→ November 25, 2023
→ By

Wish.

Wish, the newest film from Disney Animation, would have been much better if they’d just made a fresh video for the Nine Inch Nails song and called it a day. Instead, it’s a self-congratulatory movie with an adequate story, forgettable music, and almost no humor for anyone over four years old.

The movie takes place on the island of Rosas in the Mediterranean, which seems to draw on Spanish, Italian, and Maltese cultures and architecture, where the population is ruled by a benevolent king named Magnifico. Before creating the kingdom, Magnifico lost his family to an invading tribe and chose to become sorcerer, and in so doing learned how to grant wishes. When Rosas residents turn 18 or emigrants become citizens, they give their greatest wish to Magnifico, who stores it in his castle for safe keeping. Once a month, he grants one wish of his choosing. Enter Asha, whose grandfather Sabino turns 100 the day of one of these wish ceremonies, and who wishes to become Magnifico’s apprentice, only to discover that he’s not the benevolent king he appears to be. Since it’s a Disney movie and you know things will work out in the end, it’s not much of a spoiler to say that Asha will lead the people of Rosas as they work to overthrow the tyrant Magnifico and free their wishes.

The story here has potential, and the ending is one of the better ones among Disney movies, at least incorporating the film’s themes of hope and community into a resolution that’s internally consistent. Getting there, though, is a real drag. Asha (Ariana Dubose) is a mostly one-note character, driven by good intentions without much depth or complexity, and she experiences zero growth or development over the course of the film. She wins by being good, and by being smart, but that’s it. She doesn’t have an arc so much as she has a straight line. Magnifico (Chris Pine) at least changes as the film progresses, and while it’s for the worse, hey, at least it’s an ethos. There’s something to be said for a villain who starts out as just a little bit evil and becomes all the way evil by the film’s conclusion, and who gets there for an entirely mundane reason – he’s corrupted by power. He wants something Asha has, but his story is ultimately one of absolute power corrupting absolutely. There’s more depth to his character than there is to Asha’s, and that’s one of the film’s main flaws.

It has more flaws, though, believe you me. It’s just not funny at all – there are a few decent sight gags, maybe, but the Comic Relief Goat (Alan Tudyk) is just painful because you know he’s supposed to get laughs and he doesn’t. I can’t fathom how this script got through the number of people at Disney who are involved in making movies without anyone pointing out just how devoid of humor it is. The music is also wildly disappointing; I would argue there are two decent songs of the seven originals in the movie, the rousing “Knowing What I Know Now” (which feels like a big Broadway number that might take you into intermission) and “This Wish,” which has some clumsy lyrics but solid music, and plays a key role in the story. Magnifico’s main song is dreadful, and “I’m a Star” feels like a deleted track from a Kidz Bop record.

Then there’s the fact that this movie is a 90-minute celebration of the studio that released it. Rosa’s seven friends map one-to-one to the seven dwarfs, without much embellishment or expansion. (Grumpy/Gabo is probably the best of the bunch.) There are direct and indirect allusions to past Disney films, many of which are just too obvious to be enjoyable – part of the fun of references and Easter eggs is finding them, but most of the allusions here might as well have pop-up bubbles pointing them out. Even the attempt to nod back to the classic Disney films with CG animation that evokes the hand-drawn style fails, because the characters look extremely flat and cartoonish.

Wish seems on pace to be the studio’s third financial flop in its last four, after last year’s Strange World (which I haven’t bothered with) and Raya and the Last Dragon (which opened in March 2021, so the pandemic hurt its box office). I don’t think commercial performance has any bearing on a film’s worth, but Wish seems to serve no purpose beyond making money. It’s a movie about how great Disney movies are, except it’s not great and it isn’t doing well at the box office. With a slew of great animated films this year, including the second Spider-verse movie, Nimona, and the upcoming The Boy and the Heron, Wish probably won’t even land an Oscar nomination for Best Animated Feature, which would mark the first time in sixteen years that two straight Disney Animation films missed the cut. Perhaps that’s as indicative as anything of how far the studio seems to have fallen.

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→ February 11, 2023
→ By

Stick to baseball, 2/11/23.

