ParaNorman dares to play to all audiences. Unraveling with a purposefully imperfect stop-motion technique the zombie adventure utilizes striking filmmaking styles sharp wit and scares that will give young ones the willies while tickling the nostalgia bone of any adult who used to stay up past his or her bedtime watching horror movies. The film isn't overtly for anyone; it's simply on a mission to tell a great story. ParaNorman succeeds: embracing a world where bullying is hitting an epidemic level and the social "outcasts" are lashing out the animated movie balances emotional messages with a wild visual ride. Quite out of the ordinary — the living dead being just the beginning.
Norman (The Road's Kodi Smit-McPhee) is a middle schooler living on the fringes. He sits alone at lunch with his only real friend the chubby nerd Neil; he's routinely beat up by schoolyard bully Alvin (Christopher Mintz-Plasse); and the kicker: he sees ghosts — and no one believes him. Norman passes the time by watching old horror movies with the spirit of his Grandma (Elaine Stritch) much to the chagrin of his mother (Leslie Mann) and father (Jeff Garlin). Norman's dad is fed up with Norman's "disturbed" behavior but before he can ship his son off to psychiatric help all hell breaks loose in their hometown of Blithe Hollow. Failing to put together the cryptic words of town crazy Mr. Prenderghast and keep zombies at rest Norman goes on the run from the living dead who take to the streets of Blithe Hollow. Why? The mystery is revealed as Norman embarks on a Goonies-style race around Blithe Hollow.
ParaNorman only loses footing when it's in explanation mode setting up the pieces of the puzzle that will play out in the movie's second half (not unlike most movies of the genre it's riffing on). But the introductions to the colorful cast and horror-inspired adventure brought to life with stunning animation and a muted color palette unlike most kid-friendly cartoons are an absolute treat. Norman is a three-dimensional character both in puppetry and human terms; Smit-McPhee's timid vocals realize the fear of the scary moments and work as perfect deadpan to ParaNorman's comedic asides. The movie advances its risk-taking to a whole other level in the finale offering an explosive crescendo that wows the senses and is sure to bring tears to the eyes. It's a marvel on a technical level — intricate landscapes shot with shallow focus all set to Jon Brion's rousing score — but in the end the film works because it's a great bold story. For a movie grounded in fear ParaNorman stands out as a movie for audiences young and old that's truly fearless.
Based on the graphic novel by Neil Gaiman (Sandman) and re-conceived by director Henry Selick (The Nightmare Before Christmas James and the Giant Peach) in 3-D stop-motion animation Coraline (voiced by Dakota Fanning) opens a world of twisted wonder when she passes through a secret door in her new house and suddenly discovers an alternate existence mirroring her own life but making it so much more interesting and satisfying until her Other Mother (Teri Hatcher) tries to turn her little visit into a permanent one. Fanning is the ideal Coraline -- curious fickle frightened and determined. She does an excellent job bringing to life this young girl suddenly caught up in an extraordinary adventure that rivals what Dorothy went through on the road to Oz. Hatcher is properly bland as her real mother and slippery as her Other -- she’s clearly having fun ditching Desperate Housewives. Standout is Keith David voicing an exquisitely drawn but quite mysterious Cat. There’s also brief but amusing work from the team of Jennifer Saunders and Dawn French (Absolutely Fabulous) as Coraline’s very very British and very eccentric neighbors and an even wackier Ian McShane as the Russian Mr. Bobinsky. Selick has created a modern classic that tops even his brilliant Nightmare Before Christmas turning the world of Coraline into something we’ve seen before. It’s Alice in Wonderland times 10 but despite its soft PG rating is really dark stuff. Kids won’t be turned off by this but some not-clued-in parents might. The film will be shown in both 3-D and regular formats but go for the 3-D version if possible. It’s a mind-blowing use of the technology and perhaps the best yet put on screen.
There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.