What has always amazed me about the combined output of Pixar Animation is not just the consistent quality of the storytelling, but how different each film is from all the others. The Incredibles was as little like Cars as it was different from WALL-E. Disney’s traditional animation since The Little Mermaid, while often highly accomplished, has a certain sameness to it. With the exception of The Lion King, every film in that canon seems to have a heroine that resembles Belle from Beauty and the Beast.
Up continues Pixar’s proud tradition of breaking its own mold with a charming film that takes a touching story of an old man’s promise to his late wife and effortlessly combines it with a giddy child’s fantasy. Continue reading
Somewhere, there is a legion of meth addicts for whom this movie makes perfect sense.
I started reading Clive Cussler‘s Dirk Pitt novels starting with Raise the Titanic back in high school. I realize now that, despite copious amounts of not-quite graphic sex and a splash of R-rated language, I was in the ideal age group at the time to appreciate Cussler’s writing. I grew up and the Dirk Pitt novels didn’t. To be fair, some of the earlier works to follow on the heals of his breakthrough hit, Raise the Titanic, such as Vixen 03 and Night Probe showed a real maturing of his style. By the mid-80’s, however, Cussler seemed to fall into the trap of trying to top himself with every novel and his stories became increasingly outlandish and began to smack of “Bond-lite”.
The novel Sahara fits into this later period of Cussler’s writing. I had stopped reading his books before this one was published, so I cannot directly comment on how closely the plot details stick to the novel. If I were to hazard a guess, I’d have to say, “not close at all.”