#Alex D. Linz

[elijones94]

🍃🐾 Young Tarzan & Jane Porter 🦍

@moveslikeanape

[grimmicks]

“Go ahead, shoot me. Be a man.”

Tarzan (1999) dir. Kevin Lima, Chris Buck

[thebutcher-5]

Tarzan (1999)

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo ripreso a parlare della Disney, continuando a parlare dei suoi classici animati e arrivando a parlare di uno dei suoi lavori migliori, Mulan. Gli Unni hanno superato la Grande Muraglia e l’imperatore della Cina ha ordinato la mobilizzazione dell’esercito e di chiamare almeno un uomo di ogni famiglia pronto a combattere. Una di…

[minionfan1024]

Happy 35th birthday to Alex D. Linz, the voice of Arnold Shortman!

[generaltimemachinekryptonite]

is it just me or am I the only one who's been crushing on him ღ🥰ღ

like come on look at him.

[2ndaryprotocol]

The tenacious threequel ‘Home Alone 3’ trapped moviegoers this day 25 years ago. 🏎🏠🪤

“𝙸 𝚌𝚊𝚗'𝚝 𝚝𝚎𝚕𝚕 𝚢𝚘𝚞 𝚑𝚘𝚠 𝚖𝚞𝚌𝚑 𝙸 𝚊𝚙𝚙𝚛𝚎𝚌𝚒𝚊𝚝𝚎 𝚢𝚘𝚞 𝚑𝚒𝚝𝚝𝚒𝚗𝚐 𝚖𝚎 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝚖𝚒𝚗𝚒𝚟𝚊𝚗.”

[duranduratulsa]

Now showing on DuranDuranTulsa's Retro Cinema 🎥...One Fine Day (1996) on glorious vintage VHS 📼! #movie #movies #comedy #romance #romcom #romanticcomedy #onefineday #michellepfeiffer #georgeclooney #alexdlinz #MaeWhitman #sheilakelly #CharlesDurning #AnnaMariaHorsford #AmandaPeet #gregoryjbara #joegrifasi #RobertKlein #MichaelMassee #bittyschram #hollandtaylor #mariannemuellerliele #90s #vintage #vhs

[spiderdreamer-blog]

Tarzan (1999)

It's hard to define sometimes where the end of the Disney Renaissance period from the late 80s through the 90s is. After the release of The Lion King, the 2D animated features steadily made less money and critical acclaim became more mixed. There was a sea change occurring thanks to more competition from companies like DreamWorks and Warner Bros., as well as the advent of the computer. For me, the dividing line is 1999's Tarzan, mostly because it's after this point that we get to what I and others call the 2000-2004 "experimental" age with films like The Emperor's New Groove, Atlantis: The Lost Empire, Lilo & Stitch, and Treasure Planet. But Tarzan has much in common with those films, representing a step away from the Broadway musical traditions and into a new, intriguing arena of animation storytelling. It's genuinely one of my favorite Disney films to revisit, and I hope this review helps explain why.

The story takes Edgar Rice Burroughs' initial novel Tarzan of the Apes as a guideline more than an actual adaptation, namely ditching concerns about nobility wealth inheritance and unflattering black African caricatures (the spinoff TV series would deal with the latter in trying to be, uh, less problematic about such). We pick up with Ye Olde Dramatically Convenient Boat Wreckage in a truly commanding opening sequence set to Phil Collins' anthemic Two Worlds. Tarzan's unnamed parents land in Africa and are put in parallel to gorillas Kala (Glenn Close, at the time coming off a very different performance for Disney as live action Cruella De Vil) and Kerchak (Lance Henriksen). Tragedy strikes for both families, and where one loses his parents, another gains a son. But Tarzan (Alex D. Linz as a child, Tony Goldwyn as an adult) grows up knowing he is "different", desperate to prove himself as an ape and belong. He seems to find an equilibrium, becoming best friends with Terk (Rosie O'Donnell) and Tantor (Wayne Knight at his most nebbishy), and even managing to vanquish Sabor, but then strangers arrive. Strangers who look like him, in the form of British scientist Archimedes Porter (Nigel Hawthorne), his daughter Jane (Minnie Driver), and their guide Clayton (BRIAN BLESSED). Now things steadily grow more complicated as Tarzan wishes to learn all he can about these outsiders and himself, but what might it cost?

