At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Helen McCarter (Kimberly Elise) thought she had the perfect life with lawyer husband Charles (Steve Harris): a big house lots of creature comforts and a stable--albeit staid--marriage. But Helen's world shatters when Charles tells her on the eve of their 18th wedding anniversary that he wants a divorce and literally kicks her out of their spacious mansion to make room for another woman. Devastated she runs to her beloved pot-smokin' gun-totin' grandmother Madea (Tyler Perry) who lets Helen know she's a proud beautiful black woman who nonetheless should whoop the bastard's ass. As hurt as she is Helen really just wants to pick up the pieces and move on if she can. She finds guidance and empowerment from her family and friends including new friend Orlando (Shemar Moore) a drop-dead gorgeous construction worker whose sweet and sincere ways more than help Helen get through her pain. And he cooks too. Really there's no contest.
The main cast members aptly portray their roles formulaic as they are. Kimberly Elise (The Manchurian Candidate) as the grievously wronged wife has the toughest job trying to convey all the crazy mixed-up feelings Helen has for the ex-husband while trying to jumpstart her life. Steve Harris (TV's The Practice) as the callous husband and Shemar Moore (TV's The Young and the Restless) as the too-good-to-be-true suitor represent the two opposites sides of the coin. Even Cicely Tyson makes an appearance as Helen's invalid mother who seems just a little too healthy to be in a nursing home. But it's Tyler Perry who turns out to be the true mad black woman. The film comes alive when he's onscreen either playing the outrageous Madea--complete with wig makeup and padding--or Madea's brother Joe a lecherous old coot. Perry even gets to play it straight as Helen's kindly cousin Brian who has a junkie for a wife (played by Tamara Taylor with the usual vacant twitchy neediness). It would have been a long hour and a half without him.
Perry obviously writes from the heart having struggled through his younger years to become a well-known playwright. And with music video director Darren R. Grant at the helm Diary of a Mad Black Woman has all the best intentions. It's certainly a buoyant portrait of African-American life and culture that also speaks to anyone who has had to grapple with betrayal and hurt at the hands of those they love. But the stage-trained Perry somehow misses the subtleties of writing for film. Diary doesn't know what kind of genre it wants to be jumping from raucous comedy á la Big Momma's House to mind-numbing drama á la Waiting to Exhale. The characters don't have any complexities and are drawn very black or white. It also takes an awfully long time for our heroine to figure out what direction she's going to take when we could tell her in the first 30 minutes as to whom she should end up with. In the meantime we must endure several melodramatic set pieces filled with elaborate speeches about revenge love relationships redemption religion and all that which are meant to hit us hard with their poignancy. Perry might consider keeping the highfalutin writing for the stage and think about an acting career in film.