Disney probably should have saved its Marvel acquisition news for this week’s big D23 Expo (”The Ultimate Disney Fan Experience”), because nothing announced at the event could possibly top it. Plus, many of us would rather now hear about Disney’s plans for the comic company’s film adaptations instead of plot details on Toy Story 3 and Cars 2 and a title reveal for the fourth Pirates of the Caribbean installment. The fact that Guillermo Del Toro’s secret “D” project ended up being just some animation production company rather than a Deadman movie doesn’t help fanboy reactions, either.

Still, I was glad to hear that the screening of the first 30 minutes of The Princess and the Frog was well received. I’m also grateful for comedian Paul Scheer for this image of a robot Abe Lincoln. Although it’s probably just a relic from the Halls of Presidents exhibit at Disneyland, I’ll be dreaming tonight of the Lincoln film I wish Steven Spielberg would make.

Oh, and umm, any update on the next Muppet movie is obviously going to put a smile on my face. Presumably this is the Jason Segal project we’ve been excited about for 18 months now. And it’s title is: The Cheapest Muppet Movie Ever Made. Hopefully this means Gonzo will be directing and that it will therefore be as silly as possible.

Check out the other film blog reactions to the D23 announcements after the jump:

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Disney’s acquisition of Marvel Entertainment has given the Internerds a lot to think about today. We have already shared a list of crossover movies we’d like to see, while Twitter users suggested other team-ups and battles to the hashtag meme #disneymarvel and other blogs have speculated that one day we could get a Pixar-produced Marvel movie. Not that we really need one of those after The Incredibles, but it could still be a cool thing to see.

Then there are the seriously curious and worried who wonder what will happen to the Marvel attractions at Universal Studios. Will Wolverine and Spider-Man begin walking around Disneyland alongside the classic Disney characters? And will Northstar only be allowed out during the annual Gay Days? Will the Mouse House do any damage to the Marvel movies already in the works or have any adverse effect on the comic book titles?

It will be a while before we know the answer to any of these questions, but the blogosphere was hot today with speculation, so let’s see what some of them had to say specifically on the subject of movies. Check out the film blog responses to the news after the jump:

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The news that Disney is buying Marvel for $4 billion has taken the entertainment industry by surprise. But while the deal itself came out of nowhere, it’s not too shocking that these companies would see the benefit of coming together. They each involve an enormous universe full of characters, stories and, most importantly, licensing opportunities. And at a time when original plot ideas are difficult to come by, this acquisition could mean a surplus of comic book and film synopses based solely on the possibilities of team-ups, battles and other crossovers between the Disney and Marvel worlds.

To give you an idea of where this deal could lead, we’ve come up with ten potential movies that we’d love to see come out of the Disney-Marvel relationship. Check them out after the jump.
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After yesterday’s look at misguided viral marketing, it’s actually refreshing to spotlight a teaser trailer, especially one that presents us with nothing of the movie its advertising. Really, this is all we could ever need as far as marketing goes for Toy Story 3. We’ve got an enjoyable skit featuring all the familiar characters, a release date and, most importantly, no spoilers. I’m guessing this teaser is being shown with screenings of Up, which means it might actually be 3D where applicable. And that makes me excited, knowing we finally get to see our favorite animated toys in this format. Can anyone verify, and tell us what it’s like to see Woody, Buzz and the rest in 3D?

Take a look at what the rest of the web is saying about the trailer (and watch the thing) after the jump:

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Last month, a New York Times article focused on the Wall Street worries over Pixar’s Up. The film lacks commercial appeal, apparently, because it features a 78-year-old protagonist. This is no country for old men (on the big screen), claim the experts. “We doubt younger boys will be that excited by the main character,” says one analyst quoted in the piece.

Even if kids were that anti-elderly (and we don’t believe they are), we can point to many other accessible elements of the film, from talking dogs to a young co-protagonist who serves as an identifiable gateway for adolescent viewers, that allow the target demographic to enjoy the animated film in spite of the cantankerous codger at its center.

