The animated movie opens Nov. 25, 2009, and stars George Clooney as the title character, a fox who’s dealing with three wealthy farmers who are none too happy about Mr. Fox feeding his family on their poultry.

The voice cast also includes Bill Murray, Willem Dafoe, Owen Wilson, and Jason Schwartzman. Watch the trailer here.

Image: INF

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He thanked the fans for all the love and support they’ve offered during the difficult time following his son Jet’s death.

“Old Dogs” opens in theaters Nov. 25, 2009. Also check out Access Hollywood’s interview with Travolta, wife Kelly Preston and daughter Elle Bleu. All three appear in the movie, along with Robin Williams.

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Movie: Disney’s A Christmas Carol * Trailer * Official Site	In Theaters: Nov. 6, 2009
Runtime: 96 minutes	Directed by: Robert Zemeckis
MPAA Rating: PG for scary sequences an images	Gecko Rating:

We all know the classic Charles Dickens tale about the crotchety Ebenezer Scrooge who’s visited by three ghosts who make him see the light. There’s really nothing new to tell here, but it’s the WAY the story is told that makes it seem fresh and new in our eyes. This animated, 3D version of “Disney’s A Christmas Carol” does indeed bring new life to the story.

It’s directed by Robert Zemeckis, the genius behind “The Polar Express,” and this animation is quite similar to that film. It’s really well done, somehow merging real people – in this case, mainly Jim Carrey, who plays Scrooge and all three ghosts – with the animated figures. So what you get is an animated film that seems almost like live action, jumping right off the screen at you (the 3D helps in that regard, too!).

More after the jump…

Zemeckis also helmed “Monster House,” and so even his family films have a tendency to be dark and psychological. That’s not necessarily a bad thing, but in the case of both “Monster House” and “Disney’s A Christmas Carol,” they’re much too scary for little ones.

“Disney’s A Christmas Carol” opens with Scrooge looking over the body of his dead partner Marley, now lying in a casket with coins on his eyes. Of course, miserly Scrooge snatches up the coins before the body is sent to its final resting place.

We have Bob Cratchit (Gary Oldman, who also voices Marley and Tiny Tim), working faithfully in Scrooge’s dismal accounting shop. Bob somehow manages to keep his positive attitude, despite hanging around the cup-half-empty Scrooge all day. At home, his family likewise manages to be positive, despite being dirt-poor with a crippled Tiny Tim.

Another main character is Fred (Colin Firth), Scrooge’s well-off nephew who desperately desires to be friends with the old man, who’ll have none of it. Instead, Scrooge shuffles home to his massive dark house and settles in for the night with some porridge. And that’s where the action begins, with the procession of ghosts calling on him in the wee hours.

The ghosts are pretty scary although each has their little quirks. The first one, the Ghost of Christmas Past, is a funny little spirit with a flame for a head. During this sequence, we see the young Scrooge courting his love, Belle (voiced by Robin Wright Penn).

The Ghost of Christmas Present is a giant Viking type spirit sitting atop a large mound of bountiful things. And the third, the Ghost of Christmas Future, is a dark, Grim Reaper type spirit accompanied by a team of frightening stampeding horses. Each takes Scrooge through their particular time era, showing him as a young boy, a young man, a present-day miser, and a dead soul with no one to grieve for him.

The animation during these sequences is stunning, capturing both the beauty and despair of this particular era. However, if you’re at all prone to motion sickness, I recommend closing your eyes during the flying scenes. During the Ghost of Christmas Present sequence, the floor somehow becomes a glass through which you can see into the present-day time. Really awesome, and they use the 3D technology to its best use in this movie. I say that because it’s blended so well into the animation that you don’t really even notice that you’re wearing 3D glasses.

Overall, “Disney’s A Christmas Carol” is a creative and visually beautiful take on the classic tale, the ultimate story of an old miser regaining hope and love, even when things are at their bleakest. Jim Carrey is a master at his craft.

NOTE TO PARENTS: There’s really no sexual content or language issues to speak of. Most of the PG rating comes from the frightening scenes involving ghosts, skeletons, corpses, and red-eyed stampeding horses. The movie opens with Marley’s body in a casket, and we also get scenes of Scrooge being haunted in his dark mansion, and falling into a deep hole towards a casket. For these reasons, I don’t recommend it for kids younger than eight.

