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Back to School

Monsters University makes the grade for Pixar

Alex Bentley
Jun 20, 2013 | 6:00 am
Monsters University makes the grade for Pixar
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Success can be a movie studio’s own worst enemy. The quality of the majority of Pixar’s films have been such that any deviation from that norm is considered to be disappointing, even if the substandard film outshines most other animated offerings.

After delivering a great finale to the Toy Story trilogy, Pixar is in a bit of slump after the horrendous Cars 2 and the so-so Brave. To try to break out, Pixar is going back to the well of familiar characters with Monsters University, marking the first prequel in its history.

Aside from maybe The Incredibles, it’s hard to think of another Pixar film that better deserved the prequel treatment than Monsters, Inc. The opportunity to see how Mike (Billy Crystal) and Sully (John Goodman) met and acted in college is darn near irresistible.

Monsters University doesn’t reach the heights of Pixar’s classics, but it’s a vast improvement over its previous two offerings.

The set-up is great too. Mike dreams his entire life — footage of him as a kid is priceless — of going to Monsters University and becoming a full-fledged scarer. Once he gets there, though, he finds out that desire and ability may not exactly be the same thing, especially when there are truly scary monsters like Sully in his way.

The filmmakers do a lot of things right, including playing just enough on character nostalgia so as to make things familiar, but not so much that they’re just repeating themselves. There are also a number of clever twists on the college experience from the monster perspective, including dorm life, fraternities and sports.

On the down side, though, the main thrust of the film is a timeworn plot that’s all the less fresh for how much it’s been used lately. Mike and Sully are forced to team up with a fraternity filled with outcasts and misfits in order to prove their worth. Each of the members has their individual charms, but that doesn’t hide the rote nature of their presence.

Still, there’s just something special about being back in the world of scaring, and seeing how the combative nature of Mike and Sully’s friendship evolves never fails to entertain. That’s mostly thanks to the voice talents of Crystal and Goodman, who both know their way around a good joke.

New additions such as Helen Mirren as Dean Hardscrabble, Sean Hayes and Dave Foley as twins sharing the same body, and Nathan Fillion as the head of a rival fraternity keep the movie popping. And callbacks to characters like Randy (Steve Buscemi), Roz (Bob Peterson) and Henry J. Waternoose are executed flawlessly.

Monsters University doesn’t reach the heights of Pixar’s classics, but it’s a vast improvement over its previous two offerings. And fans of original storytelling will be glad to know that Pixar’s next two films – The Good Dinosaur and Inside Out – are all new.

Mike Wazowski is all smiles when he first gets to Monsters University.

Monsters University
Photo courtesy of Disney Pixar
Mike Wazowski is all smiles when he first gets to Monsters University.
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news/entertainment

Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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