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How far will a father swim to find his missing son?

That's the question that drives Finding Nemo, the new feast of innovative animation from Pixar Studios. But viewers will walk away asking another question: Are the folks at Pixar the most creative filmmakers for both adults and children working today?

Film Forum will feature an in-depth review of the film next week and link to reviews from several religious press film critics. For now, let me assure you that I think Finding Nemo is not just the best family film of the year so far, but it is one of the most astonishing achievements in animation ever made. Visually, it sets a new standard, and at this point, no other studio can match it. In a season of highly hyped and much anticipated sequels, both good (X2) and disappointing (Matrix Reloaded), Nemo packs so much action, so much awe-inspiring visual splendor, and so many big laughs into its hour-and-a-half span, that you'll probably want to get back in line and see it again the next day.

The distinct talent of Pixar's artists is that while they achieve remarkable realism in some aspects of their design, realism is not their highest priority. They instead focus on making every frame of their film such an exquisite work of art that any particular cel would be suitable for framing. And once again, they've found perfect voice matches for their characters, especially in the selection of Albert Brooks and Ellen DeGeneres.

If writer/director Andrew Stanton can be faulted at all, it is for packing too many adrenalin rushes into the film. The crisis-every-minute narrative hurts the pacing so much that the big finale feels like just another big obstacle to overcome. You'll find yourself reaching for the remote control so you can slow things down and drift through these gorgeous underwater environments.

So buckle up. The storytellers also take on heavier issues than they have in their previous releases. Nemo is a surprisingly emotional film. It may prod a lump into the throats of the even the most stubborn viewers. The timing of the film's arrival is perfect—when Father's Day comes around, a second viewing will be the ideal family outing.

Parents, please note: While this is a movie for all-ages, there are some surprisingly scary moments as the little heroes bump into some particularly monstrous sea beasties.

Next week, Film Forum will focus on the story and its admirable themes in addition to the responses of other religious press critics. In the meantime, check out the responses of mainstream film critics.

If you've seem Jim Carrey in the commercials for Bruce Almighty, you know that he plays a character who makes some self-centered choices when granted the mantle of omnipotence. In fact, due to the highly publicized, crass antics of this meddling man-deity, many Christian viewers have probably prayed for a box office disaster.

But there's more to the movie than a madman with a "god complex."

In fact, Bruce Almighty was directed by Tom Shadyac, a professing Christian who brought us Patch Adams and Dragonfly. The film focuses on how Bruce Nolan, a shallow and selfish man, learns to get past his adolescent desires and become more godly. God (played with dignity and authority by Morgan Freeman) is revealed as a deity who knows full well that giving temporary control to Bruce will be enough to humble and change him. Thus, several Christian film critics are urging viewers not to judge Shadyac's new comedy too hastily.

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May (Web-only) 2003, Vol. 47