Luckily he was adopted by a loving owner, Linda (Leslie Mann) as a little girl. Blu the Spix's Macaw's (Jesse Eisenberg) early life is tragic, having fledging from his nest too early and been kidnapped by poachers. Rio is that film and shows that the Fox subsidiary Blue Sky Studios is growing from strength to strength. The Brazilian city Rio de Janeiro is serving as the setting for two films being released this April: one being a full on action film, Fast and Furious 5, the other being a family animated adventure. Claudio Carvalho, Rio de Janeiro, Brazil It is Carnival and the smugglers and mean cockatoo, Nigel, do not intend to give up Blu and Jewel, and chase the birds through the crowded streets. Meanwhile, Jewel and Blu escape from their captors and befriend a group of birds that help them to get rid of the chains.
Linda and Tulio look everywhere for Blu, who is chained to Jewel and hidden in a slum. While they are having dinner, smugglers break into the institute and steal Blu and Jewel to sell them. Linda travels with Blu and Tulio to Rio de Janeiro and they leave Blu and Jewel in a large cage in the institute where Tulio works.
He invites Linda to bring Blu to Rio so that he and Jewel can save their species. Out of the blue, clumsy Brazilian ornithologist, Tulio, visits Linda and explains that Blu is the last male of his species, and he has a female called Jewel in Rio de Janeiro. Fifteen years later, Blu is a domesticated and intelligent bird that does not fly and lives a comfortable life with bookshop owner Linda. A girl, Linda, finds the bird and raises him with love. While driving through Moose Lake, Minnesota, the truck that is transporting Blu accidentally drops Blu's box on the road. But most of the voices and nearly all the songs are hip hop urban style that is uniquely American.In Rio de Janeiro, baby macaw, Blu, is captured by dealers and smuggled to the USA. While this is designed for international audiences, and made by a Brazilian and set in Brazil. So it makes sense to have films like Ice Age and Rio for minds that don't work that way, that have shorter narrative attention spans and undeveloped narrative sense. These are fun movies, not art films I'm talking about. In other films, I see stories getting ever more compelling in surprising ways and exhibiting self-awareness with increasing sophistication. I am always surprised when I see this work, and it plainly does here, though none of the characters are compelling in the ordinary way. I suppose this approach has been refined over on the half hour TeeVee comedy side where story is just an excuse to have character spaces interact. Have all the characters create their own local, small static narrative. Find some kind of simple enclosing story, it doesn't matter what. The strategy here seems to be to create characters above all else. Then we have this guy, Saldanha, who has sold a lot of tickets to happy viewers. Spielberg makes comics that are refined in story boards then mechanically reproduced in film. Cronenberg finds a disturbing edge, creates a situation, then builds things to present it. As I go through my list of valued filmmakers, I can pull out a number of different approaches: Ruiz looks for the dissonance between narrative layers and removes the middle. It is all about making the flow engaging and creating a lasting experience. The story comes first characters emerge whether they are promising franchise characters or not. If you talk to the (old) Pixar guys, what you'll hear is a focus on story, a cinematic notion of story, above all else. Getting back into thinking about how narratives get put together, I am reminded of how many radically different strategies there are in approaching a film.