list http://www.spout.com/ Recent community activity around Chicken Run on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Chicken_Run/140445/default.aspx Title: Chicken Run
Year: 2000
Director: Nick Park, Peter Lord
Plot: Aardman Animations, the British clay-animation studio that created a cult sensation (and won three Academy awards) with its short subjects featuring Wallace and Gromit, presents its first feature film, a mixture of comedy and adventure. Mrs. Tweedy (voice of Miranda Richardson) operates a chicken farm, where most of the birds have resigned themselves to a short and uneventful life of producing eggs and ending up as the main course of someone's Sunday dinner. But when Rocky (voice of Mel Gibson), a rooster from America, arrives on the farm, things begin to change. Rocky soon finds romance with a hen named Ginger (voice of Julia Sawalha) who longs for a better life and has been trying to find a way out of the farm for some time; together they devise a plan to escape to freedom. However, Rocky and Ginger soon find themselves racing against the clock when Mrs. Tweedy decides it's time to turn the entire flock into chicken pies. Nick Park, director of the Wallace and Gromit shorts, co-directed Chicken Run with Peter Lord, who produced several Aardman projects and created animation for the TV series Pee-Wee's Playhouse. The voice cast also includes Jane Horrocks, Phil Daniels, and Timothy Spall. ~ Mark Deming, All Movie Guide
Times Tagged: 59
Number of Lists: 49
Number of blog posts: 3
Number of discussion threads: 2
SpoutRating: 3
]]>Fri, 01 May 2009 19:39:49 GMTChicken Run2000Nick Park, Peter LordAardman Animations, the British clay-animation studio that created a cult sensation (and won three Academy awards) with its short subjects featuring Wallace and Gromit, presents its first feature film, a mixture of comedy and adventure. Mrs. Tweedy (voice of <a href="/players/P____60083/default.aspx" style='text-decoration:underline'>Miranda Richardson</a>) operates a chicken farm, where most of the birds have resigned themselves to a short and uneventful life of producing eggs and ending up as the main course of someone's Sunday dinner. But when Rocky (voice of <a href="/players/P____91479/default.aspx" style='text-decoration:underline'>Mel Gibson</a>), a rooster from America, arrives on the farm, things begin to change. Rocky soon finds romance with a hen named Ginger (voice of <a href="/players/P___199242/default.aspx" style='text-decoration:underline'>Julia Sawalha</a>) who longs for a better life and has been trying to find a way out of the farm for some time; together they devise a plan to escape to freedom. However, Rocky and Ginger soon find themselves racing against the clock when Mrs. Tweedy decides it's time to turn the entire flock into chicken pies. <a href="/players/P___218190/default.aspx" style='text-decoration:underline'>Nick Park</a>, director of the Wallace and Gromit shorts, co-directed Chicken Run with Peter Lord, who produced several Aardman projects and created animation for the TV series <a href=/films/163458/default.aspx style='text-decoration:underline'>Pee-Wee's Playhouse</a>. The voice cast also includes <a href="/players/P____33304/default.aspx" style='text-decoration:underline'>Jane Horrocks</a>, <a href="/players/P____16895/default.aspx" style='text-decoration:underline'>Phil Daniels</a>, and <a href="/players/P____67069/default.aspx" style='text-decoration:underline'>Timothy Spall</a>. ~ Mark Deming, All Movie Guide59Tag Target (>10)49323http://www.spout.com/ProductImages/t48734d2vzs.jpghttp://www.spout.com/films/Chicken_Run/140445/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/5/1/41932.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 5/1/2009 3:39:49 PM
Body: In the farming community of England there is a chicken farm which resembles, and is run like a POW camp by the "Tweedys" (voiced by Miranda Richardson and Tony Haygarth). "Mrs. Tweedy" (Richardson) pays close attention to the egg output, then picks the least productive hen for dinner. The "Tweedys", especially "Mrs. Tweedy", have left the hens and roosters scared for their lives (literally), and a young hen named "Ginger" (voiced by Julia Sawalha) takes it upon herself to come up with a plan to get them out of there when a flying American rooster named "Rocky" (voiced by Mel Gibson) crashes into the chicken coup after falling from a rough flight. "Ginger" then gets the idea to have "Rocky", who apparently injured a wing in the crash landing, teach herself and the rest of the chickens how to fly so they can escape. As they are trying to learn to fly, "Mrs. Tweety" gets the idea to scrap the egg business to sell something even more menacing -- sell chicken pies. This movie has some good comedic moments with jokes that are well spaced apart. Many of the characters are good comic relief as well. The claymation isn't specific down the the smallest detail. However, the characters are very well constructed, and quite cartoonish looking. The animation of the characters are good enough to make you sometimes forget that your watching claymation. The performances help enhance the believability of the characters. The story itself is good, and there aren't any bad lines as far as I could tell. Every actor made the lines appear very natural. There are many memorable visuals in this movie. Many of which will be with you for some time after viewing this film. The camera angles, which had to be set up well to begin with, are well done making some memorable visuals. Adults will catch lots of references used as jokes that children may miss. But adults and children should be able to understand the lessons of the story. Good story, wonderful acting, good animation makes Chicken Run worth taking a look at.
