So there’s the sweet but not too sickly buddy-buddy relationship (a Pixar staple) between Linguini and Remy, the former becoming the toast of the town as he covertly channels the latter’s flair for French cuisine (via some deft hair-pulling puppetry) into new, delicious dishes.
And, like any great cook, he knows that the trick lies in keeping all the ingredients in delicate balance. Instead, he whips up a deceptively frothy soufflé. Scripter/director Brad Bird rolls back the sweep of The Incredibles and doesn’t shoot for The Iron Giant’s emotional swell. Yes, Ratatouille thinks small, but with big results. Witness the turning-point scene where hapless gourmet-diner garbage boy Linguini (Lou Romano) quizzes the far-from-home critter (who understands English, but only speaks it with his own species) on his culinary talents: Remy’s adorably coy nods and self-deprecating shrugs prove yet again that Pixar has no peer when it comes to nailing the nuances of expression. With its plate-wide eyes, pencil-eraser nose and ability to make the omelette of your dreams, this mini master chef couldn’t be cuter if its name was Nigella. Ratatouille overcomes any intrinsic ick-factor thanks to the bottomless charm of its teeny rodent hero, Remy (voiced by US comic Patton Oswalt). Does anyone really want to see a film about a rat – you know, one of those promiscuous, verminous beasts who haunt sewers and spread deadly disease – working in a restaurant? On paper, hell no. … Expandĭoes anyone really want to see a film about a rat – you know, one of those promiscuous, verminous beasts who haunt sewers and spread deadly disease – working in a restaurant? On paper, hell no. It is a classic film that gave me lots to think about after I watched it and even more after I watched it again. Unlike Up which has a brilliant opening sequence but doesn't live up to it, Ratatouille gets better as it goes with one moment near the end with Peter O'Toole's Ego being a brilliant piece of film despite the fact there are absolutely no words spoken. Of course it is a film for both child and adult as every other Pixar film but the thing that holds it up above all the others is the fact that the film builds as it goes. There are some truly stunning parts of Ratatouille but you I won't ruin them because they really are fantastic. It is a fast paced story of a rat named Remy (Voiced by Patton Oswald) who has always wanted to be a chef despite his obvious limitations He finally gets that chance thanks to an inept yet lovable human named Linguini (Lou Romano). Sure the beginning is a bit slow but the slow build works because when Remy finally crawls out upon the magnificent vista that is Paris the film takes flight. If anything Ratatouille is the most grown up of the Pixar fold (even Up) with the story being remarkably layered and engrossing. While other films try to show off the majestic look of Paris (Midnight in Paris, Taken and Monte Carlo) they never really succeed and its odd that the film that finally pulls it off isn't even live action. While other films try to show off the majestic look of Paris (Midnight in Paris, Taken and Monte Carlo) they Out of all 12 Pixar films, Ratatouille has to be the finest if only because it is one of the most visually stunning movies ever made.
Bird has proved himself a master of the modern animation flick, but without the talented Giacchino, his subtle balance of sentimentality and ageless humor would take a severe blow to the heart.Out of all 12 Pixar films, Ratatouille has to be the finest if only because it is one of the most visually stunning movies ever made. Like an Old World version of Giacchino's jazz-infused, comic-book-kissed score for The Incredibles, Ratatouille is both elegant and mad, built around a sweet and playful theme called "Le Festin," which is presented both instrumentally and vocally (sung by the charming French star Camille) and is as timeless as the dish for which the film is based.
Album DescriptionĬomposer Michael Giacchino reunites with director Brad Bird on Ratatouille, whose lively and endlessly inventive soundtrack strikes a perfect balance between the old European drama of Ennio Morricone and the unhinged whimsy of Raymond Scott. See More Your browser does not support the audio element.
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