Images: Walt Disney Studios Motion Pictures

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They look great in the interview, and seem to be doing well. Ella talked about wanting to be an actress, how she plans on handling fame, and she also diplomatically said she looked like a mix of both John and Kelly.

It will be really fun to see all of them on screen together in the same movie.

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I caught up with Jordan Nagai, who voices the part of Russell the Wilderness Explorer in the film. He’s enthusiastic and energetic – not unlike his on-screen counterpart – and they even look alike, don’t they?

Read on for Jordan’s thoughts on making “Up” and running an obstacle course before his recording sessions.

Tell us about your new movie, “Up.”

“Up” is about a young wilderness explorer called Russell. Russell needs his last wilderness explorer badge – the Assisting The Elderly Badge – so he goes to his elderly neighbor, Mr. Fredricksen, to see if he can get it.

What happens when Russell meets Mr. Fredricksen?

Mr. Fredricksen has just lost his wife and he is about to lose his house, so he decides to go on an adventure by attaching balloons to his home. He sails into the sky, but Russell accidentally goes along for the ride.

More after the jump…

Tell us a little about Russell?

Russell is an active, enthusiastic and determined 8-year-old boy. He loves animals and he loves the wilderness, so he has a great time exploring when they land near Paradise Falls. Russell is a funny, helpful and smart boy — and he wants to get this last badge to please his father.

What is Mr. Fredricksen like?

Mr. Fredricksen is grumpy and he doesn’t like going outside. Russell loves being outside and he loves running around, so they’re opposites. Russell has only been to museums. He’s never experienced the forest for real, so this is his first trip into a wilderness.

What are your favorite things about Russell?

I like the way that he’s funny. He makes a lot of jokes, and he sometimes shows off what he knows from his wilderness explorer camp. He shows Carl – Mr. Fredricksen – different knots and the different calls of animals.

Are you anything like Russell? 

We both love animals and I’m pretty determined at getting things that I really want. I’d love to explore the wilderness too!

How did you get the part of Russell?

The principal at my school sent out an email to all students saying there was an audition for 9 and 10 year old boys. My brother was 9 years old at the time and he went to the audition, so I went along with him. Even though I was only 7 years old, I was allowed to do the audition, too. I did several auditions after that, and finally, I got the part!

Was it hard recording your voice in the sound booth?

It wasn’t very difficult, but I had to repeat the same lines over and over again. I also had to stand for a long time, so it was a little tiring. The director – Pete Docter (read my Q&A here) – tried to make it easier for me, so I took a lot of breaks. I had a lot of fun recording the voice!

Did you do anything special to prepare for the recording sessions?

Before some recordings, I’d do jumping jacks or I’d run around the studio to pump up my energy. When I needed to be excited, Pete would make obstacle courses for me to run around, too!

What was your funniest moment from the recording sessions?

There was one time when I needed to laugh, so Pete held me upside down and tickled me. That was really funny.

Is it weird to hear your voice coming out of a cartoon character?

It’s pretty weird, but it’s cool too.

What do your friends think of your new fame?

They are all very excited for me. We went to see the movie together on opening day. They like the movie a lot, and they think that I’m very lucky.

Have you always wanted to be an actor?

It wasn’t my plan, but I really enjoyed working on “Up.” 

What other films would you like to star in?

“Toy Story” would be a great movie to work on. My brother and I have always liked “Toy Story.” I think it’s really cool when the toys come alive and have their own adventure.

What do you like to do in your spare time?

I like to swim and play basketball. I also love judo. I like the drum and the guitar!

Russell heads off to South America in the movie … Is there any place you’d like to visit?

I would like to go to Africa. I want to go on safari and see the wild animals, like the cheetah. That would be very cool!

Images: ©Disney/Pixar. All Rights Reserved; INF

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Q: “Up” became the first animated film to open the Cannes Film Festival. Do you believe animated features are becoming accepted as a more serious artistic platform?

Pete Docter: We were very honored to be the first animated film to open the prestigious Cannes Film Festival. Walking around there, I kept picturing Hitchcock, Coppola, Truffaut; these big time directors … and US?!?! It seemed like some sort of mistake! But we do look at our work as filmmaking, just like any other film. And it’s nice to see the world looking at it that way as well.