]]>Fri, 01 May 2009 19:39:49 GMTThe_MOWThe_MOW Blog5/1/2009 3:39:49 PMIn the farming community of England there is a chicken farm which resembles, and is run like a POW camp by the "Tweedys" (voiced by Miranda Richardson and Tony Haygarth). "Mrs. Tweedy" (Richardson) pays close attention to the egg output, then picks the least productive hen for dinner. The "Tweedys", especially "Mrs. Tweedy", have left the hens and roosters scared for their lives (literally), and a young hen named "Ginger" (voiced by Julia Sawalha) takes it upon herself to come up with a plan to get them out of there when a flying American rooster named "Rocky" (voiced by Mel Gibson) crashes into the chicken coup after falling from a rough flight. "Ginger" then gets the idea to have "Rocky", who apparently injured a wing in the crash landing, teach herself and the rest of the chickens how to fly so they can escape. As they are trying to learn to fly, "Mrs. Tweety" gets the idea to scrap the egg business to sell something even more menacing -- sell chicken pies. This movie has some good comedic moments with jokes that are well spaced apart. Many of the characters are good comic relief as well. The claymation isn't specific down the the smallest detail. However, the characters are very well constructed, and quite cartoonish looking. The animation of the characters are good enough to make you sometimes forget that your watching claymation. The performances help enhance the believability of the characters. The story itself is good, and there aren't any bad lines as far as I could tell. Every actor made the lines appear very natural. There are many memorable visuals in this movie. Many of which will be with you for some time after viewing this film. The camera angles, which had to be set up well to begin with, are well done making some memorable visuals. Adults will catch lots of references used as jokes that children may miss. But adults and children should be able to understand the lessons of the story. Good story, wonderful acting, good animation makes Chicken Run worth taking a look at. http://www.spout.com/blogs/spoutblog/archive/2008/12/8/38088.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/8/2008 5:00:35 PM
Body: It’s beginning to look a lot like 1991. A former Disney starlet is on track for a Best Actress nomination. One of cinema’s greatest villainous performances is a sure thing for an acting Oscar. And, due to a relatively disappointing crop of Academy Award contenders, an animated feature is being talked about for Best Picture. One major difference between now and 1991, however, is now there’s a separate Oscar category for Best Animated Feature. While that doesn’t mean Wall-E can’t be the first animated film nominated in the top category since Beauty and the Beast, it does potentially mean that it shouldn’t be. Historically, animated features have been marginalized by the Academy, though not unfairly. The first of its kind in the U.S., Walt Disney’s Snow White and the Seven Dwarves was not adequately recognized at the 1938 Oscars, so the Academy gave Disney a special Honorary Award (in the form of one normal-sized statuette and seven miniature statuettes) in 1939 to make up for it. The official credit given to Snow White was that it was a “significant screen innovation,” that “pioneered a great new entertainment field.” Basically, but not technically, this designated animated features as a new, separate art form from live-action motion pictures. Fantasia was similarly set apart a few years later with two Honorary Awards spotlighting the film’s achievements in sound and music, yet this time credit was given to the film for “widening the scope of the motion picture as entertainment and as an art form.” Still, for almost fifty years, the closest an animated feature came to being nominated inclusively in such a scope for Best Picture were live-action films incorporating animation, such as Anchors Aweigh and Mary Poppins. It should have officially been made clearer in the 1930s or 1940s that animated features are in a class of their own. Since 1932, the Academy has differentiated between animation and live-action with its short subject categories, but no corresponding distinction was ever made for features, possibly because there weren’t enough animated features to recognize with a separate award for many decades. Even today, the Best Animated Feature Oscar is only given if there are a certain number (eight) of animated features eligible in that year. Thanks to the Best Animated Feature Oscar, though, there is greater