Winnie the Pooh (2011)
Directed by Don Hall
During an ordinary day in Hundred Acre Wood, Winnie the Pooh sets out to find some honey. Misinterpreting a note from Christopher Robin, Owl convinces Pooh, Tigger, Rabbit, Piglet, Kanga, Roo, and Eeyore that their young friend has been captured by a creature named "Backson" and they set out to rescue him.
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What critics compared Winnie the Pooh to
Big Hero 6 co-directors Chris Williams (Bolt) and Don Hall (2011's Winnie the Pooh) exert great effort to sell the film's main theme — being a nerd is cool — to younger moviegoers, which isn't difficult given that our gadget-driven culture echoes a similar sentiment.
Directors Don Hall (“Winnie the Pooh”) and Chris Williams (“Bolt”) have done a great job creating a pint-sized origins story, inspired by the titular comic book heroes.
But directors Don Hall (“Winnie the Pooh”) and Chris Williams (“Bolt”) overcome this by capitalizing on the evolving relationship between Hiro and Baymax.
Still, the creations being mined by directors Don Hall (2011’s “Winnie the Pooh”) and Chris Williams (“Bolt”) have a negligible history – they’re mostly just monikers and costumes, really.
Check the résumé of its two directors and you can understand the philosophy here: Don Hall's 2011 Winnie the Pooh was almost Zen-like in its minimalist adorableness, while Chris Williams' 2008 Bolt was a kid-sized action movie that never missed a chance to poke your heart.
The whole thing is helmed by two Disney veterans who are really only just starting to make their mark as directors: Don Hall, who was a writer on 2009's " The Princess and the Frog " and who co-directed 2011's so-so "Winnie the Pooh"; and Chris Williams, who co-directed 2008's even less memorable "Bolt" before working as a story artist on both "Wreck-It Ralph" and "Frozen."
It draws on the simple, pleasurable story line of Disney’s original animated romance just as the studio’s old-style 2011 adaptation of “Winnie the Pooh” guardedly honored its source.
Disney recently tapped Perry to write the screenplay for a live-action update of Winnie the Pooh.
It’s a fairy tale about a girl named Mija (Ahn Seo-hyun) and her lovable super-pig Okja, a cross between Babe and Eeyore from Winnie the Pooh.
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Reminiscent of Eeyore in the “Winnie the Pooh” realm, Sadness is dryly hilarious — so pathetic and so sweet — and so often, the voice of reason.