, in easily the cutest turn by a child performer ever without making an audience gag) is not threatened by his hulking presence. The laughs are largely thanks to Crystal's myopic M&M who is always one-step behind his behemoth buddy and slow on the uptake as the plot proceeds with his sly one-liners, sudden bursts of unrestrained anger and confusion, and slapstick antics leads the film into uncharted territories of hysterical laughter and a great breakneck roller-coaster ride with Mike & Sulley attempting to find Boo's bedroom door with Randall in hot pursuit gives the film a giddy headrush of adrenaline. The film is witty, bright, upbeat and has its shares of incisiveness (I loved the use of HarryHausen's as a local chic eatery that all the monsters are dying to get into; in case of those who don't know Harryhausen, Ray Harryhausen, is the premier stop-motion animator pioneer who gave life to scores of sci-fi creatures including the fabled "Sinbad" flicks of the 1960s and 1970s among others) that will undoubtedly have its constituents clamoring for a sequel pronto. Arguably one of the best films and funniest of the year; I loved it and so will you (and your kids if you have any; if not all the more to see it again) An instant classic.