One of the first, most notable things about the film to me is its complexity in the writing and characterization. Looking back, the Renaissance can have a problem in terms of male leads being love interests who don't get as much focus or slightly bland focus-tested "likable". This isn't true for ALL of them; the Beast has many layers to his personality, while Simba and Quasimodo are great, imo, because they have more baggage tying them down and thus more to rise above for true heroism. Nor does it make most of them bad characters. But it was notable enough, as was the tendency for them to be overshadowed by the villains or sidekicks, for co-directors Kevin Lima/Chris Buck and writers Tab Murphy/Bob Tzudiker/Noni White to slightly...course-correct.

Ergo, Tarzan himself is very much the main focus here. There's only one major sequence that he's not really involved with, and even when he's not onscreen, the other characters are as intrigued by his contradictions as the audience. (Insert your own Poochie jokes here, though obviously it doesn't come CLOSE to that) We truly feel his anxiety about fitting in, and the lengths he goes to are intensely relatable even at their most self-damning.

The other characters, too, feel richer and more lived-in than many of the standard types. Kala is a mother figure, one who tries to make Tarzan feel like he belongs, but is deeply scared of losing him. Kerchak is possibly my favorite character in the film because of how much you have to read into his actions because he holds so much back emotionally until the very end. Even then, he comes off as a more realistic harsh father figure than a caricature, and we can always understand where he's coming from. Jane is one of the best Disney love interests, meanwhile, feeling like a modern romantic comedy heroine with a lot of drive and initiative, as well as being just genuinely nerdy, which you don't often see even today. Clayton manages a nice two-step of seeming like an obvious bad guy but playing things down the middle until he gets what he wants. Even the comic relief gets good moments, such as Professor Porter gently supporting the romance or Tantor standing up for himself at a critical juncture.

Of course, what helps here is that said characters have some of the most beautiful environments and animation backing them up in Disney history. The African jungle is depicting as a kind of painterly, hyper-real fantasy, with impossible tree shapes and vines that bloom in the sunlight. And the then-revolutionary Deep Canvas CGI process allows Tarzan to soar through them, the camera spinning and rotating with each movement. The design sensibility is "classical" Disney to a large degree, but with slightly longer faces or larger eyes to add expressiveness. The California, Parisian, and Florida animation teams all clearly busted their asses to make this come to life. And Glen Keane's work with the Paris studio on Tarzan might be the best of his legendary career in terms of the variety of movements and subtleties in expressions. So too goes the rest of the supervising animators: Ken Duncan makes Jane truly lovable and wholly distinct from the likes of his Meg or Amelia; Randy Haycock gives Clayton a macho swagger that feels entirely his own rather than feeling like a Gaston ripoff; Bruce Smith combines remarkable anatomy work and microexpressions with Kerchak; Russ Edmonds' Kala is warm and motherly while never letting you entirely forget she's a gorilla; Dave Burgess makes Porter funny with his slightly squat, short shapes; and Mike Surrey and Sergio Pablos make for an excellent duo on Terk and Tantor in terms of contrasting their size, as well as the latter giving nervous-nelly body language to such a huge character. That's harder than it looks.

The aural end is just as good. Much hay and memery has been made of Phil Collins going ridiculously hard on the storytelling songs, which I fully support. But it really is true that they add so much here and take the burden off the characters in terms of singing save for the improvisational scat number "Trashin' The Camp". I'm partial to "Strangers Like Me" in terms of the earnest yearning and connections that Tarzan makes over the course of it. And of course the various versions of "Two Worlds" are essentially the mission statement of the film, complete with absolutely bitchin' percussion. Mark Mancina's accompanying score is also excellent, sounding like a fusion between The Lion King (which he produced/arranged for both the film and Broadway show) and his action movie work on projects like Speed or Bad Boys. Particularly great is the cue that plays when Tarzan defeats Sabor and builds up to his classic yell, which milks the heroic triumph for all its worth.

The voice cast is also excellent top to bottom. Goldwyn has a deeper timbre than many Disney male leads, less of an ingenue, and this adds to the stormier emotions; we truly feel his pain on lines like "Why didn't you tell me there were creatures that look like me?" But he's not TOO grim, thankfully, and gets some good subtly funny moments such as sounding out monkey noises in a conversation that Jane only hears one half of. Close is properly maternal, of course, getting her best showings in emotional one-on-ones with both Linz and Goldwyn as they hash out their relationship. Henriksen, like the animation, wisely underplays Kerchak and lets the emotion come out through his gruff, gravel-pit voice rather than obviously signaling things. Driver is hilarious and winning as Jane, getting some of the best laughs and most sweetly tender bits of the proceedings. It's all the more impressive when you consider she played Lady Eboshi in the Princess Mononoke dub the same year, which is the utter opposite of this performance. BRIAN BLESSED doesn't do a lot of his patented BRIAN BLESSED yelling outside of some choice bits at the end, but he makes a meal of Clayton regardless as a charismatic asshole, and I like how he plays a climactic bit of manipulation in particular. Hawthorne gets a much better showing here than his previous Disney voice role as Fflewddur Flam in The Black Cauldron, daffily sweet and humorous in equal measure, while O'Donnell and Knight are familiar vocally but use that to inform their characterizations rather than distract.