encouragement for the mainstream production of this kind of film and also a greater acknowledgement of foreign feature animation. Some critics might argue that it seems to lower the esteem of animated features, yet the creation of the category was in fact pushed for by animators, according to the AMPAS press release announcing its inception (the animators’ campaign, spearheaded mostly by Dreamworks Animation’s Jeffrey Katzenberg, was apparently fueled by the snub of Chicken Run as Best Picture in 2001). The Academy’s error, then, was in continuing to allow animated features to be eligible for Best Picture rather than renaming that “top” category Best Live-Action Picture. Now, if Wall-E or any other animated film is recognized in that category, the Best Animated Feature Oscar will indeed appear to be a lesser honor. An unsourced claim on Wikipedia says the existence of the Animated Feature category creates a sort of psychological effect, which blocks voters from considering an animated feature for Best Picture. However, with enough campaigning from Disney and plenty of prodding from the media (blogs especially), Wall-E may have sufficient placement in the consciousness of Academy members to allow such a nomination to happen. The call for a Best Picture nod for the film has been around and growing since New York magazine’s Vulture blog first championed the idea back in June, writing that it “would be the smartest thing the Academy’s done in years.” For ratings, perhaps, but individual members themselves do not think of nor are they encouraged to consider telecast viewership when marking their ballots. As a celebration of great filmmaking, though, it would be smarter for voters to acknowledge Wall-E’s place and prestige as a front-runner in the Best Animated Feature category and then pick another deserving film, which isn’t likely to be recognized elsewhere, to nominate as Best Picture. For example, how about a popular and critically acclaimed foreign film that hasn’t been submitted for consideration in the foreign-language category, such as Tell No One or Let the Right One In? In July, Time magazine, which referred to the separate Animated Feature category as “Oscar’s cartoon ghetto,” began sampling quotes from supporters like New York and went so far as to call the film an “Obamaesque trailblazer.” In some way, Wall-E could resonate with Academy voters with relation to Obama, but perhaps only because it is one of the few hopeful, feel-good movies contending at a time when Bush–inspired negativity is supposedly no longer welcome (New York writer Logan Hill also acknowledged Best Picture candidate Slumdog Millionaire as similarly fitting the optimism bill after Fox Searchlight’s COO referred to the film as “Obama-like”). And maybe the environmentalist theme of Wall-E will be heavily supported by liberal Academy members, but ultimately the film seems even more preachy and, at times, dystopic than even The Dark Knight, let alone An Inconvenient Truth (which, by the way, had to settle on Oscar’s documentary ghetto and wasn’t considered Best Picture material, either). One significant point against the likelihood Wall-E receiving a Best Picture nomination was noted by Anne Thompson at Variety: actors tend to vote for live-action films because they feature live actors. Surely actors, forever in fear of being replaced by computer-generated characters, look at an eerily realistically rendered computer-animated film like Wall-E and contemplate the worst for their profession. Still, on the other hand, actors could actually celebrate Pixar for making an animated film that incorporates live actors (a kind of reversal of Anchors Aweigh and Mary Poppins, no?). But if actors want to pay respect to this technique, they should completely surprise Oscar prognosticators (and pay them back for another 2001 snub) by nominating Fred Willard for Best Supporting Actor. Maybe Wall-E is one of the best films of 2008, but that doesn’t necessarily mean it should be recommended for a Best Picture nomination. The Oscars are never an exact or fair measure of a year’s best in cinema, and even Oscar bloggers should be aware of the politics and logic of the Academy. This is the same organization that, for its first awards, ruled The Jazz Singer ineligible for Best Picture (or “Best Production” as it was named then) because it had the unfair advantage of being a sound film. Instead, the landmark film received a Special Award (almost like Disney received in 1939). Perhaps it is best, then, to think of animated features as also having an unfair advantage. After all, particularly with computer animation, they allow for more ease in certain aspects of direction, cinematography and special effects. In that case, let us, if not the Academy, view the Best Animated Feature category as the actual “top” category and shake off this unnecessary desire for an animated film to win “Best Picture.” Now, can we re-channel our energy into campaigning for Wall-E to be nominated in other categories, like Best Director, Best Original Screenplay and Best Art Direction? Originally posted on:SpoutBlog