Chances are, though, the little ones will also enjoy the character of Carl Fredricksen (voiced by Ed Asner), maybe enough for them to seek out their own elderly person to assist (whether or not its for a merit badge). We’re hoping that it additionally leads to a greater cinematic appreciation of old men. But not just because, as Alonso Duralde writes at MSNBC, we have a shortage of realistic films about old folks. Rather, primarily because we think there’s a number of other old man protagonists that young audiences would like. Meet ten of them after the jump.
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If you saw the Pixar vs. DreamWorks Animation cartoon last week, you probably thought it was making fun of the latter studio. For Wall Street, however, it might well have been an illustration of why DreamWorks is a better investment. All those movies about talking animals make for great merchandising opportunities. Toys, especially. And in addition to DreamWorks’ apparent ease in licensing its characters, the studios’ movies are, as the cartoon points out, simpler and obviously therefore more commercial.

The New York Times has an article by Brook Barnes in today’s Business section, in which Pixar’s latest film, Up, is said to be unpopular with both Wall Street and manufacturers because it follows Ratatouille and WALL-E in the studio’s supposed descent in commerciality. Sure, Up’s relative lack of licensing possibilities seems odd for Disney, which probably wouldn’t have been as successful had Walt and Roy never started the merchandization of Mickey Mouse 80 years ago, but wasn’t it enough that Pixar sold its soul with the very toy-friendly Cars (and Cars 2)? Besides, Up apparently does have talking animals, so there’s no reason for the money men to worry.

See what other blogs are saying about this story after the jump.

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The fanboys are so serious about The Dark Knight being the best film of 2008 that if the Academy snubs the comic-book adaptation for a Best Picture nomination, they’re liable to storm the Kodak Theatre on February 22 in protest. But why should anyone be worried that it won’t get the nomination? It wouldn’t be much of a coup for the year’s top-grossing blockbuster to be named one of the five Best Picture candidates. In fact, since the very first Academy Awards, the top award has often been handed out to films that were #1 at the box office in their respective year. And the last time it happened was as recent as 2003, with The Lord of the Rings: The Return of the King.

Thanks to popular and talented filmmakers like D.W. Griffith, Walt Disney, David Lean and Steven Spielberg, it’s hardly uncommon for films to make money and earn critical respect. But this isn’t an opportunity to spotlight overrated top-grossing Best Pictures like Titanic, Rain Man and Rocky, which were decidedly not their year’s best films. Rather, this is a chance to ease the minds of fanboys just in case The Dark Knight doesn’t get the nod. Some of these blockbusters were indeed nominated for Best Picture, and a few even won the award, but some of them were both their year’s biggest moneymaker (in the U.S.) and best film (from the U.S.) without gaining proper Academy recognition.

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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.

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Ben Burtt has the most amazing job in Hollywood: he gets to creates sounds and even characters for some of the geekiest things in the movies. Lightsabers, the sound of the Ark of the Covenant being opened, WALL•E’s distinctive tread noises –– Burtt came up with different ways to create them all. What’s really impressive is that he doesn’t create most these on a computer or with a synthesizer, he actually goes out in the real world and gets them by hand.

When asked about the distinctive sound of Indiana Jones’ pistol, which sounds like a cannon blast whenever he fires it, Burtt responds, “Oh, that’s my 30-30 Winchester rifle. We found a little box canyon that gave us a perfect little echo, so if you listen to that closely you can hear a really quick echo every time he fires that pistol.” That’s the sort of stuff that I really geek out on. There’s more where that came from after the jump.

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It’s no secret that I have a soft spot for all things science fiction-related, and when it involves robots of any kind (the odd exception being the actual movie Robots, which I avoided like the plague) then I’m in like Flynn. The more non-human looking the robot, the more I’ll love it. (Which is probably why Disney’s own The Black Hole has some of the coolest movie robots in it. V.I.N.C.E.N.T.? Maximillian? Great stuff. Where’s my Blu-ray, Disney?) One of the movies this past year that actually got me into the theaters more than once was Disney/Pixar’s WALL•E, which comes out on DVD today. They’ve added a ton of special features to the film, especially (of course) if you buy the three-disc special edition, which includes a digital copy of the movie that you can toss on your iPhone, laptop, digital watch, toaster oven, or shaving mirror.