My top 100 prospects and team reports have been running for the last 12 days, finishing up today with the AL West team reports/top 20s. You can see the index of everything I’ve written here, which includes direct links to the reports for every team, the top 100, the farm system rankings, my chats on that site, and more.

My latest review for Paste actually went up last week, and even I missed it in all the hubbub. I reviewed the board game It’s a Wonderful Kingdom, the two-person variant of the popular game It’s a Wonderful World, but I have to say I think the original is a better game, even for two people. It’s a bit like 7 Wonders meets Century Spice Road, but with a little more to it than that might imply. You can buy It’s a Wonderful World here on amazon if you’re intrigued.

My free email newsletter has been almost-weekly this year, and I’ll send out the next iteration this weekend. I skipped my podcast this week because I was writing so much. I think it’ll be back next week. Maybe. Life is full of uncertainties.

And now, the links…

  • The Toronto Star looks at the fall of Jamie Salé into conspiracy theory and denialism. The 2002 Olympic gold medalist, previously best known as one of the two skaters originally cheated out of the gold by corrupt judges, has become a COVID and vaccine denialist – and, of course, now she’s trying to profit off these false views.
  • Intelligencer looks at the increasing “junkification” of Amazon, where legitimate products are getting harder to find as the company tries to muscle its way into more spaces. My outsider’s take: this is what happens when a company needs unbridled growth to prop up a stock price (or a billionaire owner’s wealth).
  • The BBC profiles the French author Colette, calling her “the most beloved French writer of all time,” although in the English-speaking world she’s probably best known for writing the novel Gigi that became a hit musical and film.
  • Is disdain for the less educated the “last acceptable prejudice,” as Michael Sandel writes in the New York Times? He also argues that it’s a problem for the Democrats, and a perception they need to shed.
  • Iowa Republicans introduced a bill that would expand child labor in the state, including jobs previously deemed too dangerous for kids like those in mining, logging, and animal slaughterhouses.
  • We’re seeing fewer big scientific breakthroughs, with the pace dropping steadily for over three-quarters of a century. Part of it is that breakthroughs are harder to come by as the low-hanging fruit is long picked, and part is that nations don’t invest in basic science research without promise of immediate financial returns the way they used to.
  • This blog post arguing that Dominion killed replayability in board games makes a great point – the need to constantly buy expansions to is a great business model for a very small number of games/publishers but not sustainable for the industry as a whole.
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→ July 9, 2022
→ By

Stick to baseball, 7/9/22.

For subscribers to the Athletic, I wrote another scouting blog, looking at some Phillies, Orioles, Nats, and White Sox prospects, including the four big arms the Phillies had at Jersey Shore; and did a quick breakdown of some of the highlights and omissions from the Futures Game rosters. I’ll have an updated, final Big Board for the draft on Sunday, and then a new mock draft on Monday.

Over at Paste, I reviewed Ouch!, a fun, silly game for kids as young as five, and pointed out why it works where games like Candyland, my bête noire among children’s board games, fail.

My guest on the Keith Law Show this week was Eric Longenhagen, for an extensive conversation about this month’s MLB draft. You can subscribe via iTunes, Spotify, Stitcher, amazon, or wherever you get your podcasts.

I found my voice again and sent out a new edition of my free email newsletter this week. Also, my two books, Smart Baseball and The Inside Game, are both available in paperback, and you can buy them at your local independent book store or at Bookshop.org.

And now, the links…

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→ April 10, 2022
→ By

Stick to baseball, 4/10/2022.

I had two posts for subscribers to the Athletic this past week, my annual MLB season predictions post, which never fails to rile up people who don’t read the intro despite all the disclaimers I issue, and a draft scouting notebook that covered a slew of likely first-rounders, including Brooks Lee.

Over at Paste, I reviewed the trick-taking game Shamans, which is semi-cooperative, as at least one player in every round is a saboteur working against the others. I think it’s a better version of The Crew, a straight cooperative trick-taking game that won the Kennerspiel des Jahres award a few years ago.

I sent out a new edition of my free email newsletter this past week. You can find both of my books, Smart Baseball and The Inside Game, in paperback anywhere books are sold, including Bookshop.org. My podcast will return shortly – travel has made it difficult for me to find windows to record the last couple of weeks.