]]>Mon, 08 Dec 2008 22:00:35 GMTSpoutBlogSpoutBlog on spout.com12/8/2008 5:00:35 PMIt’s beginning to look a lot like 1991. A former Disney starlet is on track for a Best Actress nomination. One of cinema’s greatest villainous performances is a sure thing for an acting Oscar. And, due to a relatively disappointing crop of Academy Award contenders, an animated feature is being talked about for Best Picture. One major difference between now and 1991, however, is now there’s a separate Oscar category for Best Animated Feature. While that doesn’t mean Wall-E can’t be the first animated film nominated in the top category since Beauty and the Beast, it does potentially mean that it shouldn’t be. Historically, animated features have been marginalized by the Academy, though not unfairly. The first of its kind in the U.S., Walt Disney’s Snow White and the Seven Dwarves was not adequately recognized at the 1938 Oscars, so the Academy gave Disney a special Honorary Award (in the form of one normal-sized statuette and seven miniature statuettes) in 1939 to make up for it. The official credit given to Snow White was that it was a “significant screen innovation,” that “pioneered a great new entertainment field.” Basically, but not technically, this designated animated features as a new, separate art form from live-action motion pictures. Fantasia was similarly set apart a few years later with two Honorary Awards spotlighting the film’s achievements in sound and music, yet this time credit was given to the film for “widening the scope of the motion picture as entertainment and as an art form.” Still, for almost fifty years, the closest an animated feature came to being nominated inclusively in such a scope for Best Picture were live-action films incorporating animation, such as Anchors Aweigh and Mary Poppins. It should have officially been made clearer in the 1930s or 1940s that animated features are in a class of their own. Since 1932, the Academy has differentiated between animation and live-action with its short subject categories, but no corresponding distinction was ever made for features, possibly because there weren’t enough animated features to recognize with a separate award for many decades. Even today, the Best Animated Feature Oscar is only given if there are a certain number (eight) of animated features eligible in that year. Thanks to the Best Animated Feature Oscar, though, there is greater encouragement for the mainstream production of this kind of film and also a greater acknowledgement of foreign feature animation. Some critics might argue that it seems to lower the esteem of animated features, yet the creation of the category was in fact pushed for by animators, according to the AMPAS press release announcing its inception (the animators’ campaign, spearheaded mostly by Dreamworks Animation’s Jeffrey Katzenberg, was apparently fueled by the snub of Chicken Run as Best Picture in 2001). The Academy’s error, then, was in continuing to allow animated features to be eligible for Best Picture rather than renaming that “top” category Best Live-Action Picture. Now, if Wall-E or any other animated film is recognized in that category, the Best Animated Feature Oscar will indeed appear to be a lesser honor. An unsourced claim on Wikipedia says the existence of the Animated Feature category creates a sort of psychological effect, which blocks voters from considering an animated feature for Best Picture. However, with enough campaigning from Disney and plenty of prodding from the media (blogs especially), Wall-E may have sufficient placement in the consciousness of Academy members to allow such a nomination to happen. The call for a Best Picture nod for the film has been around and growing since New York magazine’s Vulture blog first championed the idea back in June, writing that it “would be the smartest thing the Academy’s done in years.” For ratings, perhaps, but individual members themselves do not think of nor are they encouraged to consider telecast viewership