Brave: Review By Zak Lee Ferguson

Brave is a bravely wandering into territory least known to Pixar, but most notable in Disney's line of work. The fantastical, the trees, the fairies, the myths and legends, the magical realm that is attuned to Disney, after a mishap and misshapen and very dull crude workings that is the accelerated and mush loathed Cars 2 here Pixar brings back the Brave in their studios Bravery. Pixar has always been a studio that holds down its audiences with a defined narrative and an emotional core, not treading lightly on some subject matters, namely varying from right, wrong, family, death, need, growth and just the prevailing of the world. Through their animated features we as an audience get a great plate load of non-pop cultural references- that does define DreamWorks- but instead doesn't slim down the story duly to its ratings of U and PG- it fills you bin with pathos, drive, gusto moments of mesmerising, potentially mesmeric beautiful films that are viewable for children but never simpering down to the logistics and brain functioning of the younglins- which was the step that Cars 2 did not prevail along with numerous animated features like this years tiresome The Lorax and AstroBoy and many many more.

From last years devastating Cars 2 Lasseter set the bar and power Reich that as much as you moan about some trivial matters on his subjects it was an objectification film that said-

"I'm the boss you want bad and simplicity and no heart or morale here it is!"

Cars 2 held great intricate openings and action sequences that led onto nothing but poor pacing, dreadful storylines, and the metaphorical kick of a brain dead cat.

The gross resulting from merchandise and our faith in Pixar was rather morose. Along with the director of Brave of whom is one of the fantastical- people scratched their heads and went- is Disney appertaining the linkage of Pixar's story consultants- WHAT IS THIS? Along with fellow discarded director Mark Andrews- who it was said did such a foul and limp handed job of Ratatouille that he was booted and replaced and mismarked even for a co-directors slot to the experienced and very enthusiastically esteemed Brad Bird. But here the evictee is now leading the troupe- proving his fellows that he can handle and has grown as a story telling because Brave is quite possibly second to Brad Birds and Pete Doctors Up the best Pixar film to have graced our screens- as with all Three Toy Story's yes but they are in a league of their own my fine readers.

Brave sees the Scotland highs and lush landscapes and vastly bricked and sealed ancient land brought to life in a tale of fait brought forth through searching of ones destiny.

Merida (Kelly McDonald) is an eager master bowman- bow-women and seeks adventure, to live, to ride and gallop with her mighty steed

- but her mother has primed her and is trying achingly to turn this shrivelled look-a look-alike of Mrs Neville my old deputy head teacher- who has set for three clans to battle for her hand- after a fusion between Mother and Daughter Queen Eleanor (Emma Thompson) is turned into a bear- the foulest beast of the land- landmarked as King Fergus's (Billy Connolly) arch rival- as Fergus is the Bear King of Scotland. The film trails through the revelations of family, right wrong, fait, destiny and the shrouding of teenage angst and the corruption and flow of rivalry and very generic in its ways with the historical factors of the Scotland lands myths.

The film is graceful, beautifully detailed, bright, brooding, tense and the first film this year to lift a tear from upon my cheek to be analysed on the tip f my index finger to have my heart lurk and creak, its cogs stopping for but a moment. Sentimental, very mesmeric, enchanting and it puts Pixar back in place with his adversaries- which is its own companies past features- Dreamworks though as superior doesn't have the quilt of gold as Pixar- never playing its audiences dumb- never disjointed or confused by its own means and ways. Its story, never style over substance or audiences submissions, it flows glides, and is delicately viewed and pristine in 2D as would the disorientation of the 3D version be- that said nothing but positivity has been graced to Pixar's use of 3D but alas my opinions vary as Up being the only 3D Pixar film I felt obligated to bestow two hours of eye ache to- and not to the story but to the damn strenuous glasses.

View this masterpiece and love it and cherish it and have your heart strings pulled. Delightful, Pixar One-Pixar-One-who shall win?