And now, the links…

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→ November 22, 2020
→ By

Stick to baseball, 11/22/20.

I had one post this week for subscribers to The Athletic, about what lessons we can learn from MLB, the NBA, and the NHL (and other pro leagues) after they completed seasons during the pandemic. I spoke to numerous epidemiologists about the leagues’ approaches, from the full bubble of the NBA to MLB’s more open approach with all US-based teams playing at home, and of course the hoaxers were in the comments before the electrons were dry on the article.

Over at Vulture, I wrote about eleven board games you can play over Zoom while you can’t (or shouldn’t) see your friends and family, which seems more relevant with potential lockdowns looming in most of the country.

My first book, Smart Baseball, got a glowing review from SIAM News, a publication of the Society of Industrial and Applied Mathematics. You can buy Smart Baseball and my second book, The Inside Game, at any bookstore, including bookshop.org via those links, although Smart Baseball has been backordered there for a while. You can check your local indie bookstore or buy it on amazon.

My guest on this week’s episode of The Keith Law Show was Bill Baer, talking with me about the state of baseball and what he hopes the Phillies will do with their front office openings. My podcast is now available on Amazon podcasts as well as iTunes and Spotify.

I sent out the latest edition of my free email newsletter on Monday, and hope to send another one before the holiday.

And now, the links…

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→ November 10, 2018
→ By

Stick to baseball, 11/10/18.

I didn’t have any new ESPN+ posts this week, with my free agent rankings going up on November 2nd and my trade market overview due to run this upcoming Monday. I did hold a Klawchat on Thursday, and did a Periscope video chat on Wednesday (and even played a little something on guitar).

My latest board game review for Paste covers the cute, competitive, asymmetric game Root, where cuddly forest creatures fight battles for control of the forest, and each player has unique pieces, abilities, and paths to victory. It’s quite clever.

Feel free to sign up for that free email newsletter I keep talking about and occasionally remember to send out.

