While I would dearly love to give UP the write up that it genuinely deserves, I fear that so much time has passed since I initially saw it that I won’t be able to. Alas there is one thing I am certain of; Pixar’s Up is outstanding.

The story of an old man, bitter to the outside world after the loss of his wife is hardly unique territory, nor is it the traditional source for a children’s animated film, yet this reason alone is proof enough of Pixar’s genius. That they have invested their faith in such an unusual (at least on paper) premise is to be hugely commended, and that the film found immense success regardless of preconceptions feels like a major victory for creative thinking; I’m referring of course to the now infamous New York Times article claiming that investors and merchandisers were actively worried about Up being a financial disaster, a fear wholly proven to be in vain when Up would go on to become the second highest grossing Pixar film to date.

“Thanks for the adventure. Now go have one of your own.” Ellie Frederickson.

The film tells the story of Carl Frederickson, a widowed old man who once had allusions of grand adventure. That he never fully achieved these intensions leads to his attempt to do so in old age. He is accompanied by young wilderness explorer Russell, a young boy from a broken home, on this adventure, in which he attempts to move his house to South America via the means of helium balloon. Along the way they meet a pack of invention laden dogs, a giant prehistoric bird type thing given the monicker of “Kevin” by Russell and Carl’s childhood hero, the mysterious explorer Charles Muntz.

There are surprising parallels to Clint Eastwood’s Gran Torino. Both films feature a stubborn old man who’s eyes are opened by a young Asian boy, an act which leads to the core protagonists eventual redemption. Similarly to how Gran Torino played out, although without the downbeat ending, Up is an incredibly emotive piece of cinema. The often mentioned life montage, charting the marriage of our “hero” Carl Fredricksen and his recently deceased wife Ellie (which in turn becomes the affectionate title decreed upon Carl’s house, perhaps the most underrated character within this film) is perhaps the most moving thing I have seen in a film all year, and technically one of the most accomplished scenes too.

The 3D effect worked much better in Up than in anything I have previously seen. Depth and scope was merely added through the technique, and this subtle approach worked wonders. In my opinion the use of 3D in Up was actually much more effective than that of the use of it in the Avatar preview I attended last week.

I will see Up again, upon its release in the UK and write more, alas I don’t want to do the film a disservice by not giving it the attention it fully deserves.