Q: How did Michael Giacchino (composer) come to the project? How was working with him?

Pete Docter: Michael had worked with Brad on "The Incredibles" and "Ratatouille" and of course did a great job on those. He’s a true collaborator. We started out talking through the film conceptually, discussing the things we were looking for — like paying homage to the films of the 40’s and 50’s, the Disney films and Frank Capra and films like that. We wanted to evoke that kind of a feel.  And then we went through sequences shot by shot sometimes and talked about the construction of the scenes and what I was hoping to achieve musically. Not necessarily like arrangements or anything like that, but more like, "Okay, it should start really low here, sneak in, and then build to this point … and then jump out at us!"  We’d talk more emotionally like that and then I’d leave it to Michael to write the music. He would play us these demos and we’d listen via teleconference, and anytime we’d have thoughts or suggestions, he would do changes, sometimes right on the spot. He was very open to whatever the film needed. He’s a filmmaker. Really thinks about the storytelling and how music communicates to people. He’s got range that a lot of film composers either don’t have or don’t utilize.  His "Ratatouille" score doesn’t sound like the "Up" score, which doesn’t sound like "The Incredibles" or "Star Trek." Amazing.

More after the jump…

Q: Can you explain the process of how Carl’s montage at the beginning evolved?

Pete Docter: That was probably the scene I’m most proud of in the film. It came into play early as we developed the story of this guy floating away in his house, and we asked ourselves, "Why is he doing that?" We figured there was some sort of loss or unfulfilled dream that he was trying to make right, and so we came up with the back-story of Carl and his wife.  We initially constructed it as a compressed series of small short scenes, with dialogue and sound effects. Little snippets of life.  Bob [Peterson] wrote it. When Ronnie del Carmen started to storyboard it, we felt like it would be nice to reduce it, simplify it, and take the dialogue out. My parents shot a lot of Super 8 movies of our family growing up. Watching them now, there’s something really emotional about not having any sound. That allows, I think, the audience to participate more actively and kind of imagine, "What are they talking about there?"  Or "what happened right before this moment? " And that feeling was all part of what went into that scene… these really little beautiful real-life moments showing the highs and lows of life. Carl’s true adventure — their relationship together.

Q: There must have been a ton of research that went into the look of the mountain tops; were any similar tests conducted into using helium balloons to lift an entire house?

Pete Docter: The first thing our technical team did when they started working on the balloons was to figure out how many balloons it would take to lift a house in real life. Here’s his math: * Carl’s house is 1600 sq ft * Somewhere I found some figures saying that the average 1600sqft house weights about 345,000 lbs, of which 160,000lbs is from the foundation, and about 30,000lbs is from the garage. * Since Carl lifts off and leaves the foundation behind, that leaves about 155,000lbs ( == 77.5 US tons == 70,306 kg) that the Canopy needs to lift. Accelerating toward the ground at 9.8 m/s^2, that’s 688,998 N of force from gravity that the Canopy has to overcome. * With the density of Helium at .1786 kg/m^3 and representing a balloon as a sphere with a radius of 2.78ft (85 cm, ~5.56 ft diameter — we’re talking weather balloons here…) — each balloon can generate 4.5N of buoyant force… * So to generate at least 688,998N of force to overcome gravity, you’d need: 153,053 helium-filled, 5.56ft diameter balloons. * If you’re trying this with big party balloons, say 1 ft diameter, then you’d need a whole lot more: 26,550,146….26.5 million balloons. * None of this takes into account the weight of the balloons themselves or the strings to tie them to the house.

Q: You’ve said in the past that you identify strongly with Buzz Lightyear, are there any other characters you identify with?

Pete Docter: Well, I Identify strongly with Carl. I often grouse about how things are changing, and "why did they take that item off the menu?!?" I’m going to make a good old man. Weirdly, Kevin the bird is another character I really like. Not that I feel a kinship, but she was a fun character to play around with, because she’s so unpredictable.

Q: I saw the video of the trip to gain artistic inspiration for UP … what are some examples of other inspirations for animated elements in your work that came from more mundane/conventional sources?