And now, the links…

  • Longreads first: Undark exposes the conservative groups fighting climate chance education in Florida classrooms, as well as how they wage this war and their efforts to bring it to other states. The irony of failing to teach the reality of anthropogenic climate change in a state that might be the most adversely affected by it should not be lost on you.
  • Working conditions in the Tesla factory would make Upton Sinclair blush; medical staff are “forbidden from calling 911 without permission,” and five former clinic employees told The Center for Investigative Reporting’s writers that the on-site clinic’s practices are “unsafe and unethical.” One source was fired in August by the clinic, which she says is because she raised concerns about the clinic’s treatment of workers. Tesla’s pricing starts around $35,000 for its model 3 sedan to over $140,000 for its Model X P100D SUV.
  • Alexandria Ocasio-Cortez was still working in a Manhattan Taqueria when she began her campaign for Congress, and Bon Appetit spoke to her there about the intersection between food and politics. She points out that food is intertwined with climate change, minimum wage laws, immigration, health care, education, and more (I’d add trade policy/protectionism, other environmental regulations, and water rights to the list.)
  • Anti-vaccine PACs helped shape this week’s midterm ballots, as those groups fought to defeat Republicans who weren’t sufficiently anti-vax during primary races. Dr. Paul Offit, who helped develop the rotavirus vaccine, wrote about how he’d like to answer anti-vax loons who still argue that vaccines cause autism.
  • Ninety-eight year old Roger Angell penned this wonderfully angry essay on the power of voting for the New Yorker, which ran it the day before Election Day.
  • The deputy editorial page editor for the Washington Post writes that new acting Attorney General Matthew Whitaker is a crackpot.
  • Wisconsin Republicans are trying to strip the incoming Democratic governor of much of the office’s power right now, which is particularly sad given the mess the outgoing Scott Walker leaves in the state’s education budget. Most notable is that he gave Taiwanese company Foxconn up to $4 billion in subsidies and tax breaks, a deal that would have resulted in the state paying about $230,000 per job created … if it had even created the number of jobs promised, which it hasn’t. That money would have filled the education budget gap and then some.
  • If Brian Kemp wins the gubernatorial race in Georgia, his victory would need an asterisk, according to Prof. Carol Anderson, who has written a book on voter suppression called One Person, No Vote. I said in my Periscope chat this week that when leaders in less-developed countries steal elections, the citizens take to the streets in peaceful protests and workers strike. I never thought we’d need that here, but that may be the only response Georgians have here.
  • The Kansas City Star exposes the overconfidence and disorganization that sank Kris Kobach’s campaign and gave Kansas its first Democratic win for a statewide office in 12 years.
  • The Houston Chronicle has had to retract eight stories written by Austin bureau chief Mike Ward after discovering that he’d fabricated dozens of people he quoted in those articles.
  • Adam Serwer writes in the Atlantic that America’s problem is not tribalism, but base racism, given how one of our two major parties seems to rely on race-baiting and trafficking in stereotypes to rally its base. And it works.
  • Trump mouthed off last week about making the Federal Reserve less independent; Venezuela’s experience demonstrates why that’s a foolish notion. Of course, Trump also blamed the three eastern Baltic nations for starting the war in Yugoslavia, so I don’t think we’re dealing with the brightest bulb in the chandelier here.
  • A giant supernova named Cow appeared without warning in June and has given scientists a rare look at the birth of either a black hole or a neutron star.
  • Oakland chef Charlie Hallowell, whose restaurant Pizzaiolo I visited and really enjoyed, is trying to come back to his old life after more than a dozen women came forward to say he sexually harassed them. He’s facing some backlash, but also getting frankly unwarranted support from other men in the business who seem to gloss over his behavior. The landlord for his newest restaurant, Western Pacific in Berkeley, is Lakireddy Bali Reddy, who pled guilty to human trafficking, bringing underage girls from India to the United States so he could have sex with them.
  • A mob of protesters gathered outside Fox News host Tucker Carlson’s house and threatened his safety. Reason argues it’s not just wrong, but actively harmful to the cause. I have zero sympathy for Carlson, who has chosen this life of fomenting bigotry for profit, but I agree with the column. Don’t threaten him or his family. You want to make him stop? Go after his advertisers. Cut your cable subscription. Ask public places you frequent to stop showing Fox News. But threatening journalist won’t help … although one protester says the reports of threats are highly embellished.
  • Dr. Christine Blasey Ford continues to face death threats, moving four times this year, while the man who assaulted her gets to sit on the Supreme Court and decide how the rest of us can live our lives.
  • A fake doctor in California who promises a “miracle cure” for cancer using baking soda was sued by a patient and hit with a $105 million judgment. The money seems tangential – the point here is that these charlatans prey on the desperate, and the law seems too slow or simply unequipped to stop them.
  • Dr. Devah Pager died earlier this month of pancreatic cancer at age 46. Her work helped demonstrate that being black in the job market was, in effect, as big of a negative as having a felony conviction was
  • Comedian Patrick Monahan (no, not the Train guy) wrote about Louise Mensch’s legendary tweet about Steve Bannon possibly getting the death penalty for New York magazine’s The Cut. I take no pleasure in reposting this.
  • New York beverage director, author, and bitters expert Sother Teague writes about how he uses his role to espouse important causes, as with his NYC bar Coup, where proceeds go to groups fighting the worst policies of this administration. I appreciated this quote in particular: “Diminishing language such as ‘stick to sports’ holds no place and only serves to display the ignorance of those who say it.”
  • In the last two years, two mental health professionals in Monterey County have taken their own lives, including David Soskin, who drove off Highway 1 at Hurricane Point in June. Less than two years previously, a colleague with whom Soskin had clashed, Robert Jackson, took his own life, having left his job with the county after accusing Soskin of creating a hostile work environment.
  • This (unrolled) Twitter thread shows the bonkers elections in Alaska from Tuesday, with ties going back 40-plus years. Don Young won re-election yet again; he’s been Alaska’s at-large Representative since 1972, before I was born, after losing the election but taking the seat because his opponent died before election day. Young is still just the fourth Representative in the state’s history, even though he refuses to hold town halls and holds many views best left in the 19th century.
  • My employer did a nice thing for longtime employees, shutting down the Magic Kingdom for a night to allow Disney cast members of 40-plus years of service to enjoy the park for themselves.
  • Finally, this magic trick won for the best close-up trick at the International Federation of Magic Societies’ 2018 World Championship of Magic, and it’s dazzling:
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→ June 18, 2018
→ By

Incredibles 2.

