so many things changed.the most happiness thing is i found M ,hehe love you.
i need improve myself so this is the first step,improve my english level. here is a article i'm study new english words from:
Seeing Up a week after Toy Story reminds you of just how much growing up Pixar has done in the past 14 years. The company’s animators have put away childish things and are looking through a glass darkly. The central character, Carl Fredrickson, is struggling to come to terms with the death of his wife, Ellie. He’s haunted by the years they shared together — in one sequence, literally tethered to his past as he inches his way across a barren landscape, towing their marital home behind him. He’s convinced that his life has been a failure, not least because he didn’t provide Ellie with the excitement and adventure that she craved, and the journey he embarks on in the story is a kind of Sisyphean penance.
There are some funny moments in Up, and Carl is accompanied on his trip by a freckle-faced boy, but the mood owes as much to Ingmar Bergman as it does to Walt Disney.
Like Wall-E it begins with a wordless section that seems to hark back to Hollywood’s silent era. The story of Carl and Ellie’s life together is told in a montage of shared moments, compressing more than 50 years of marriage into four minutes. The combination of economy and emotional depth in these scenes gives them a poetic quality that few contemporary live action films can match
When we come out of the montage, Carl is a cantankerous septuagenarian, voiced by Ed Asner, and he seems destined for an undignified descent into old age. His renaissance is triggered by a dispute with a construction company that wants to demolish his house as part of a redevelopment project. A court orders Carl to enter a retirement home, but instead of going gentle into that good night he straps hundreds of helium balloons to his house and sets sail on an adventure. His destination is Paradise Falls, a South American Shangri La. Halfway there he discovers he has a stowaway in the form of Russell (Jordan Nagai), an eight-year-old boy.
The co-directors of Up are Pete Docter, who was responsible for Monsters Inc, and Bob Peterson, who wrote Finding Nemo, and they know a thing or two about keeping an audience entertained. Younger viewers will be delighted by the succession of pratfalls and sight gags that accompany the house’s bumpy transcontinental voyage, and when Carl and Russell touch down in South America they find themselves at the centre of a battle between a pack of talking dogs and a giant bird.
In this middle section, Up threatens to stray into Madagascar territory. It’s as if the co-directors had decided, momentarily, to cast aside their artistic ambitions and focus on the film’s commercial appeal. Luckily, it picks up again when Carl and Russell get back in the air, this time in a dirigible, and the third act delivers some moments of pure cinema to match the opening.
If Up has one shortcoming, it’s the uneven tone, shifting from high-flown artistry one moment to low farce the next. This would have been less conspicuous if the animators had given the film a uniform look, but Up is an odd mishmash of styles. Russell is Weeble-shaped, like the humanoid characters in Wall-E, while the dogs are very realistic. And 3-D adds little to the overall impact.
What’s so impressive about Up is that the film-makers never lose sight of their adult concerns. Paradise Falls isn’t just the name of a waterfall in South America, it’s a two-word summation of the film’s main theme, namely, that life never quite conforms to our romantic notions of what it should be and if we hold on to these too stubbornly we’re bound to be disappointed. Carl discovers that Ellie didn’t see their life together as a failure, in spite of it not turning out the way she’d hoped. Flicking through her old photo album, he learns to appreciate what they had.
This isn’t the only piece of wisdom he stumbles across. In a nod to Milton, Paradise Falls turns out to be the personal fiefdom of the Devil in the form of Charles Muntz (Christopher Plummer), a long-forgotten Charles Lindbergh figure Carl worshipped as a child. “My childhood hero is trying to kill me,” says Carl, as Muntz comes after him with a shotgun. This is a film in which the scales are constantly falling from the characters’ eyes, but it’s a mark of how grown-up Pixar has become that disillusionment is presented as a sign of emotional maturity rather than a source of regret. “The wilderness isn’t like it is in books,” Russell says. This produces a rueful smile from Carl: “Get used to that, kid.”
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