Pete Docter: Doing research is one of the best parts of working on these films. One day we brought in an ostrich. It was cool to see an ostrich running around on the front lawn here. And of course the film was a great excuse to bring in our dogs. We also went to a few Old Folks homes. We formed a band — we played Tin Pan Alley type tunes and went in to a local retirement home to play for them. As we were up there, all of us were secretly taking mental notes and doing sketches behind our ukuleles. It was great — we got good research, and they said we were the best act to play there in months!

Q: Was the choice of presenting the film in 3D a conscious decision from the beginning? How does it affect the production process?

Pete Docter: We start the process for "Up" in 2D, with the focus just on the story and the characters. It was about three years in that John Lasseter came to us and said, "Hey, there are some really cool new developments that have happened with 3D," and of course Pixar had a long history of interest in 3D, John being one of the prime cheerleaders.  He shot pictures of his own wedding in 3D, as well as "Knick-Knack," which is in 3D as well. So we did a ton of research, watching other 3D films, and made a list of things we liked and things we didn’t. I wanted to use 3D in a more subtle way than the usual, "WOAH! THERE’S A BIG BANANA CREAM PIE COMING OUT TOWARDS THE AUDIENCE!" thing you often see in 3D. We used 3D as another tool to communicate the emotion of the scene, like you would use color, lighting, or cinematography. In the end, we didn’t let it affect the way we approached the story at all. I didn’t want to compromise the 2D version — which is the way it will be seen most often (considering DVD and Blu-ray).

Q: As far as the animation style of “Up” goes, instead of going for “as close to realism as possible” kind of visuals, it has an almost caricature style, especially with the facial features highlighting big points, rather than looking like a human head. What influenced the style of “Up,” and why did you decide to go this route?

Pete Docter: The story called for Carl to float his house into the air buoyed by balloons. For that to be believable, we felt it would be necessary to caricature the world – and, therefore, the characters, as well. I think if we made it look photo-real, you wouldn’t believe it as readily. Besides, if you want something to look real, go get a camera and step outside. It’s a heck of a lot cheaper. We work in animation! We can do things that can’t be done in any other medium! So the idea of simplifying and caricature is always exciting to me.

Q: Do you remember the first time you drew something and thought, "Wow, this is something I want to do for a living." Do you remember what you drew?

Pete Docter: You know how there’s always those kids in your elementary class that are really good at drawing? They sit there and "wow" everyone by drawing horses and tanks and battles and stuff? That was NOT me. I was lousy at drawing. But as soon as I figured out I could make something look like it was moving — and thinking — I was hooked. My parents are musicians, as are my sisters, so I was dragged to a lot of concerts growing up. I would always steal everyone’s programs and draw all over them, thinking up jokes like, "What would happen if all the strings on his violin broke?" or "What if someone fell in the tuba?" Comic gold, I’m telling you!

Q: How did Tom McCarthy get involved in the writing of “Up”?

Pete Docter: We had referenced Tom’s film "The Station Agent" as we worked out the structure of “Up.” It’s very similar — a guy who isn’t really living, he’s just walking through life, trying to stay removed and alone. Then he reluctantly gets drawn into this surrogate family. It’s a great film, really well written and directed. We got Tom to come here to Pixar to screen it and talk about it, so we’d meet him. Bob and I were working together at the time, but then Bob was drafted on to “Ratatouille” for a while and I was left all alone. I cried a lot and talked to myself at first. I needed someone to spark off creatively, and so I asked Tom if he could recommend any writers he knew that might want to work on the film. He fell for it and said, "How about me?" Ha ha! Sucker. He was on for three months, and it was in his draft that we added the character of Russell, which of course we kept once Bob came back on.

Q: What are the challenges involved with writing for animated movies that one might not face with live action, and how do you overcome those challenges?

Pete Docter: We approach our writing exactly as one would approach a live-action screenplay; the focus is on character and keeping the audience engaged. Our whole process is remarkably similar to live-action; we have cinematographers, lighters, costume designers, etc. We use different tools to get there, but the creative process is the same.

Images: ©Disney/Pixar. All Rights Reserved.

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The CG-animated movie is rated G, and also features the voices of Robin Wright Penn, Colin Firth, Gary Oldman and Michael J. Fox. Watch the trailer here.

Here are a few photos of Carrey and director-writer Robert Zemeckis on their “train tour” at Grand Central Station to promote the film. Looks like a blast!