Incredibles 2 comes almost fifteen years after the first installment’s release, but takes place immediately after the events of the previous film – literally, as we see Mr. Incredible & his family fighting the Underminer (John Ratzenberger making his obligatory appearance), which is how the first movie ended. That sets off a new story that bears a lot of resemblance to the original but flips the script so that Elastigirl is now the superhero out fighting crime, while Mr. Incredible turns into Mr. Mom and has to feed the kids, help Dash with his math homework, navigate Violet’s first foray into dating, and deal with Jack-Jack’s hitherto unknown array of spontaneously-appearing superpowers. It is just as good as the first movie, but without the boost the first movie got from being new. We know all these characters and we know how their world operates. The magic of meeting them all for the first time is now replaced by the comfort of seeing all the familiar faces and places and hearing those same voices (“daaaaahlink”) after so many years away.

The movie forks early on into two subplots that, of course, will rejoin near the end so someone can save the day – and really, if you can’t figure out where all this is going, you haven’t watched a Pixar movie before. Winston Deaver (Bob Odenkirk) is a communications tycoon, something Frozone explains to us in a clumsy aside worthy of an SVU episode, and a longtime fan of superheroes, just as his father was. He and his sister (Catherine Keener) have a plan to make supers legal again by launching a PR campaign around Elastigirl, putting a camera in her uniform and then letting the public see just what good work she’s doing fighting crime. She gets an opportunity to do so in suspiciously short order, saving a brand-new monorail from total disaster, which introduces her to a new villain, the Screenslaver, who says we’re all spending too much time looking at our phones (duh) so he’s going to cause chaos to wake us all up (good luck with that).

* I kept trying to figure out what the pun in his name might be, since its sounds like “winst endeavor” every time anyone says it. Google tells me “winst” is the Dutch word for profit, but of course it’s pronounced “vinst,” and that’s a long way to go for a pun anyway.

Meanwhile, on the home front, Mr. Incredible learns that parenting is hard. Some of the jokes are a little too familiar – yes, I’ve been through the new math versus old math thing, and still think the way my daughter’s school teaches long division is dumb – but most are at least funny, notably the sight gags. But it’s Jack-Jack who steals pretty much every scene he’s in. His numerous superpowers, a few of which were previewed in his fight against Syndrome (who, fortunately, does not magically re-appear in this film) at the end of the first movie, are pretty funny on their own. He also ends up in a fight scene with a tenacious raccoon that is by far the movie’s best sequence, busting out all of his powers and flabbergasting his sleep-deprived father – who, of course, decides not to tell Elastigirl about any of this while she’s out saving the world and trying to convince the public to make supers legal again.

The problem with Incredibles 2, other than the lack of newness – there are some new supers but they’re not that interesting, except maybe Void (Sophia Bush), who needed more to do – is that the villain is meh. You’ll probably figure out who it is fairly quickly, and then you’ll spend the rest of the film trying to figure out the villain’s motivation, which is not terribly convincing, and certainly doesn’t do enough to justify the plan to make supers illegal on a permanent basis. The exposition required to get to that point gives the film its one slow-down moment, and it’s not sufficiently credible to explain everything that the villain has done or is about to do.

The resolution, however, is a blast, literally and figuratively, with Jack-Jack again playing a critical role, as he and the family make use of his powers and his growing ability to control them. Brad Bird, the director and writer of both Incredibles movies, reprises his role as E in another fantastic sequence where she bonds with Jack-Jack (and, of course, makes him a new superhero costume). Even the ending leaves it open so that if they do decide to make this a trilogy, Bird can write the script right from the moment where the family takes off to go stop another crime. It’s very good, almost as good as the first one, but it could have been tighter.

