How to Draw The Good Dinosaur: A 3-Minute Tutorial

28 Nov 2015 | Author: | No comments yet »

Is ‘The Good Dinosaur’ the least imaginative Pixar movie?.

‘The Good Dinosaur’ explores that idea to great effect and follows the story of Arlo; a friendly and spirited dinosaur who becomes separated from his family and unwittingly befriends a human caveboy named Spot. Jordan), a pair of prehistoric pals (“The Good Dinosaur,” featuring voice performances by Raymond Ochoa and Jeffrey Wright), and a dogged detective (“Victor Frankenstein,” starring James McAvoy and Daniel Radcliffe). At least that’s what many people are probably thinking, given that the weekend’s ten highest-grossing films could take in $167 million this weekend, a 10% increase, according to MKM Partners’ Eric Handler.

This is the studio behind “Toy Story,” “Inside Out,” “WALL-E,” “Up,” “Monsters, Inc.” and “Finding Nemo,” after all — the kinds of funny, clever tearjerkers that appeal to everyone regardless of age, sex, race and political affiliation. The new Pixar-child-in-peril movie “The Good Dinosaur” suggests the apatosauruses would have created a modern Stone Age world for themselves where they speak, work and live in huts but most of all try to make a mark on the world. Arlo is an Apatosaurus, a carnivorous species who lived on earth for millions of years and so, naturally, he’s far more articulate and well-spoken than young Spot, who is a little more animalistic and feral. In a note out Friday, Handler highlights Lionsgate’s (LGF) The Hunger Games: Mockingjay – Part 2 (which was last weekend’s top performer)and the new releases Disney’s (DIS) The Good Dinosaur and Time Warner’s (TWX) Creed.

The two bond as they embark on a thrilling journey filled with self-discovery and manage to get themselves in a number of scrapes along the way, which results in some hilarious consequences. Pixar’s second movie this year after the Oscar-bound Inside Out posits a hypothetical scenario for the ages: What if, 65 million years ago, that asteroid had hurtled through space just a smidge off course, missing Earth, never decimating the dinosaurs… who then evolved into talking, farming prairie folk living off the land like pilgrims and cowboys while humans remained wild? His older brother and sister (Marcus Scribner and Maleah Padilla) are bigger, more accomplished and unlike his siblings the knobby-kneed Arlo is a bit of a fraidy-cat.

Critics say he’s a contender once again: “Creed” is one of the best entries in the venerable franchise, with fantastic performances from Sylvester Stallone and Michael B. Disney Pixar are behind this animated gem which features the vocal talents of Lucas Neff (Raising Hope, Amigo) as Arlo, Judy Greer (Dawn of the Planet of the Apes, Archer) and Neil Patrick Harris (Gone Girl, American Horror Story). What if the gold star geniuses of Pixar faltered in their proven storytelling-by-committee methods, scrapped a large part of their script and already-in-the-can vocal performances on a high-profile project, benched their director, called up a rookie in his place, delayed the film’s release by 18 months—and it turned out to be just OK? Jordan stars as Adonis Johnson — the son of Rocky’s old rival-turned-friend, the late Apollo Creed — who sets aside his promising white-collar career for a shot at glory in the ring under the tutelage of the former champ, who’s looking for a little redemption of his own. “Creed” is Certified Fresh at 94 percent on Rotten Tomatoes’ Tomatometer; check out some of the reviews here: Fresh: “The film is full of life and loose humor, and ‘Creed’ often transcends the genre by playing with movie mythology.” — Joe Morgenstern, The Wall Street Journal Fresh: “With a deftly crafted blend of smarts and corn — of course there’s corn, people, this is Rocky! — it earns our trust: It’s gonna go right to the edge with the heartstring-tugging, but it won’t go over.” — Jocelyn Noveck, Associated Press Rotten: “Although highlighted by Michael B. Send your answers to Good Dinosaur competition, West Lothian Courier, 20-22 Kings Street, Bathgate, EH48 1AX or e-mail them debbie.hall@trinitymirror.com, no later than Thursday, December 3.

