For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
Follow @Michael Arbeiter
| Follow @Hollywood_com
This episode is channeling Season 1 but bringing way more drama. It’s great to see the return of the snarky, passive-aggressive Lady Mary Crawley (Michelle Dockery) we love to hate. She’s back to becoming stone faced and staring into space, viciously insulting her sister, and getting the best suitors. She’s not the only one back to their Season 1 personas. Thomas Barrow (Rob James-Collier) is back to scheming and has enlisted some help. Plus, the moment you have been waiting for ... the peace between the Dowager Countess (Maggie Smith) and Isobel Crawley (Penelope Wilton) is over. Full shade ahead!
Evelyn Napier (Brendan Patricks) stops by the Abbey. If you’ve forgotten him, he is the suitor that introduced Mary to Mr. Pamuk (Theo James). Mr. Pamuk was the guy that de-virginized her and died in her bed. Napier is working on a survey of how the war has affected Aristocratic manors. Speaking of manors, Lord Grantham (Hugh Bonneville) is dealing with the death of one of the estate’s farmers. Mr. Drewe (Andrew Scarborough), the farmer’s son, has inherited a significant amount of debt. Lord Grantham kindly pays the debt in exchange for Mr. Drewe working it off. The Lord is back to keeping secrets from fellow estate runners, Mary and Tom Branson (Allen Leech). Branson is threatening to move to the U.S. to escape the stuffy life of an aristocrat and spare his daughter any embarrassment.
Edith Crawley (Laura Carmichael) is lurking by the metaphorical mailbox waiting to hear back from Michael Gregson (Charles Edwards). It doesn’t look promising for him since he just moved to a pre-Nazi Germany. Drunk Liza Minnelli Cora Crawley (Elizabeth McGovern) adjusts to her new lady’s maid and tries to convince Mrs. Patmore (Lesley Nicol) that they need to buy a refrigerator.
Isobel takes an interest in a young neighborhood boy, Peg. She convinces the Dowager Countess to hire him. However, when an antique letter-opener goes missing, the Golden Girls clash over the boy’s guilt. It’s witty barbs and loud sighs. Here’s hoping they have a fight in a fountain like on Dynasty.
Alfred (Matt Milne) seems adept at cooking. He’s selected to apply for the apprenticeship at The Ritz. Everyone in the kitchen is excited but he’s nervous. Meanwhile, with the prospect of Alfred leaving, Carson (Jim Carter) offers the footman position to Mr. Molesley (Kevin Doyle). Despite willing to take any odd job in the village, do with that what you will, Molesley’s pride is hurt at the prospect of being demoted to footman. Alfred ends up not winning the internship so Molesley ends up red-faced when he returns for the job. Looks like Molesley is one step closer to suicide.
The disturbing Anna Rape storyline continues to get more depressing. Anna Bates (Joanne Froggatt) has been super icy to Bates (Brendan Coyle). Bates overhears Anna talking to Mrs. Hughes (Phyllis Logan) and he devises a plan to find out what happened. He threatens to leave unless Mrs. Hughes comes clean. Thinking on her feet, she invents an assailant that raped Anna during the concert. However, Bates is convinced it’s Mr. Green (Nigel Harman). This is where things get dark. To this point, Anna has not known his name was even Mr. Green. Also, Bates is getting very scary and murdery. His violent inclinations and Anna’s fear make it seem like he could be abusive. Here’s hoping the writers don’t go in that direction.
Style & Sass: Best Lines of the Night
Not the first time you have had the wrong end of the stick. –Mary to Edith
I wonder how your halo doesn’t grow heavy. It must be like wearing a tiara ‘round the clock. –The Dowager Countess to Isobel Round I
Mrs. Patmore, is there any aspect of the present day that you can accept without resistence? –Cora
Well M’lady I wouldn’t mind getting rid of my corset. –Mrs. Patmore’s response
What would you prefer that I invite the local criminals to drop in strip the house bare? –The Dowager Countess to Isobel Round II
Downton is abuzz with an impending party .. but when are they not having one?
Lady Mary Crawley (Michelle Dockery) is surprised by the appearance of the newly named Lord Gillingham (Tom Cullen). They begin to bond and Mary begins to resemble her former self. Is it too much to hope for the slight-delivering, passive aggressive Lady Mary from Series 1? Lady Edith (Laura Carmichael) invites Michael Gregson (Charles Edwards) in the hopes that he will win the respect of her parents. Good luck, Lady Edith ... you’re the 1920’s answer to the Cathy comics. Ack! Terence Sampson (Patrick Kennedy) arrives on the scene and convinces everyone to play cards including Earl Grantham (Hugh Bonneville). Luckily, Mr. Gregson wins back all the money and exposes the dirty dealings of Sampson.
Meanwhile, everyone seems to be really inconsiderate of poor Tom (Allen Leech). A guest asks him about Lady Sybil. Isobel (Penelope Wilton) arrives to the party despite mourning. Then in true shady fashion she complains about her sadness to Tom despite the fact that he’s a widower. Sure, she lost a child but is it anyone’s place to give someone survivor’s guilt? Tom confesses that he doesn’t feel like he belongs with the family. Scheming Miss Braithwaite (MyAnna Buring) brings him a huge glass of whiskey and then shows up at his room late in the night.
The drama: Lady Rose MacClare (Lily James) surprises everyone, including Lady Mary, by bringing down Matthew’s old phonograph. Lord Grantham has Australian opera singer Nellie Melba (Kiri Te Kanawa) dine in her room until Cora Crawley (Elizabeth McGovern) corrects his error. Also, what the hell is going to happen if anyone founds out that Tom slummed it with Braithwaite?
Carson (Jim Carter) is his usually stern self as everyone is working double duty in entertaining mode. Lord Gillingham’s valet (Nigel Harman), known only as Mr. Gillingham, arrives on the scene and befriends Anna (Joanne Froggatt) much to Mr. Bates’ dismay (Brendan Coyle). Trying to impress Ivy (Cara Theobold) Jimmy (Ed Speleers) falls and hurts his hand. A broke Mr. Molesley (Kevin Doyle), has been complaining all over town how broke he is and taking odd jobs. And yet, when asked to be a footman in place of Jimmy, he complains a lot.
Mrs. Patmore (Lesley Nicol) has a panic attack. Alfred (Matt Milne) makes the sauce and discovers a love for cooking. Anna has a headache so she excuses herself during the opera performance. In a disturbing turn of events, Anna gets violently raped by Mr. Gillingham. Too scared to tell her husband, she enlists Mrs. Hughes (Phyllis Logan) for help in covering it up. This is a huge departure from Downton's normal drama. Is having lovable and sweet Anna attacked too far or is it the right level of drama for the show? After all, times are changing as we approach the 1920s.
The drama: Anna can’t tell Mr. Bates because she’s worried he will go nuts and kill her attacker. Clearly, he’s a little unhinged. If memory serves he didn’t even kill his wife despite being arrested for her murder.
What does one say to a singer? - Lord Grantham
Screaming in the servant’s hall, singers chatting to his lordship and a footman cooking the dinner what a topsy-turvy world we’ve come to. - Carson
I’m afraid Tom’s small talk is very small. - Dowager Countess (Maggie Smith)
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.