![]() The left-turn taken by the script co-authored by Mark Andrews, Steve Purcell, Brenda Chapman and Irene Mecchi, from a story by Chapman, who co-directed with Andrews, might be embraced by those comforted by the familiar. It stands to reason that this first half-hour sets up expectations of a story in some way involving a renegade princess, trouble among the clans and/or a mysterious adventure involving the wisps and some Stonehenge-like arrangements that come into play. VIDEO: Full ‘Brave’ Trailer: Pixar Shows Off Scotland and an Epic, Animated Hairdo Once Merida shows them all up in an archery contest and her furious mother tosses her daughter’s prize bow in the fireplace, the headstrong girl takes off on her enormous steed, Angus. One look at the top suitors offered up by the three other leading clans and you can see what she means they’re the three stooges of Scotland, whose beefy kinsmen would sooner brawl than shake your hand. As for marriage, nothing could be less appealing: “I don’t want my life to be over,” she rails to her mother. Under the strict tutelage of loving but demanding mother Elinor ( Emma Thomson), Merida has learned the necessities but is a wild lass at heart, desperate for her days off when she can ride off on horseback and perfect her archery. After a beautiful and eventful prologue in which flaming-maned Scottish princess Merida ( Kelly Macdonald) receives an archery bow for her birthday, glimpses blue will-o’-the-wisps floating through the forest and sees her father, King Fergus ( Billy Connolly), lose a leg to a ferocious bear, the action jumps ahead to her adolescence and her obligation to get married. Part of the problem is that Brave never becomes the film that seems to be promised at the outset. PHOTOS: 28 of Summer’s Most Anticipated Movies: ‘Avengers,’ ‘Dark Knight,’ ‘Prometheus’ A muscular box office ride is virtually a given. Younger kids won’t mind, but many viewers accustomed to relying upon Pixar for something special will feel a sense of letdown due to the lack of adventurousness. For all its pictorial and vocal beauty, the film’s emotional line and dramatic contrivances are both more familiar and less inventive than what’s usually delivered by the studio. The 13th animated feature from the world’s most consistently successful film company is its first set in that version of the past forever favored by Disney, that of princesses, kings, queens, witches, evil spells and prankish secondary characters. The season’s latest feature destined to boost the demand for kids’ archery lessons, Brave might disappoint many ardent Pixar loyalists while simultaneously delighting old-time Disney fans.
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