After all the droll of the Mowry movies on Disney Channel, Pixel Perfect turned out to be a breath of fresh air. I'm pleased to say that the only times I fast forward on the tape are to skip the commercials.
The main characters were all well-defined. Rachel and Cindy seemed in the movie for relief and to chip in the occassional comment; Roscoe's dad had a little more character to him. Loretta's struggle to obtain some sort of humanity was somewhat old since I'd seen this concept on "ST: Voyager" with the EMH, but with Sam, Roscoe's best friend turned girlfriend, thrown in, the combination was not that bad.
The music in the movie struck me as hokey sometimes. I could tell that in some sequences, it seemed that the vocals were just coming out of the air instead of Loretta's mouth. One of the best songs was "Get Real" with its jazzy, high-tech melodies. What really surprised me was the score by Philip Marshall, which reached its high point in the end with a nice flute undertone; it made the end of the movie very poignant.
The exploration of human relationships was well-done for a Disney movie. Here, Sam and Roscoe were dealing with real issues, Roscoe with having trouble seeing the benefits of reality in Sam while distracted with Loretta, and Sam dealing with her jealously with Loretta and trying to > convince Roscoe "I'm real." Life may not be fun, but when someone real like Sam comes along, live
The main characters were all well-defined. Rachel and Cindy seemed in the movie for relief and to chip in the occassional comment; Roscoe's dad had a little more character to him. Loretta's struggle to obtain some sort of humanity was somewhat old since I'd seen this concept on "ST: Voyager" with the EMH, but with Sam, Roscoe's best friend turned girlfriend, thrown in, the combination was not that bad.
The music in the movie struck me as hokey sometimes. I could tell that in some sequences, it seemed that the vocals were just coming out of the air instead of Loretta's mouth. One of the best songs was "Get Real" with its jazzy, high-tech melodies. What really surprised me was the score by Philip Marshall, which reached its high point in the end with a nice flute undertone; it made the end of the movie very poignant.
The exploration of human relationships was well-done for a Disney movie. Here, Sam and Roscoe were dealing with real issues, Roscoe with having trouble seeing the benefits of reality in Sam while distracted with Loretta, and Sam dealing with her jealously with Loretta and trying to > convince Roscoe "I'm real." Life may not be fun, but when someone real like Sam comes along, live