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Pee-Wee's Big Holiday 2016 full movie online free

A fateful meeting with a mysterious stranger inspires Pee-wee Herman to take his first-ever holiday.


Quality: HD []

Release: Mar 18, 2016

IMDb: 6.2

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Pee-Wee's Big Holiday full movie review - Indescribably satisfying sequel that surpasses previous "Pee-Wee" adventures

Pee Wee's Big Adventure had its share of charming, memorable scenes, frequently putting me inside of the child's mind.

It was a movie going further than Orson Welles' own masterworks to demonstrate the great auteur's definition of film as "a ribbon of dreams." Pee Wee never strains to achieve a willing suspension of disbelief: he puts us in that state effortlessly and without apology, allowing us to see the movie-making process from conception through implementation through the final effect--which is not a semblance of reality or an imitation of life. Instead, the show is what it is: a movie less like the movies we remember than about the total belief we recall having in the films we loved as children--movies we trusted to renew our imaginary connections every Saturday afternoon.

Any limitations in the previous Pee Wee films are forgiven with the arrival of "Pee Wee's Big Holiday." Even some 20 years after "Adventure," "Holiday" retains the weird, nerd-like, indeterminate child character of the earlier Pee Wee--all of the same wonder, fears, habits, obsessions. But there's a difference: this is a wiser, more educable, more sympathetic Pee Wee who has stepped out of the world of innocence to acquire enough adulthood to make us take his character more seriously, even measuring it against our own "growing." And that difference is due not so much to the persona of Pee Wee, who remains little changed, though how he's reflecting, albeit in the most subtle ways, the maturity and adult awareness of a changed Paul Reubens.

The framework is classic: the hero's journey, or the Jungian archetype celebrated by Joseph Campbell and taught in virtually all screenplay classes. Not that Reubens is bound to each detail of the plan, but though Pee Wee remains largely "passive," his adventures produce, besides the Rube Goldberg opening and numerous gags and allusions to the movies (specific and general--for example, the early '30's movie starring Kate Hepburn as an aviator who breaks an altitude record ("Christopher Strong") as well as the B movies about glamorous women in prisons (here it's pillow fights that replace more harmful weapons).

But there's a difference. Pee Wee has made a pledge to his friend Joe--a very real "manly man" who's having a birthday party to which he invites Pee Wee. As strong as the hero's 20-year endeavor in the original "Odyssey" of Homer, Pee Wee is determined to make it to the Big Apple {NYC} in time to attend the party. Along the way there are numerous "learning" or "teaching" moments which are impossible not to see as semi-autobiographical, an explanation on the part of Paul Reubens himself that simultaneously justifies the meaning of his life, the life of his character, and above all the life of the imagination.

The end need not be specifically addressed (I know--no spoilers) except that, as in the original archetype, the darkest night precedes the dawn. Pee Wee's (and Reubens') redemption is at once an action of grace and of a certain amount of painful commitment on the protagonist's part. And as the archetype demands, the hero's circle is completed when he returns to his rural community of Fairview, not a sadder but a wiser person, having had a relationship that is lasting and real. In the process, Pee Wee's miniature world is exposed: it's the microcosm of the bigger world.

Thus, Pee Wee teaches his friend Joe the value of miniaturizing a world as vast and overwhelming as NYC itself, by placing in perspective and gaining ownership of this vast space. And Pee Wee's friend, Joe, gives to Pee wee access to a greater world than that of his child's imagination. NYC is not Fairview's opposite but its projection--in terms of the narrative goal and its much bigger, real life scale. Each world is "indexed" to the other, and the negotiation between the two worlds is required for living life with a balance between artifice and reality, small and great, child and man.

But it's Paul Reubens who has come of age--and without sacrificing any of the qualities that originally endeared us to his creation. Pee Wee is still a child-man, but he's grown: we can now gain our first glimpses of "the child that is father of the man." Living, growing, learning--like the movies, it all requires an understanding of "scale."

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