The Pixar short film that airs before this – after the seven trailers, one of which was for Christopher Robin and five of which were for movies you couldn’t pay me to see – was Bao, a twisted, funny, and very sweet story about being a parent and letting go. The first ever Pixar short directed by a woman, Bao gives us a wife who makes exquisite xiao long baozi, the steamed dumplings that look a bit like a Hershey’s kiss in its wrapper – or, as it turns out, a lot like a little head, as one day the woman starts to bite into one of her dumplings only to have it cry out like a baby, sprout arms and legs, and then grow like a child. Eventually, the little bao starts to grow up and become a teenager and then a young adult who brings home a fiancée – blonde, and definitely not Asian – which really pushes mom over the edge. There’s one slightly demented scene in the short, which I thought was hilarious, but the end will have almost any parent in the audience tearing up. I know opinions on Bao are mixed but I think it’s one of their best shorts ever.

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→ March 3, 2018
→ By

Coco and this year’s animated shorts.

The 2017 slate of big studio animated movies was rather dismal, which I think is going to lead to an easy win for Coco, the best of the batch by any measure, especially since some of the best indie animated films didn’t even score nominations. Coco (available to rent/buy on amazon or iTunes) is genuinely very good, if not really at Peak Pixar levels; it’s better than the sequels Pixar has churned out recently, like Finding Dory and Monsters U., just not at the standard set by films like Up or WALL-E or the Toy Story trilogy.

(I suppose this disclaimer is barely necessary at this point, but just in case: I work for ESPN, which is owned by Disney, which owns Pixar, which made Coco.)

The protagonist of Coco is not actually Coco, but Miguel, a young Mexican boy who wants nothing more in life than to be a musician, but whose great-great-grandfather left his wife and very young daughter, Coco, to pursue his dreams in music. That has made the family extremely bitter towards music, to the point where Miguel has to hide his records and his homemade guitar from his parents and relatives, especially his grandmother, who is basically Nurse Ratchet in abuelita form.

Of course, he gets caught, runs away, and ends up crossing over the bridge to the netherworld where the mostly-dead spirits of the recently deceased reside in relative luxury … as long as someone alive still remembers them. On the Day of the Dead, the spirits can come back to visit their relatives as long as someone has put up their pictures on their ofrendas. Miguel can get back to the land of the living, but wants to do it in a way that doesn’t require him to surrender his dreams of becoming a musician, which leads him to chase down the man he thinks is his deceased great-great-grandfather, the underworld-famous musician Ernesto de la Cruz. (Spoiler alert: It’s not him, and God help you if you didn’t see that one coming.) So Miguel has to learn some important lessons about family, sing a song or two, and eventually get back to the living while also restoring a lost link to his family’s past.

Coco looks great, as all Pixar movies do, although I think since Brave they’ve kind of run up against a barrier of animation quality – Pixar films have blown me away visually so many times in the past that there isn’t much left for them to impress me with. This film is colorful and bright and very appealing, especially the spirit animals of the netherworld, but it’s also what we’ve come to expect from this studio. The story itself is just so-so, although there are plenty of sight gags and a bunch of references that will sail over younger readers’ heads but entertain the parents. (Bonus points for getting my daughter to ask me who Frida Kahlo was.) The setup never really worked for me – the loving parents who are so hellbent on denying Miguel any kind of music, not just saying he can’t pursue it as a career, but proscribing it as even a hobby. His grandmother destroys his handmade guitar, which just does not gibe at all with the rest of her character; no matter how mad you get, you don’t obliterate something your child made.

The best Pixar movies all have intricate plots that drop threads early in the film only to tie them all back together near the end. There are no throwaways in movies like The Incredibles or Toy Story – every detail ends up mattering in a big way. Not only is it satisfying in the moment to see a script recall something from an hour earlier, but it adds to the feeling that these are deep, three-dimensional films to be considered on par with live-action movies. If anything, most live action films would be lucky to bring scripts of the density and sophistication of great Pixar films. Coco isn’t one of these; there’s a single plot strand, established early and handled linearly, without much more. Even the complex structure of the netherworld where the skeleton-souls reside felt too familiar, with shots of the great hall and the stadium both recalling similar settings from Harry Potter films.

In a better year, with a better slate of nominees, I don’t think Coco would be deserving of the Best Animated Feature Oscar it’s going to win. It’s the best of the five nominees, and it’s hard for any other studio to match the sheer quality of the CG animation that comes from Pixar. If you go against them on animation, it has to be to choose something novel like the hand-painted cels of Loving Vincent or the visual style of The Breadwinner. (Let’s not even talk about The Boss Baby.) Tim Grierson and Will Leitch put this at #14 on their ranking of all 19 Pixar feature films, which amounts to dropping it behind all the good ones and ahead of all the mediocre-or-less ones. I can’t disagree.