when marking their ballots. As a celebration of great filmmaking, though, it would be smarter for voters to acknowledge Wall-E’s place and prestige as a front-runner in the Best Animated Feature category and then pick another deserving film, which isn’t likely to be recognized elsewhere, to nominate as Best Picture. For example, how about a popular and critically acclaimed foreign film that hasn’t been submitted for consideration in the foreign-language category, such as Tell No One or Let the Right One In? In July, Time magazine, which referred to the separate Animated Feature category as “Oscar’s cartoon ghetto,” began sampling quotes from supporters like New York and went so far as to call the film an “Obamaesque trailblazer.” In some way, Wall-E could resonate with Academy voters with relation to Obama, but perhaps only because it is one of the few hopeful, feel-good movies contending at a time when Bush–inspired negativity is supposedly no longer welcome (New York writer Logan Hill also acknowledged Best Picture candidate Slumdog Millionaire as similarly fitting the optimism bill after Fox Searchlight’s COO referred to the film as “Obama-like”). And maybe the environmentalist theme of Wall-E will be heavily supported by liberal Academy members, but ultimately the film seems even more preachy and, at times, dystopic than even The Dark Knight, let alone An Inconvenient Truth (which, by the way, had to settle on Oscar’s documentary ghetto and wasn’t considered Best Picture material, either). One significant point against the likelihood Wall-E receiving a Best Picture nomination was noted by Anne Thompson at Variety: actors tend to vote for live-action films because they feature live actors. Surely actors, forever in fear of being replaced by computer-generated characters, look at an eerily realistically rendered computer-animated film like Wall-E and contemplate the worst for their profession. Still, on the other hand, actors could actually celebrate Pixar for making an animated film that incorporates live actors (a kind of reversal of Anchors Aweigh and Mary Poppins, no?). But if actors want to pay respect to this technique, they should completely surprise Oscar prognosticators (and pay them back for another 2001 snub) by nominating Fred Willard for Best Supporting Actor. Maybe Wall-E is one of the best films of 2008, but that doesn’t necessarily mean it should be recommended for a Best Picture nomination. The Oscars are never an exact or fair measure of a year’s best in cinema, and even Oscar bloggers should be aware of the politics and logic of the Academy. This is the same organization that, for its first awards, ruled The Jazz Singer ineligible for Best Picture (or “Best Production” as it was named then) because it had the unfair advantage of being a sound film. Instead, the landmark film received a Special Award (almost like Disney received in 1939). Perhaps it is best, then, to think of animated features as also having an unfair advantage. After all, particularly with computer animation, they allow for more ease in certain aspects of direction, cinematography and special effects. In that case, let us, if not the Academy, view the Best Animated Feature category as the actual “top” category and shake off this unnecessary desire for an animated film to win “Best Picture.” Now, can we re-channel our energy into campaigning for Wall-E to be nominated in other categories, like Best Director, Best Original Screenplay and Best Art Direction? Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_29_Locked_Up/625/33170/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Weekly Theme
Post Date: 7/28/2008 1:24:20 PM
Body: Good sugestions all. I'm glad someone pointed out Girl, Interupted. I really like that movie and don't get to talk about it enough. And thanks for reminding me of Kiss of the Spiderwoman. Also a movie that does not get enough play. I would like to add The Wrong Man by Hitchcock for it's visceral portrayal of incarceration. One FEELS locked up while watching it... This is Hitchcock confronting his greatest fear and though not his best film it is important to his work as a whole. As for awesome prison brakes I suggest Out of Sight. Not just a prison movie, but when you go back and look at it just shy of half of the movie takes place in prison. Prison is also the motivating factor for many of the characters. And it's so much fun. Finally, to make sure you have a smile on your face: Chicken Run! Along this theme you could also watch Creature Comforts as well and laugh and laugh and laugh!
