A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Max Payne started life as a popular 2001 videogame and now the dark dreary material has morphed into feature film that tries to give a back story for the tortured title character. Payne’s (Mark Wahlberg) wife and newborn baby are tragically killed and now Max a DEA agent is involved in the investigation of a series of murders that could provide a link to solving the mystery of his family’s demise. Demons in the form of a winged serpents haunt Max -- but nothing real or imagined will stand in the way of his quest. He teams with a beautiful Russian mobster and assassin Mona Sax (Mila Kunis) whose sister Natasha (Olga Kurylenko) is also killed giving equal reason to seek revenge. Complicating matters is Max’s mentor B.B. (Beau Bridges) an ex-cop who now does security for a large pharmaceutical company which may hold the key to the mystery. Forces -- both real and hidden -- are hard at work to keep Max who is clearly fighting his inner demons from reaching his goal. Wahlberg is earnest and knows how to kickass but the murders of his young wife and baby which is meant to give emotional heft to the character is really not enough to connect us to this guy. Still he does quite nicely in the numerous action scenes and is at home playing a DEA agent. Mila Kunis so appealing in Forgetting Sarah Marshall shows a saucier side here and has great potential as an action mama perhaps the kind of ball-buster Aeon Flux should have been. Olga Kurylenko who is also in the new James Bond film Quantum of Solace is well-used in the few scenes she has and Prison Break’s Amaury Nolasco is convincing as a tough ex-vet who now has drifted into the drug underworld. Beau Bridges has a tricky role he pulls off without tipping the story over while the other Bridges in the film -- rapper-turned-actor Chris “Ludicris” Bridges -- is an Internal Affairs detective who seems to sense something serious going on with Max. John Moore has been clearly influenced by the Matrix and new Batman movies creating a dark and ominous New York City with winged creatures reminiscent of the mythological Valkyrie roaming the grey skies. These creatures are apparently meant to physically represent the tortured thoughts in the mind of Max Payne. This creature feature aspect does not exist in the videogame and it’s an interesting if not entirely plausible addition from the mind of writer Beau Thorne. Moore invests his visuals with equal doses of reality and fantasy in an uneasy mix that has you wondering what’s real and what’s Memorex. Subjective POV camerawork and slow-motion shots sometimes give us the feeling we are watching Matrix but the stylistic touches do seem to be in line with the character’s journey. Moore has laid on the visual effects effortlessly particularly in the creation of the creatures who haunt Payne’s subconscious life.