This follow-up to Daddy Day Care picks up with Charlie Hinton (Cuba Gooding Jr.) and Phil Ryerson (Paul Rae) running their thriving day care business. With summer approaching however the prospect of camp for their sons comes up and Charlie vehemently opposes to it. He had bad camp experiences you see but when he grudgingly takes his son Ben (Spencir Bridges) to Camp Driftwood he finds that his old rival Lance Warner (Lochlyn Munro) is running the swanky Camp Canola nearby. Camp Driftwood is of course in shambles but Charlie thinks he can fix it up and continue his business into the summer. The first day goes badly so Charlie is forced to call in his father Buck (Richard Gant) to help with the outdoorsy stuff as Lance continues to taunt Charlie and his kids into an Olympiad competition. The story actually provides a strong moral center about fathers and sons communicating while the jokes don't get any more sophisticated than poison ivy and farts. But that's what you bargained for. You can say one thing about Gooding and Rae: They never make you think about Eddie Murphy and Jeff Garlin the original Daddys. There’s some continuity but Gooding and Rae make these characters their own—for better or for worse. Gooding is a father trying to make a better life for his son who has his own daddy issues while Rae is once again just the goofy sidekick. In the wild moments Gooding prances and mugs like a cartoon character with no subtlety whatsoever but tones it down appropriately in the more serious moments. Gant (Norbit) gives Daddy Day Camp its heart. As the strict military patriarch it’s a little much when he turns all Col. Buck on the kids but it's believable. But then when he slowly breaks down and realizes what an absent father he's been those moments work. Character actor Munro (Deck the Halls) seems happy to once again play the bad guy. Director Fred Savage (yes the same kid actor from The Wonder Years) made the best Daddy Day Camp he could considering the subject matter. All it really takes is setting up one comic disaster after another for the heroes to overcome. Scenes with hordes of screaming kids running rampant are plentiful of course and it couldn't have been easy to coordinate that take after take. But balancing the silly antics with the film's heart is the most impressive task. As much as it may be a chore to sit through unsophisticated kiddie pratfalls you've got to respect how the meaningful scenes play out. There is a real journey in Daddy Day Camp. Sure the kids will laugh at the sloppy muddy gooey gunk but the parents may appreciate the other stuff.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?
Kindly chemistry whiz Sherman (Eddie Murphy) has found the love of his life in cutie colleague Denise (Janet Jackson) who appreciates the heart of gold beneath his extra-large exterior. But the hero's happiness is threatened when his irrepressible alter-ego Buddy Love (Murphy) reappears with a scheme to wreak havoc with Sherman's newly discovered youth potion.
"The Klumps" displays Murphy's remarkable talent for submerging himself in diverse characters even more prominently than the original did. He impressively expands upon the four Klump family members he plays with the aid of Rick Baker's Oscar-winning prosthetic makeup effects -- especially his hilarious turn as sex-crazed Granny Klump. Larry Miller is amusingly caustic as the dean of Sherman's college while pop diva Jackson deserves credit simply for keeping a straight face opposite Murphy's various incarnations.
Peter Segal ("Tommy Boy") hands in a polished if not particularly inspired piece of broad comedy that achieves its primary purpose -- staying out of Murphy's way as he works his special magic. The filmmakers pay little attention to the brainless shamelessly mechanical plotline devoting nearly all their energy to fart and sex gags that if anything aim lower than the original film's. We're talking about a flick draws one of its biggest laughs from a character getting sodomized by a giant hamster. Baby that's nasty!