I think what I like most about this movie is that it feels incredibly well-rounded. Some Disney movies from this period might have a great villain or sidekicks but a weaker protagonist in Hercules or strong protagonists/villains but a weaker supporting cast as in The Hunchback of Notre Dame. (Then you have Pocahontas, which sucks on ALL ends!) In Tarzan, everything feels of a piece, and nobody jars against the tone or mood. Combine that with the dizzying highs of the animation and truly excellent emotional beats, and you've got a real winner that stands the test of time in my eyes.

[elijones94]

🍋 Jane Porter and Young Tarzan are enjoying some delicious fruit. 🥭

[sunskate]

JGP Budapest ice dance - Sept 20-23, 2023

this is a very young field, overall, compared to Bangkok or Linz or Osaka - look at all the ice dance babies ☺️

Yahli Pedersen/Jeffrey Chen 🇺🇸 USA (16/21 yo) they won silver in JGP Istanbul 2 weeks ago and won the jr club competition at Lake Placid in August. she has never ice danced before (was a solo dancer), has nice qualities in her movement. she's starting with big assignments from the start, but they look quite good for being so new. have had a couple falls in competitions and still finding each other on the ice at times. when the woman partner is inexperienced, it helps the team’s trajectory if the man is the stronger partner (see Z/K). much harder to do the other way around, if the man is new and the woman more experienced in ice dance. they have a good shot at making the JGP Final here. they're a MIDA team and have a Phantom FD, which is interesting considering D/W's 2010 Olympics Phantom and Marina giving KanaDai Phantom last season as well. Jeffrey even mimes the mask over the face with his hand like in Daisuke's program

Ashlie Slatter/Atl Ongay-Perez 🇬🇧GBR (14/16 yo) 4th at JGP Austria a couple weeks ago, this team has a following for their high energy and performance quality. at home, they've been on Dancing on Ice and have already been skating together for 7 years

Iryna Pidgaina/Artem Koval 🇺🇦UKR (14/19 yo) she skates and performs like she's older than just 14. they have some acrobatic lifts and choreography from Nazarova/Nikitin. they were 6th at JGP Austria. the sound system in that rink was awful, so looking forward to seeing all the teams from that event in an arena where we hopefully can hear the music

Olivia Ilin/Dylan Cain 🇺🇸USA (14/15 yo) another very young team, they were US Champions in novice and 7th at US junior nats last season. they've been training seriously from a young age. her dad is their coach

Dania Mouaden/Theo Bigot 🇫🇷 FRA (13/14 yo) the youngest team here, they have some nice fundamental skating skills. they train in Champagne and their RD is Walk Like an Egyptian

Dana Sabatini-Speciale/Nicholas Buelow 🇨🇦 CAN (17/16 yo) Mitch Islam's team, Alex Paul was one of their choreographers. they have a large height difference which can be a challenge for lines, but they do quite a good job at matching free legs. they're musical, kind of have a sweet quality

[sebastian12344]

One of the most popular American family comedy films, Home Alone 3 is directed by Raja Gosnell in his directional debut. This is written and co-produced by John Hughes and starring Alex D. Linz and Haviland Morris. 

[nicolaomichel009]

Alex D. Linz

[generaltimemachinekryptonite]

i know this guy is like 34 but he is still hot cmon!!

Literally I would faint if I saw him but sadly I don't live wear he lives so ye :-)

[filmes-online-facil]

Assistir Filme Esqueceram de Mim 3 Online fácil

Assistir Filme Esqueceram de Mim 3 Online Fácil é só aqui: https://filmesonlinefacil.com/filme/esqueceram-de-mim-3/

Esqueceram de Mim 3 - Filmes Online Fácil

Um grupo de contrabandistas internacionais esconde um valioso chip de computador em um carrinho de brinquedo, que vai parar nas mãos do endiabrado menino Alex Pruitt (Alex D. Linz). Na tentativa de reaver o chip, eles precisarão antes enfrentar as armadilhas criadas pelo garoto para defender seu brinquedo.

[salesbyserenity]

Check out this listing I just added to my Poshmark closet: Home Alone 3 VHS Movie.