* I’ve seen all five Best Animated Short Film nominees just in the last 72 hours, as they were all available somewhere for free: “Garden Party,” “Lou,” and “Negative Space” were all on YouTube, although at the moment two are gone; “Dear Basketball” is on Go90; and “Revolting Rhymes” is on Netflix. Of those, ”Revolting Rhymes” would be my pick, as it’s inventive, looks fantastic, and manages to develop some characters … but it’s also two episodes of about 28 minutes each, which exceeds the category’s length threshold, so I don’t know if voters have to consider just one of the two parts. It’s based on a Roald Dahl book of rhymes where he reworks some classic fairy tales to add some macabre twists and change the endings, all told here by a Big Bad Wolf (voiced by Dominic West). My daughter and I enjoyed it quite a bit, although I think she’d vote for “Lou” instead. That Pixar short brings the items in a school playground lost & found to life to teach the class bully a lesson. It’s cute and sweet and probably gets the nod on animation quality.

“Negative Space” is a stop-motion piece from Germany about a young man who is remembering how his father taught him his rather scientific method of packing a suitcase to maximize use of the space therein. It’s just five minutes, and there’s a twist that I think you’ll probably see coming. “Garden Party” also has a twist, and the animation of various tropical frogs taking over an apparently abandoned mansion is cool … but there isn’t really a story here.

And then there’s “Dear Basketball,” which I’m worried will win because it involves Kobe Bryant, even though it is clearly the worst of the five. Bryant penned a letter essentially thanking basketball for the huge, positive influence it has had on his life, which is fine, but not munch of a story. The animation looks like charcoal drawings, which is appealing, but ultimately there is just no there here. If it’s not pointless, the point isn’t very sharp. And that’s without considering the fact that Bryant was accused of rape and chose to pay his accuser to make the charges go away – not someone the Academy should want on its stage anyway, not this year of all years. If this were a truly great short film, maybe there’d be an argument for honoring it anyway, but it’s just not.

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→ July 22, 2017
→ By

Stick to baseball, 7/22/17.

With the trade deadline approaching, I’ve had a bit more Insider content than usual this week, including breakdowns of the Ryan Madson/Sean Doolittle trade, the David Robertson/Tommy Kahnle/Todd Frazier trade, and the Tyler O’Neill-Marco Gonzales trade. I also had a long post covering lots of prospects I’ve scouted in the last few weeks, including players from the Phillies, Nationals, Orioles, Red Sox, Atlanta, and Cleveland systems. I held a Klawchat on Friday.

My latest boardgame review for Paste covers the asymmetrical game Not Alone, which pits one player against anywhere from one to six opponents who work together, although we found the game really doesn’t work with just two players and is only slightly better with three.

Thanks to everyone who’s already bought Smart Baseball. I’ve got just a couple of additional book signings coming up:

* Chicago, Standard Club, July 28th, 11:30 am – this is a ticketed luncheon event
* Chicago, Volumes, July 28th, 7:30 pm
* GenCon (Indianapolis), August 17th-20th

And now, the links…

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→ June 22, 2015
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Inside Out.

Pixar’s latest movie, Inside Out, lived up to all of the hype and praise it’s received so far, a visually stunning film that hits all of the bittersweet notes that have made Pixar’s best films – especially WALL-E and the Toy Story trilogy – masterpieces not just of animation but of cinema. It’s also, in many ways, one of Pixar’s riskiest ideas, thanks to one of its least conventional plots yet, making the ultimate success of the film even more remarkable. (Full, if obvious, disclosure: Disney owns Pixar and ESPN.)

