Pixar, critics and the corporate influence

Nobody's perfect. Most of us learned this lesson a long time ago. For more than a decade, however, perfection was expected from Pixar Animation.

I count myself as one of those people who thought Pixar could do no wrong. Just look at the track record: Three terrific "Toy Story" movies, "Finding Nemo," "WALL-E," "The Incredibles," "Up," the list goes on. Pixar films had a flare in their storytelling that no other Hollywood studio could match, in animation or live action.

Attitudes changed with "Cars 2." Making a sequel to what most considered Pixar's weakest link became the seed of skepticism that builds with every new project.

"Cars 2" isn't a particularly memorable movie, but it's also no worse than even the above-average films coming out of the other animation studios. It just wasn't Pixar Perfection, and to many critics, that was worse than being a regular bad movie.

I've read some critiques of "Cars 2," last year's "Brave" and the new "Monsters University" that blame Pixar's corporate owners (Disney) for the recent drop in quality. During Pixar's landmark years, the studio was creatively independent, with Disney only serving as a distributor for their films. That changed in 2006, when Disney acquired the studio and named Pixar chief John Lasseter as the head of all Disney animation projects. At this point, "Ratatouille," "WALL-E" and "Up" were already in various stages of production.

Sure enough, Pixar's post-merger slate has included three sequels and "Brave," which served as the studio's first entry into Disney's lucrative Princess merchandising. Add to that, a sequel to "Finding Nemo" is set for 2015.

Disney and Pixar are doing what every major studio does: Developing franchises that will turn a profit in an extremely competitive market. It isn't just Dreamworks Animation nipping at Pixar's heels anymore. Fox and Sony have established their own powerhouse animation studios, and families seem to have a theatrical cartoon available to them at least every month.

Yet some believe the pursuit of profit has damaged the Pixar brand. The critical drubbing of "Cars 2" and the mixed response to "Brave" certainly proves the studio no longer holds the universal adoration it once had, and to be fair, their most bankable branding, that "quality comes first," no longer carries the clout it once did.

To all this I say, "Relax." For movies as expensive as the ones created by Pixar (each carrying a price tag of more than $150 million BEFORE marketing), franchising and merchandising is a foregone requirement. Marvel's "The Avengers," which is also owned by Disney, plays the same game and audiences can't get enough of Iron Man, Captain America and the rest of the team that helps to sell millions of dollars in action figures.

I'd much rather have the creative minds at Pixar developing sequels and franchises than the folks behind, say, "Transformers" or even the new "Man of Steel." Setting aside the mediocrity of "Cars 2," Pixar has done admirable work within the franchise model:

n "Toy Story 2" and "Toy Story 3" are rightfully considered some of the best sequels ever made and are great movies in their own right.

n "Brave" has some problems, mostly the result of behind-the-scenes drama, but the film's heroine is a deliberate opposite to the traditional Disney princess, and the movie has some interesting things to say about what defines femininity.

n Their newest film, "Monsters University," is also a sincere effort - a funny and energetic prequel to "Monsters Inc." that tells its own story and doesn't rely on the storytelling beats that worked the first time. Some have casually dismissed it as Pixar-lite, but the movie actually tackles some heavy themes about how having a "dream" isn't enough to overcome physical and mental shortcomings. What other animation studio would make a movie about that?

In addition to the "Finding Nemo" sequel, Pixar already has three original projects on the schedule, including next year's "The Good Dinosaur." Surely the success of these will lead into potential sequels, and it probably won't be long before we see the "Toy Story" crew back for another go-around.

Nevertheless, I believe that quality still comes first at Pixar, and that quality will always be the best way for Disney to make money. With so much competition out there now, it's the only way to truly stand apart. That struggle for perfection still drives Lasseter and the creative minds that made Pixar so great in the first place. Let them do their thing, and we as viewers are sure to be rewarded again.

Tyler Wilson can be reached at twilson@cdapress.com.