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
The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
WHAT IT’S ABOUT?
When a strong-willed business woman is suddenly told she might lose her job and be deported to her native Canada she impulsively forces her ever-loyal executive assistant into a shotgun engagement in order to get a green card and stay in the country. The plan gets complicated when the mismatched twosome must go to meet his family in Alaska and convince everyone including a pesky government investigator that their impending marriage is the real thing.
WHO’S IN IT?
Sandra Bullock has never been more appealing in the kind of “tough boss” role normally associated with male actors. The Proposal turns the usual romantic comedy tables around giving Bullock lots to play with — and she certainly makes the most of it painting a hilarious picture of an attractive and surprisingly vulnerable business exec caught in a situation spiraling out of control. Ryan Reynolds’ sitcom expertise is put to good use in the role of her willingly unwilling assistant who must join her charade or risk losing his job. This is Reynolds’ best outing as a rom-com lead yet and he shows he could own the genre if provided the right material. Stealing the movie from both of them however is the irrepressible Betty White who plays Reynolds’ saucy Grammy. Once again the Golden Girls alum proves she has comic timing second to none.
Knowing the standard romantic comedy setup just isn’t going to cut it anymore director Anne Fletcher (Step Up 27 Dresses) turns The Proposal into more of a screwball farce letting the laughs fly without forcing them on us. She’s helped by two game lead players who really know their way around this well-worn genre and provide just the right balance to keep this merry soufflé from falling apart. The breathtaking remote locations (Massachusetts oddly enough substitutes for Alaska) don’t hurt.
No matter how inventive the script it’s pretty obvious where things are going to wind up in any romantic comedy. But The Proposal despite following the standard blueprint still manages to keep us guessing until the very end and that accounts for most of the fun.
A scene in which Bullock and Reynolds accidentally run into each other sans clothing is hilarious worthy of the best farceurs. A close second is a sequence involving a little dog a menacing eagle and a cell phone. Classic stuff.
BEST REASON TO PLOP DOWN 10 BUCKS?
After 60 — count ‘em 60 — years in show business with six Emmys and numerous TV series to show for it Betty White at age 87 still proves there can be second third and even fourth acts in life. She gives a movie star turn here that shows everyone how it’s done.
NETFLIX OR MULTIPLEX?
As an alternative to big summer action flicks and gross-out comedies The Proposal is definitely the date movie du jour.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).
Maid in Manhattan is yet another take on the Cinderella story. There are very few surprises but the film is still somewhat enjoyable despite its predictable setup. Cinderella aka Marisa Ventura (Jennifer Lopez) is a hardworking no-nonsense single mom who loves her son Ty (Tyler Posey) and dreams of breaking out of her job as a maid at a five-star hotel in Manhattan. Her Fairy Godmother aka co-worker Stephanie (Marissa Matrone) unwittingly gives her that chance when she convinces Marisa to try on some expensive clothes left in a suite by the Evil Stepsister aka spoiled socialite Caroline Lane (Natasha Richardson) while they're cleaning. In walks Prince Charming aka Christopher Marshall (Ralph Fiennes) an incredibly handsome U.S. senator candidate and the city's most eligible bachelor and Boom! sparks fly. Chris thinks Marisa is the expensive suite's occupant--and she's too overwhelmed by the domino effect that happens to tell him different. Ah what a tangled web love at first sight can weave. Marisa spends the rest of the movie trying to cover up her error in judgment while also becoming increasingly drawn to her prince. Will he find out who she really is? Of course. Will it matter in the end? Of course not.
This may have been created as another vehicle to help further propel the career of actress/singer/designer/fiancee to Ben Affleck J. Lo but unexpectedly someone else comes out of the film looking better--Fiennes. It's little hard even for Jenny on the Block to outshine an Oscar-nominated actor. He elevates the formulaic subject matter and portrays a pretty down-to-earth Prince Charming without us ever seeing a forced move. I'm curious as to why such a high-caliber actor would choose such a run-of-the-mill project like this but whatever the reason he makes it work--at least for his part. Lopez doesn't do anything out of the ordinary. In fact it looks like she may have simply cloned the same expressions she put on in her other successful romantic comedy The Wedding Planner. And unfortunately Lopez and Fiennes don't share the same kind of heat she shared in that film with Matthew McConaughey or even George Clooney in Out of Sight (still her best performance to date). Yet they manage to convey a fair amount of good feelings to make the movie palatable. Richardson has a blast playing the rich bitch Caroline while Matrone making her film debut just comes off as annoying and pushy even if she thinks she's doing the right thing. Thank goodness she is because if things had turned out badly it would be in Marisa's best interest to go out and shoot her. Stanley Tucci as Christopher's watchdog campaign manager and Bob Hoskins as a senior-level butler at the hotel both do the best they can with silly parts.
Maid in Manhattan relies so heavily on the been-there-done-that Cinderella formula it becomes one of those romantic comedies you'll end up waiting to watch on cable one Saturday night rather than paying to see in a movie theater. It's really a shame because director Wayne Wang (The Joy Luck Club) had some interesting elements to play with and lots of acting talent to back it up. Perhaps Lopez could have played Marisa more wacky than so serious maybe try to show some comic ability. It would be a nice change of pace to think out of the box for once--what if the lovestruck pair didn't get together in the end? (I know the film would have fallen flat on its face.) But instead Maid wallows in predictability and implausibility. Christopher falls a little too hard and a little too fast for reality. Also it's hard to believe a maid would have access to all the hotel's amenities as Marisa does--borrowing a Harry Winston diamond necklace from the hotel jewelry store for the gala event? Unlikely to say the least. The only aspect of the film that stands out is the sneak peek you get into the inner workings of a top-notch hotel. It's definitely a world you don't get to see very often.