While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
WHAT IT’S ABOUT?
When all-American girl Susan Murphy is inadvertently hit by a falling meteor on her wedding day she grows to be nearly 50 feet tall. The U.S. military gets wind of this renames her Ginormica and locks her away with a slacker group of other “monsters” in a top-secret compound. But when a mysterious alien robot lands on Earth and begins wreaking havoc these good-hearted but inept creatures are called into action by the President and must band together as a team to save the world from certain catastrophe.
WHO’S IN IT?
As usual Dreamworks has assembled a stellar A-list voice cast led by Reese Witherspoon as Susan/Ginormica. Playing one of the rare female animated heroes Witherspoon’s sweet/confused demeanor — in light of her highly unusual status as a fearsome freakazoid — hits just the right tone generously letting her zanier colleagues steal scenes from right under her (a long way down by the way). Chief among these are a not-so-bright gelatinous blue mass named B.O.B. hilariously voiced by Seth Rogen; the genius Dr. Cockroach Ph.D in the capable hands of House doc Hugh Laurie; and Will Arnett’s half-ape half-fish The Missing Link. In the human roles there’s Stephen Colbert as the idiotic U.S. President Kiefer Sutherland as the monster’s prison guardian Paul Rudd as the ego-driven weatherman fiancé of Susan; and a deliciously villainous Rainn Wilson as Galaxhar the alien determined to take over Earth.
Superb 3-D effects aren’t overdone and add immeasurably to the ginormous fun of the film but even seeing it in theaters that only show it in regular 2-D doesn’t spoil the pure joy of this cartoonish War of the Worlds. Throw in parodies of every cheap '50s sci-fi movie you can think of and you have the ingredients for a silly monster mash sure to appeal to just about anyone who wants to laugh. Despite the impressive production elements it’s the smart and clever script that really sets it apart from its competitors — and that even includes the similar Monsters Inc. from Pixar.
Like any kid-oriented comic ‘toon today the action can be a bit too frenetic and Monsters vs. Aliens piles a lot of it on in its trim 95 minutes. Still the lovable characters carry the day and somehow make it all palatable.
When Susan now Ginormica brings her new friends home to meet her parents chaos ensues and so do the laughs. Also impressive are the large action scenes that make fine use of CGI animation breakthroughs.
BEST SUPPORTING BLOB:
It's easily the one-eyed lame-brained blue lug of a people hugger named B.O.B. perfectly matched to the talents of Rogen. He rolls away with the movie and inevitably the merchandise tie-ins.
Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
Pedro Almodovar's Volver picked up five honors at the Goya Awards in Madrid last night, including Best Picture, Best Director and Best Actress for Penelope Cruz.
The movie, which had received 14 nominations, also won Best Original Soundtrack for Alberto Iglesias.
On collecting her Best Actress award, Cruz said, "This award is very important, very special for me. I am going to try not to cry because I'm a disaster, and these 30 seconds are not going to be enough."
Pan's Labyrinth, which is nominated for the Best Foreign Language Film at next month's Oscars, collected the most awards--seven in total, including Best Original Screenplay for Mexican writer/director Guillermo Del Toro.
Del Toro said, "My relationship with Spain as a filmmaker is one of profound admiration and respect... that began with the hand of Pedro (Almodovar)."
Elsewhere, Juan Diego won Best Actor for Vete de Mi, while Stephen Frears’ The Queen won Best European film.
The full list of winners is:
Best Actress--Penelope Cruz, Volver
Best Actor--Juan Diego, Vete de Mi
Best Director--Pedro Almodovar, Volver
Best Original Screenplay--Guillermo Del Toro, Pan's Labyrinth
Best Adapted Screenplay--Lluis Arcarazo, Salvador
Best First-Time Director--Daniel Sanchez Arevalo, DarkBlueAlmostBlack
Best European Film--The Queen
Best Foreign Spanish-Language Film--Las Manos, by Alejandro Doria(Argentina)
Best Supporting Actress--Carmen Maura, Volver
Best Supporting Actor--Antonio De La Torre, DarkBlueAlmostBlack
Best Breakthrough Performance, Actor--Quim Gutierrez, DarkBlueAlmostBlack
Best Breakthrough Performance, Actress--Ivana Baquero, Pan's Labyrinth
Best Animated Feature--The Hairy Tooth Fairy, by Juan Pablo Buscarini
Best Art Direction--Benjamin Fernandez, Alatriste
Best Cinematography--Guillermo Navarro, Pan's Labyrinth
Best Line Production--Cristina Zumarraga, Alatriste
Best Documentary Short--Castanuela 70, El Teatro Prohibido, by Manuel Calvo and Olga Margallo
Best Animated Short Film--El Viaje De Said, by Coke Rioboo
Best Live-Action Short Film--A Ciegas, by Salvador Gomez Cuenca
Best Visual Effects--David Marti, Montse Ribe, Reyes Abades, Everett Burrell, Edward Irastorza and Emilio Ruiz, Pan's Labyrinth
Best Costume Design--Francesca Sartori, Alatriste
Best Documentary Feature--Cineastas en Accion, by Carlos Benpar
Best Film Editing--Bernat Vilaplana, Pan's Labyrinth
Best Sound--Miguel Polo and Martin Hernandez, Pan's Labyrinth
Best Original Score--Alberto Iglesias, Volver
Best Original Song--“Tiempo Pequeno,” Bebe and Lucio Godoy, from The Education of a Fairy
Best Make-Up and Hair Design--Jose Quetglas and Blanca Sanchez, Pan's Labyrinth
Lifetime Achievement Award--Teddy Villalba
COPYRIGHT 2007 WORLD ENTERTAINMENT NEWS NETWORK LTD. All Global Rights Reserved.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.