By the way, Carrey has gained a few pounds for his role as Curly in the upcoming movie from Bobby Farrelly, “The Three Stooges,” scheduled for a 2010 release. He doesn’t look quite big enough yet!

More after the jump…

Image: INF

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In this DVD, Mae Whitman voices Tinker Bell, who journeys far north of Neverland to patch things up with her friend Terence and restore a Pixie Dust Tree. It’s all very noble.

Other voices include Raven-Symone, Jesse McCartney, Lucy Liu, Kristin Chenoweth, Pamela Adlon, and Anjelica Huston. Check out the clips:

Featurette: Fashion (bonus):

Deleted Scene: Blaze Gets Eaten (bonus)

Clank & Bobble (film):

Image: Amazon.com

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Ice Age: Dawn of the Dinosaurs

Orphan. Vera Farmiga and Peter Sarsgaard star in this creepy thriller about a malevolent orphan who lands in the home of adoptive parents. [Buy It]

Tinker Bell and the Lost Treasure (Two Disc + BD Live) [Blu-ray]. Raven Symone and Jesse McCartney star in this cute sequel that finds Tinkerbell saving the day. [Buy It]

Image: Amazon.com

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Movie: Astro Boy * Official Site * Film Gecko links * Trailer	In Theaters: Oct. 23, 2009
Runtime: 94 minutes	Directed by: David Bowers
MPAA Rating: PG for some action and peril, and brief mild language	Gecko Rating:

“Astro Boy” is one of those movies that’s cute, but that you’ll probably forget about a day or two after you see it. It’s also a little violent and sad for a kids’ movie. Not as sad as “Up” or “Marley and Me,” but still sad in its own way.

The concept began as a Japanese manga series and TV show first broadcast in Japan from 1963 to 1966, and follows the adventures of the title character, Astro Boy (voiced by Freddie Highmore). He starts out as a real boy named Toby who lives in the thriving metropolis of the floating Metro City with his scientist dad, Dr. Tenma (Nicolas Cage).

But when Toby tags along during a presentation to the war-mongering President Stone (Donald Sutherland), he ends up getting killed in a freak lab accident involving a giant robot (kind of intense for little kids right off the bat).

More after the jump…

So Toby’s genius scientist-dad decides to re-create his son in the form of a robot who looks and sounds just like his son, and even has his son’s memories. Except when all is said and done, Tenma decides that he doesn’t want a robot for a son.

So he rejects Toby, who then runs away and falls in with a group of misfit orphans on the over-polluted Earth, including black-and-purple-haired Cora (Kristen Bell) and Zane (Moises Arias), who live with Ham Egg (Nathan Lane), their seemingly kind adoptive father who runs a Coliseum-like show where robots battle to the death.

But in order to make the war robot he wants, the President needs the blue energy inside Astro Boy, so the military goes on the hunt for him. Meanwhile, Toby is hiding his true identity from the orphans, because he knows they’ll reject him if they knew the truth. 

I get what they’re trying to do here. The original “Astro Boy” tackled some heavy issues like war, pollution, death, and parental rejection. But it doesn’t really work as a cute kids’ movie, which based on the trailers, is what this movie purported to be. 

It’s CG-animated, which you’d think would be targeted towards kids ages six to nine, but it’s too dark, violent and sad for those ages. And yet my older kids weren’t the least bit interested in seeing it because it’s “a kids’ movie.”

The storyline and characters are also fairly predictable – outcast kid who realizes his true powers and becomes a hero, geeky but kind-hearted orphans, power-hungry President, cute robot sidekick (Astro Boy adopts a little trashcan-dog), giant but helpful robot … I’m not really sure what ages this movie is appropriate for. Maybe older kids familiar with the original Manga series. But then, they’ll probably just go back to the original manga series, rather than see this movie.

As for the violence, the story includes plenty of weapons-based explosions and disasters, the killing of Toby, and several robots destroyed throughout the movie, including those in the battle-to-the-death scenes in the Coliseum.

For all of these reasons, I can’t really recommend “Astro Boy” for kids. I will say this, though: I really liked the CG animation, which does a good job of picking up all the little emotions and details of the characters. And things end well, so at least it’s not like the horrible “Marley and Me” ending, with everyone in the theater sobbing their hearts out. 

Image: TM and © 2009 Summit Entertainment, LLC. All Rights Reserved.

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