Monsters & Co.

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.

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.

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.

While monsters in the closet may seem to be a scary reality for some children, `Monsters, Inc.' makes it light hearted by showing them it's all in a night's work. The characters are as charming as the cast that speaks for them.

It's a learning experience children get to see how an industry works. Monsters, Inc. is an in-genius corporation that has scientifically learned how to channel children's screams into energy that is used for electrical power. It has monster employees, an assembly line of doors (which give monsters access to children's bedrooms), a top-flight training program and some of the top Monsters in the scaring business.

There's a colorful Metropolis, filled with houses, buildings, businesses, cars and everything that makes a city run smoothly along with a population of colorful creatures. One of the colorful groups of creatures is the yellow swat team. Their job is to protect the Metropolis of Monsters, Inc. from human contamination.

But what happens when a human child mysteriously gets through the bedroom door and terrorizes the city with screams and boo's. It's wondrous and funny. In the mist of all this is industrial crime, brought on by greed. But, the story ends on a very happy note.

John Goodman is the voice of `Sulley' a colorful large blue-green ape like monster who's the star Monsters, Inc. employee. He's some type of monster, cut, cuddly, and he has a conscience that leads him to feelings of regret about scarring children. He becomes attached to Boo (voice of Mary Gibbs) a cute, little big-eyed girl who is mysteriously brought to Monsters, Inc. and in his quest to return her home becomes very attached to her.

Sulley's best friend is Mike (voice of Billy Crystal) who's a funny looking green ball with stick legs and one huge eye. His comedy is seen through out the movie. Mike is Sulley's driving force, acting as his agent. Mike's job is to make sure Sulley remains the top Monsters, Inc. employee. But when it comes to laughter Mike proves he's on top.

Mike's girl friend Celia (voice of Jennifer Tilley) is the stylish employee who has Mike's best interest at heart. Her job is to keep him out of trouble.

I give Monsters, Inc. a ten. It is an animated movie that can be enjoyed by the whole family. It makes for great family fun.

This is a resubmitted comment, the original was removed by a complaint from some anonymous aggrieved party. Let's hope the edits are sufficient this time.

You already know that this is the usual Pixar fare, which is to say that it is excellent, better than any non-Pixar animated film. Sure, you also know that and you probably know the usual reason given: that Pixar spends more time on basic storytelling values than anyone else.

Here are two elements of this that may deepen your appreciation. The first is that Pixar recognized early that 3D animation software allowed two types of advance in the third dimension. The first is obvious, that everything has depth and reflection and shadow more or less like reality.

The second is that once these objects and scenes are defined in the computer, it is no extra work to move the camera anywhere. it can loop and swoop in ways that we never could have before. Pixar decided to exploit this in their storytelling here and later in "Nemo."

Nemo was set in an environment where there was no horizon so the camera could flow and the watery feel of the place could make the unfamiliar fluidity of the camera seem more natural. Here, is where they tested some of those perspectives in the three dimensional door warehouse and the extra dimensions of going in and out. Those scenes make this for me.

The second interesting thing is some competitive background. In those days, there was a shooting war between Bill Gates, financier of Dreamworks Animation (and leader of Microsoft) and Steve Jobs of Pixar (and leader of Apple). This was in the heyday of Gates' dirty tricks and he was intent on burying Jobs forever. Pixar depended on the success of "A Bug's Life" their followon to "Toy Story," so Dreamworks rushed "Antz" -- a cheapy -- to open a week or so before to steal the market.

"Bugs" prevailed, sufficiently at least, and Pixar ramped up for their usual three year development of "Monsters." Dreamworks, getting wind of this, went all out with "Shrek," their "monster" movie that could be released six months earlier. It only took a year because the animation is less perfect. But they were overt in their attack this time: "Shrek" made literal fun of Disney, the Pixar partner. The head guy at Disney was the model for the blowhard King who reigned over a fairytale kingdom populated with -- can you guess? -- all the old Disney characters.

Pixar/Jobs would never do something so spiteful. But perhaps they did subtly appreciate the use of windows and gates to the future that always seemed to go wrong. And now you can too.

Ted's Evaluation -- 3 of 3: Worth watching.