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.
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"I got to go on her private jet. We had pasta with real cutlery and I sat in a massive leather chair that I could spin around in! It was brilliant!" British actress Vicky Mcclure lived the high life while shooting Madonna's directorial debut Filth And Wisdom in 2008.
British actress Vicky Mcclure has found love with her on-screen boyfriend after shooting music movie Svengali last year (12). The Filth and Wisdom star was asked to audition for the role after writer and actor Jonny Owen heard her being interviewed on the radio, and she quickly signed up to play his character's partner.
But life imitated art as soon as filming began and the pair has now settled down together in her native Nottingham, England.
She tells Britain's Marie Claire, "We met through Svengali and clicked straight away. I was, like, 'Oh my God!' It's a story I share with my single friends and say, 'It actually does happen sometimes!' I just knew.
"I just felt connected to him. He's a very good man. Kind, funny, generous. A real bloke - he likes football and a beer. He's not at all industry. We live a very normal life in Nottingham."
The BBC murder mystery Broadchurch just ended its run on BBC America, earning rave reviews for its depiction of the ripple effects of murder on a small town. It was a great show with some truly standout performances, especially from Doctor Who’s David Tennant as a tortured police detective and Olivia Colman as his competent and put-upon partner.
Now FOX is taking Broadchurch and bringing it to America, again, with a remake also starring David Tennant. And the burning question is: why?
Broadchurch was (and maybe still will be, since it was renewed for a second season in the UK) a great show. It took a hard look at the repercussions of a young boy’s murder on the small town in which he lived, spending time with his family as well as with the media, police, and handful of sketchy suspects.
What Broadchurch is not, however, is remarkably original. Looking at the above description of the show a host of other “murder in a small town” movies and TV shows come to mind. The weird Twin Peaks, for example. Or the moody but imperfect AMC drama The Killing.
What made Broadchurch work was the economy of the storytelling and the deeply felt performances by the main cast. Remade for American audiences and probably expanded to more than the original run’s eight episodes, I can’t imagine Broadchurch will seem like anything remarkable to those who aren’t familiar with the UK original.
“Oh, another season-long murder mystery in a small town? Great.” You can already hear audiences hitting the snooze button. What made Broadchurch a great show didn’t lie in its premise, but in its execution.
The American remakes of British originals that work, however, usually work because the American version can spin something new and interesting from a unique premise. Like a documentary about a paper company (The Office) or a vampire, ghost, and werewolf living together (Being Human).
The first season of Broadchurch was a perfectly paced, self-contained story with a far from unique premise. Replanting the story to America and giving it more episodes to fill isn’t likely to make the show any better. For every successful American remake, there are at least five British to American disasters. Let’s hope Broadchurch isn’t one of those disaster adaptations, but even if the FOX version turns out to be good, it certainly doesn’t feel like a remake that needed to happen.
What do you think? Are you excited about the American remake of Broadchurch or scratching your head about why FOX is remaking it at all? Share in the comments!
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A certain doctor will be popping up on American television sets in a familiar role. David Tennant, who played a tortured British detective in Broadchruch, will now play a tortured American detective in Fox's remake of the show. Because foreign accents are different and scary, Tennant will leave his British accent behind, and adopt an American one for the new series that hopes to premiere on Fox in the 2014-2015 television season.
The original Broadchurch follows the lives of Alec Hardy (Tennant) and Ellie Miller (Olivia Colman), two detectives investigating the death of a young boy in small town Britain. The first season of the ITV series just wrapped up its first season on BBC America.
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The Wire star saw off Daniel Rigby and John Simm to land the Best Actor honour at the London ceremony after wowing judges with his turn as notorious British serial killer Fred West.
Watson, who played West's social care volunteer in the show, was named Best Actress, and was hailed by judges for her "subtle, nuanced and utterly compelling" performance. She beat This Is England star Vicky McClure and Ruth Negga, who played Shirley Bassey in the biopic of the superstar singer.
Sir David Attenborough's hit documentary series Frozen Planet lost out in the Science and Natural History category to Mummifying Alan: Egypt's Last Secret, while Luther, starring Idris Elba, was named best series.
The international award went to U.S. sitcom Modern Family, beating Australian series The Slap and Danish crime thriller The Killing.
The ceremony was hosted by Welsh funnyman Rob Brydon.
Tennant's turn in small screen drama Single Father and Broadbent's role in Any Human Heart have been recognised with nominations at the annual ceremony. They will go up against Johnny Harris, star of This Is England '86.
Veteran star Julie Walters has been shortlisted for the Best Actress trophy for her lead role in Mo, alongside Natalie Press (Five Daughters) and Vicky McClure (This Is England '86).
Mo, a biopic of late British politician Mo Mowlam, is also up for best drama writing and single drama.
The awards are due to be handed out on 15 March (11) in London.