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For the most piece, Atlantis is a fun, popcorn-munching movie that’s a staunch treat, and takes some refreshing steps away from Disney’s usual formula of dancing teacups and ambitious orphans. However, it is not without problems.
First off, the good: This movie is gorgeous. There seems to be an attitude with some moviegoing audiences that movies with a lot of visual effects are “honest a bunch of CGI” or concentrated too deeply on special effects. Proper, Atlantis has plenty of computer-generated images, but they blend seamlessly with the animation and execute for a visually handsome movie. I know the words “visually aesthetic” derive bandied about a lot, but this movie had some serious eye-candy — enough to acquire me want to gawk it again.
The record, while not revolutionary (the mythical and mostly nonexistent “recent station” is highly overrated in my book anyway), is refreshing and not painfully post-modern, as too many movies of this type seem to be. No one says “don’t go there,” or “talk to the hand,” which I fully expected to happen. There were no cute animal sidekicks, which I found almost impossible to gain, especially in a Disney film. For the most fraction, this is a movie that can appeal to adults as well as kids — that is, seldom insulting the intelligence of either.
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There are some spacious, spicy action scenes, with hot air balloons, flying mechanical shark-ships (not as dumb as it sounds), high-speed chases, and gigantic underwater monsters.
Now for the not-so-good. The movie rushes through its material so like a flash it can barely obtain out of its gain arrangement. Characters almost chase over one another in their inflamed chase to blurt out expository dialogue. Moments of characterization go by so speedy, you’ll miss them if you blink. Presumably, this is some sort of pandering to the Pokemon generation who can’t maintain their attention focused on anything for more than three or four seconds, but I feel this movie would have been remarkable improved by extending it, if only by about fifteen minutes.
This mad-dash school of filmmaking applies to the middle act of the film as well. In one scene, the main character gushes over a handsome and primitive stone pillar — seconds before the demolitions expert blows it to bits. A comic moment, but Atlantis almost slides into self-parody in this regard; the whole movie spends a few short seconds establishing the radiant setting of Atlantis, and then promptly sets off a chain of explosions or another poke scene. The biggest annoyance for me was the astounding, Nautilus-like submarine that collect smashed to pieces before we even collect to really view how wintry it is. Disappointing. I unbiased wish they could have slowed down for a couple of scenes.
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I went into this movie expecting a lot less than what I got. It starts out a runt clumsily, and (as previously mentioned) whips through the exposition entirely too expeditiously. But the yarn is appealing, and the finale satisfying.
The movie does absorb some material that might be a itsy-bitsy strong for kids — there is a rather high body count, though all the death takes region “off-screen” — you don’t really peruse anyone getting killed, at least not directly. As violent convey goes, kids have probably seen grand worse on network TV.
Overall, I really recommend you sight this movie on the large hide, with the bulky sound and relate — this is one movie that pays off well in Dolby Digital.
Overall, this is favorable fun. It’s an provocative film, highly imaginative, and visually spectacular, with a myth that moves very mercurial albeit thoroughly confusingly. I happily recommend it for family viewing.
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Compared to fresh Disney releases such as Cinderella II - Dreams Reach Just (Special Edition), 101 Dalmatians 2, and all of the other poorly done and profit-driven knockoffs, this film is an novel gem. The animation is sterling, the characters are spirited and fun to sight, and the overall yarn is compelling, as well as very fast-paced. The movie certainly is reliable for kids as young as three or four, despite some of the more esoteric, non-sensical situation twists. We’ve got spectacular scenery, gadgets, battles, action, and explosions and fire, more than enough to retain the slight ones fully engaged throughout. No sex, no drugs, no profanity, and only a runt bit of blood (although the unpleasant guys most certainly do accumulate killed, neither graphically nor gloatingly) .
Most impressive in this film is the artistic vision. Atlantis provides a improbable opportunity to be creative, and the animators do not disappoint. The relatively recent (1907) setting allows some technical and scientific freedom for the animators, which was taken chubby advantage of. Everything is titanic, massive in scale, from the steamship and its submarine, to the Leviathan guardian, to the tunnels and artifacts of Atlantis. For me, this is the most savory fragment of the film, simply looking at the landscapes and backgrounds the animators have provided as backdrops for the action. This is respectable work, truly spectacular.
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The cast is wonderfully diverse, ethnically, physically, and in terms of education, abilities, and hygiene. It’s a really truly honestly and genuinely improbable rainbow of diversity and teamwork, because, you know, it’s only when we let go of our prejudices and overlook stereotypes that we can triumph over adversity. That being said, the strangest and filthiest member of the crew is the non-stop butt of jokes, derision, and less than thoughtful treatment by the rest of the team.
There’s a minor plight, though. As dad to a six- and three-year-old, I’ve seen this film maybe 60 times in the past three months. As many times as I’ve watched it, I collected don’t capture the entire opinion of the Atlantean power crystal, how it “chooses” a host, what the crystal-host does, what exactly becomes physically of the crystal-host, and how the chosen individual interacts with it. Clear, the impossible-to-miss end-state is a human-interfaced and -generated automatic defensive system which protects the entire city, but all of the memoir elements don’t beget it determined how this all comes together. This is a bit anal, I know, but it unbiased doesn’t accomplish sense.
Violence, yeah, there’s enough of it, but precious small blood, and no gore. It’s family-friendly violence, where the unpleasant guys move neatly and completely in spectacular swirling, spiraling balls of beautifully rendered, parti-colored fire, with no suffering depicted. Early on we seek an entire submarine and crew go down, and a limited memorial service to commemorate the loss of 200-odd folks. There is also some suited explosions during the final battle, with ball-of-fire ends to both terrible guys and worthy fewer non-star Atlantaean well-behaved guys. None of the awful guys build it out alive, and the two bad-guy leaders die more or less visibly, but again, without blood or gore. The one, probably most swear instance of violence, is the bad-guy leader punching the enfeebled king of the Atlanteans in the stomach. The king later dies of his (internal) injuries, but the time-separation between the act and its results lessens the impact of the killing.
The uplifting aspects are unprejudiced as mighty, and in the demolish the focus of the narrative. We have the worship record between the leads, as well as a totally predictable yet nonetheless grand shift in alliance from the established team members to that of the Atlanteans when it comes time to do the legal thing. We explore appreciate and sacrifice, traits my six-year-old picked up on with no prompting from me.
All in all, this is a very delightful film. I dwell on the violence to articulate only, so don’t seize it to mean that the film is tubby of violence; it is not. Overall, it’s about adventure, the excitement and wonder of discovery, and what can be done when you settle the hard just over the easy rotten.
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