Jordan’s formidable charisma, ‘Creed’ is only sporadically compelling, resulting in a movie that never quite shakes the impression that it’s a novel but not particularly necessary addition to the ‘Rocky’ series.” — Tim Grierson, Screen International Pixar has ruled the computer animation genre since it debuted “Toy Story” in 1995, but it’s never attempted to release two films in one year before. Pixar paints a beautiful portrait of the prehistoric world, complete with interesting character design — imagine a cobra with legs — and stunning landscapes. Doom and destruction loom curiously heavy over Pixar’s 3D animated coming-of-age adventure starting from its opening preamble, in which a fateful chunk of space rubble is knocked into the orbit of our planet while oblivious dinosaurs munch away unawares on the surface below. Set on an alternate version of Earth where dinosaurs have survived extinction, the story centers on Arlo, a timid Apatosaurus who finds himself lost after chasing a caveboy into the wilderness.

In addition to what should be a good Thanksgiving weekend and what should be a record opening weekend with Star Wars: The Force Awakenson December 18, the box office would benefit from another movie or two exceeding expectations. Critics say “Victor Frankenstein” resembles its title character’s creation: it’s a bunch of disparate elements fastened together, lacking the spark needed to come to life. Since we already do, the longer this particular version of it continues, the more we wonder why we’re bothering to sit through it.” — Jen Chaney, Washington Post Rotten: “Despite half-hearted moves towards providing a new take on a classic story, ‘Victor Frankenstein’ is less “aliiiiiive!” than trapped in a coma of its own making.” — Rebecca Pahle, Film Journal International So making a kid’s movie about prehistoric beasts is a nice, safe bet, which is why it’s been done so many times before, like in “The Land Before Time,” “Dinosaur,” “Ice Age,” “Walking With Dinosaurs” and countless others. Compared to his brawny older brother Buck and clever sister Libby, he never can seem to measure up as the family tends their agrarian life tilling the land and raising chickens on their idyllic country farm.

The other members of the brood earn their stripes and the right to proudly leave their mark, literally, on the side of their corn silo in the form of a muddy footprint. For a movie with such a cheery title and aw-shucks warmth, plays with heavy subject matter as its young hero grows from childhood to adolescence and learns the hard way just how harsh life can be. Tasked with protecting the family’s silo by catching and killing the critter that’s been stealing their food, Arlo discovers a young feral boy with wide eyes and freckles eating his way through their crops. His failure to club the wily creature to death angers Poppa, who hauls Arlo into the perilous mountains in a frustrated attempt to force his boy to become a man.

As if enduring the withering disappointment of a parent isn’t enough punishment, a Lion King-esque twist leaves Arlo alone, lost, and far from home in unforgiving wilds. Dumbo, with his huge ears and “Kung Fu Panda’s” obese martial artist, the snail who dreams of being an Indy 500 racer in “Turbo” and Nemo with his tiny tattered fin. Like in “Bambi,” “The Lion King,” “Frozen,” “The Jungle Book” and “Hunchback of Notre Dame,” Arlo starts out with two loving parents, but one of them bites the dust. In other words, he’s a lot like other animated accomplices, such as Timon and Pumbaa (with less annoying singing), the Seven Dwarfs, the dapper Jiminy Cricket and “Finding Nemo’s” Dory, who was so beloved she’s getting her own movie.

It is fickle and ominous, as when a massive flash flood rushes toward Arlo and leaves him just traumatized enough so that he may conveniently face his fears in a third-act dash of bravado. But while it works as an endless source of peril in a scary, scary world, it’s a weak antagonist for a tale of a bright young thing who must come into his own. Even the friendly trio of cattle-herding cowboy T. rexes they team up with are intimidating at first, until the most fearsome carnivores of the Cretaceous Age prove themselves teddy bears compared to a gang of conniving Velociraptor rustlers and the flock of psychotic Pterodactyls who circle menacingly above in the clouds, like great whites of the sky. Alas, even the look of The Good Dinosaur’s main character seems outdated, blocky, and out of place in his own world—not exactly the kind of design that stands the test of time alongside the most iconic of figures in the Pixar/Disney vaults.

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