Despite the fact that director Andrew Stanton says WALL•E has “no environmental message” whatsoever, it’s a bit ironic that on the commentary track he starts out by explaining that in the development process they wondered what would happen if so much trash piled up that humans had to leave the earth in order to clean it up. Sounds environmental enough to me. Luckily, the fact that Stanton continues to insist there’s no underlying meaning, and that he never made the connection between WALL•E and Johnny 5 from Short Circuit hasn’t detracted from my enjoyment of the film.

Pixar decided to revisit the WALL•E universe by creating a short film using new animation and some recycled footage. The idea was that it would be a nifty little special feature for the DVD, which it is, but it makes me yearn for a sequel to WALL•E — which is a sign of Disney’s marketing magic at work. The short film is BURN•E, and I got the chance to see a little early and to talk with the director of the short, Angus MacLean. The DVD also includes the short magician vs. rabbit film Presto, and these two shorts alone are worth the price you’ll pay for this robotic wonder. Check out our interview with MacLean below the jump.

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Thus concludes our coverage of the 2008 Comic-Con International. If you missed anything, here it all is:

• Porn on the floor
• Jabba the Hutt
• Hoverboard for sale
• LEGO Batman
• Star Wars stamps
• Guy Ritchie’s comic book
• Pineapple Express and a brief history of stoner films
• Max Payne/Wolverine
• Twilight
• Red Sonja
• Nerd Barbies
• Tron 2
• Scream Like a Girl, hosted by Kevin Smith
• RocknRolla panel
• Guy Ritchie press conference
• Fanboys
• Watchmen
• The Wolfman
• Dr. Horrible (including sequel info)
• The Spirit
• Keifer Sutherland and Mirrors
• Judd Apatow, Kevin Smith, Zach Snyder, Frank Miller
• Watchmen: Dave Gibbons on Alan Moore
• Terminator Salvation
• Disney/Pixar
• Heath Ledger, the bobblehead
• Mummy 3, Death Race, Land of the Lost, Drag Me To Hell, Evil Dead
• Pineapple Express, Underworld, Quarantine
• Harold and Kumar
• Wes Craven and David Boyer
• Nightmare on Elm Street Part 209
• Hamlet 2
• Terminator Salvation press conference
• Troma at Comic-Con, Toxie in Iraq
• Interview with Gil Kenan, director of City of Ember
• Girls at Comic-Con
• Tropic Thunder
• Where was Star Trek?

The filmmakers behind two upcoming animated epics, Bolt and UP, present footage. Highlights:

• Bolt looks like a resolutely family-oriented film about a celebrity dog who thinks he’s at war with cats. Cute!
• UP looks like a Pixar-meets-Miyazaki art film version of About Schmidt. It made fanboys run for the exits.

Full transcript after the jump.

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This week I wanted to make a simple point: Andrew Stanton’s WALL-E is a near-masterpiece of A.I. proportions and socio-political implications, reduced by its cloying musical score to just another ingenious Disney/Pixar heart-tugger. The most effective way to illustrate this would have been to create a video mash-up of the WALL-E score and an immersive philosophical sci-fi like 2001: A Space Odyssey, THX-1138 or Tarkovsky’s Solaris. But my laptop’s down, so I’m stuck here telling you rather than showing.

Let’s try another way:

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Earlier this year, I thought that it was way too late for a Sex and the City movie. But then it made a ton of cash, so I guess I was wrong. Still, I’m going to continue similarly thinking it’s too late for another X-Files movie. And even if I’m proven wrong and the masses get out to theaters this weekend in search of the truth, I’ll keep on believing that X-Files: I Want to Believe is way past its time.

To celebrate Mulder and Scully’s tardiness, here are 10 other movies that came out too late:

1. The Godfather Part III (Released in: 1990; Should have been released in: 1976) - Never mind the fact that had this third installment been made years earlier, Sofia Coppola wouldn’t have been cast and therefore wouldn’t have given her terribly infamous performance. The more important matter is that sequels arriving more than a decade after the previous installment are almost always doomed. The longer the wait, the higher the expectations, and the greater the disappointment. Of course, not everyone agrees that it was also too late for Indiana Jones and the Kingdom of the Crystal Skull, Live Free or Die Hard, Rambo, Star Wars: Episode I - The Phantom Menace, etc.
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