Inside Out is a metaphysical coming-of-age story that manages to encapsulate a buddy comedy, a psychological thriller, and an Arthur Clarke-style sci-fi story all set inside of the head of eleven-year-old Riley Anderson, whose family has just removed her from her idyllic life in Minnesota so her father can work for a startup in San Francisco. Riley’s personality is determined by a pastel-colored world run primarily by five emotions: Joy, Sadness, Anger, Disgust, and Fear, each voiced and drawn in distinctive fashion (and helpfully color-coded). Riley’s memories each bear one of those five colors, although we learn early on that Sadness (Phyllis Smith) can turn any memory blue (her color) with a touch, a sort of King Midas meets The Old Guitarist-era Picasso. When Joy and Sadness are inadvertently tossed from Headquarters, where the five emotions live and work, along with Riley’s core memories, her whole personality starts to crumble into depression and negativity. Joy and Sadness have to try to find their way back from the archives of Long-Term Memory while the other three emotions try without success to steer the ship.

The five emotionsJoy, voiced by Amy Poehler, is in essence a yellow-skinned, blue-haired, fuzzy Leslie Knope, full of enthusiasm and as much of a leader as the quintet of emotions can have; she was there first, Sadness second, and there’s an uneasy (but not antagonistic) relationship between the two. Their pairing in exile isn’t an accidental bit of plotting, as the film needs the two to play off of each other, even when they run into Riley’s largely-forgotten imaginary friend Bing Bong (Richard Kind) and end up in a series of misadventures as they try to get back to headquarters. (My favorite: their trip through abstract thought, where the three are transformed into cubist images, then deconstructed.) Some of the resolutions are a little obvious – Pixar writers have always taken the maxim of Chekhov’s gun very seriously – but the three writers do an excellent job of managing three disparate plot strands: the Joy/Sadness journey, the three knuckleheads still in HQ, and Riley’s real-world interactions with her befuddled (but never distant or cliched) parents.

The Joy/Sadness adventure – and that’s what it is, a buddy comedy with serious consequences for the other storylines – is the primary plot thread of the movie, and the relationship between the two characters, matched in Poehler’s and Smith’s voicing, is more oil/water than acid/base: Sadness doesn’t want to bring anyone down, but she can’t help it, while Joy remains indefatigable in the face of unfathomable odds. Sadness wants to be more like Joy, while Joy looks on Sadness as a well-meaning nuisance, so you can see who’s going to learn what lesson in the end. It’s how we get there that makes most Pixar movies such memorable experiences for the viewer – if you have a kid, you’ll probably get a little weepy, as I did at a few points during Inside Out – and such great art. The ending is happy, happier than, say, Toy Story 3, but it’s yellow with a few spots of blue.

The great achievement of Inside Out‘s plot isn’t the ending, or the adventure in Long-Term Memory, but the fact that the film works so beautifully without an antagonist. There’s no villain, no Big Foozle, no evil queen, hell, there’s no princesses (not that I’m anti-princess but a change of pace is always welcome). Sadness, Anger, Fear, and Disgust are not set in opposition to Joy, but are depicted as essential elements of human personality. We don’t get the Dragon of Solitude or the Alienation Wraith; when Riley’s emotions have to fight their way back, they’re fighting something fundamental, not an artificial plot-contrivance bad guy whom they have to kill to get to their goal. Inside Out‘s tension is built around time, not threat, yet the film never drags for the lack of a foil for our twin heroines.

Inside Out is full of Easter eggs, as most Pixar flicks are; I only caught a few of them, including the music in the nightmare, the Chinatown reference, and the homage to Steve Jobs’ “reality distortion field.” I didn’t realize the two jellybean-like things guarding the subconscious were actually voiced by Frank Oz and Dave Goelz, longtime Muppet performers. There are apparently several I missed in the classroom scene, although I’m not sure I would have caught any without a remote control in my hand to pause it.

I’m kind of bummed that my daughter is too old for the Inside Out Box of Mixed Emotions, five books, one per emotion, aimed at 3- to 5-year-olds. It looks like Driven by Emotions is more age-appropriate; I’ll report back if we read that one.

Lava, the short animated feature that preceded Inside Out, is a cute but insubstantial love story, remarkable mostly for the quality of its animation (especially the landscapes on the sides of the two volcanoes) and the film’s song, which reminded me of the late native Hawai’an singer Israel Kamakawiwo’ole. Known as Israel K., his cover of “Over the Rainbow” is the only version of that song I can stand, and Lava‘s main voice-over actor, Kuana Torres Kahele, even sings in a similar fashion to Israel K.’s style.

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