]]>Mon, 28 Jul 2008 17:24:20 GMTtheunemployedshortstopWeekly Theme7/28/2008 1:24:20 PMGood sugestions all. I'm glad someone pointed out Girl, Interupted. I really like that movie and don't get to talk about it enough. And thanks for reminding me of Kiss of the Spiderwoman. Also a movie that does not get enough play. I would like to add The Wrong Man by Hitchcock for it's visceral portrayal of incarceration. One FEELS locked up while watching it... This is Hitchcock confronting his greatest fear and though not his best film it is important to his work as a whole. As for awesome prison brakes I suggest Out of Sight. Not just a prison movie, but when you go back and look at it just shy of half of the movie takes place in prison. Prison is also the motivating factor for many of the characters. And it's so much fun. Finally, to make sure you have a smile on your face: Chicken Run! Along this theme you could also watch Creature Comforts as well and laugh and laugh and laugh! http://www.spout.com/groups/Movies_with_the_Kids/Re_Something_besides_Disney_PLEASE/246/30527/1/ShowPost.aspx Post By: mercurial
Post To: Movies with the Kids
Post Date: 6/5/2008 2:20:22 AM
Body: These are just some of my favorites that are kid-friendly and NOT Disney: Babe - Brings the tears every time I watch it. The Princess Bride - My favorite movie to watch when staying at home from school with a cold as a kid. The Bear - A live-action version of Bambi, but with a bear. Beetlejuice - I've always viewed this as a kid-friendly horror movie; a lurid sub-text to the film yet done without the bad language or overly horrific effects. Big - Just plain fun for kids and parents. Chicken Run - Not a favorite of mine, but know lots of friends with kids that love it. E.T. - Again, always brings the tears. Edward Scissorhands - Parents might want to exercise discretion with this one: there are some adult themes, but it is done in such a magical / fairy-tale manner that older kids can understand it. The Iron Giant - LOVE this film and perfect for the whole family. Jurassic Park - Might be a little too intense for the little kids, but definitely a great action flick for the junior cineastes. Little Man Tate - Great flick about a boy-genius trying to overcome his immense intellect and make some friends. A Little Princess - Spectacular cinematography envelopes every frame of this magical film. The Secret Garden - Beautiful film. The Wizard of Oz - No explanation since I'm sure most kids have already seen this classic, but just in case you needed a reminder. Howl's Moving Castle - Not typically a fan of anime myself, this animated feature dubbed in English is just so captivating, loaded with interesting characters and a bizarre story line that is rather confusing but overall lots of fun. And the English dubbing was done by Disney but it's not technically a Disney film. Hope that helps some.
]]>Thu, 05 Jun 2008 06:20:22 GMTmercurialMovies with the Kids6/5/2008 2:20:22 AM These are just some of my favorites that are kid-friendly and NOT Disney: Babe - Brings the tears every time I watch it. The Princess Bride - My favorite movie to watch when staying at home from school with a cold as a kid. The Bear - A live-action version of Bambi, but with a bear. Beetlejuice - I've always viewed this as a kid-friendly horror movie; a lurid sub-text to the film yet done without the bad language or overly horrific effects. Big - Just plain fun for kids and parents. Chicken Run - Not a favorite of mine, but know lots of friends with kids that love it. E.T. - Again, always brings the tears. Edward Scissorhands - Parents might want to exercise discretion with this one: there are some adult themes, but it is done in such a magical / fairy-tale manner that older kids can understand it. The Iron Giant - LOVE this film and perfect for the whole family. Jurassic Park - Might be a little too intense for the little kids, but definitely a great action flick for the junior cineastes. Little Man Tate - Great flick about a boy-genius trying to overcome his immense intellect and make some friends. A Little Princess - Spectacular cinematography envelopes every frame of this magical film. The Secret Garden - Beautiful film. The Wizard of Oz - No explanation since I'm sure most kids have already seen this classic, but just in case you needed a reminder. Howl's Moving Castle - Not typically a fan of anime myself, this animated feature dubbed in English is just so captivating, loaded with interesting characters and a bizarre story line that is rather confusing but overall lots of fun. And the English dubbing was done by Disney but it's not technically a Disney film. Hope that helps some. http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 606

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]]>Wed, 04 Nov 2009 21:40:23 GMT606315939Tag http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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