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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The basic premise of most crime revenge dramas is how much of our humanity we're willing to trade to get back what the other people — the ostensible baddies — have taken from us. Oliver Stone returns to this familiar stomping ground with Savages a splashy adaptation of Don Winslow's novel about a unique love affair a major marijuana-dealing business and an increasingly violent pissing match between two SoCal growers and the Baja Cartel.
Stone's frenetic visual style is in full swing but even this Oscar-winning auteur can't quite raise the film from mediocrity. It's hard to care whether or not Ben (Aaron Johnson) and Chon (Taylor Kitsch) rescue their gorgeous mutual girlfriend O (Blake Lively) from the cartel if O isn't engaging enough to persuade us she's worth the bloodshed. O (short for Ophelia — an allusion to her earthshaking climaxes) is not a well-written character to begin with but she's even less engaging as played by Lively. Johnson is unconvincing as the bleeding heart Ben and the details his character is given — extra earrings a shoddy-looking tattoo on his neck even white boy dreads at one point — undercut his believability even more. Kitsch is given a few prominent scars and a mean squint but he doesn't quite bring the weird slightly empty vibe of Chon to life.
On the villain side Benicio Del Toro chews every inch of scenery from Laguna Beach to Tijuana as Lado. He's rocking an intense moustache that he strokes when he's lying or being a creep (which is most of the time) a vaguely mullet-like wig and a fondness for torture. Salma Hayek takes no prisoners as the head of the cartel nicknamed Elena la Reina who is both a frustrated mom whose college-age daughter is blowing her off (aw!) and a brutally tough woman in a man's world. John Travolta definitely enjoys a bit of Pulp Fiction ridiculousness as Dennis a DEA official who's in Ben and Chon's pocket. It's hard to tell just how funny Savages is aiming to be. Lado Elena and Dennis are cartoonish but Ben Chon and O are earnest — which is to say a little bit boring.
The double- and triple-crossing is practically moot as is the wacky technology that Ben and Chon employ; it's like The Social Network meets surfers. The real meat of the movie is the flash and violence but it's not the kind of thing that stays with you like Stone's Natural Born Killers. Savages doesn't have the same lingering aftertaste. It's not that a movie needs to have some sort of message with its pointed commentary on the media's bloodlust but the gist of Savages — that we're all savages at heart or that we can easily become a savage given the right circumstances — is not that interesting or unique.
Oddly enough Savages pulls a few punches when it comes to its source material (hard to believe when the movie kicks off with a glimpse of an abattoir-like enclosure and close-ups of men begging for their lives just as a chainsaw revs in the background). Winslow's book is a quick enjoyable read with an interesting on-page style that's hard to replicate verbally. It has a sort of ADD-addled feel that the movie tries to but doesn't quite capture. While it's not always fair to compare an adaptation to the book it's based on Winslow is both the author and one of the screenplay writers so some of the choices made behind the scenes don't quite add up. Cut are significant and menacing back story for Lado and all of the zestiness out of O. Why add in certain plot points and take out others unless it was to give one of its big name stars more screen time? The most interesting part of the story the love story is treated like a wink wink homoerotic thing than an actual relationship between three people who adore each other which is how it's portrayed in the book. It's hard not to be a little disappointed especially given Stone's no-f**ks-given attitude. (Or as O would say baditude.)
That said it is a somewhat entertaining diversion and a nice tour of lifestyles of the rich and criminal. Lively is all tangled tan limbs and luxurious hippie clothes and the homes they frequent whether on Laguna Beach or a desert compound are meticulously decorated with exquisite expensive taste. Santa Muerte imagery also figures heavily in the background of many scenes. The scenery is gorgeous — even the marijuana looks amazing. It's good for adults to have another R-rated choice in what's usually a season dominated by blockbusters but in years to come you'll more likely to reach for your old True Romance DVD than Savages.
At the time of Scream’s release in 1996 the state of Hollywood horror was at a pretty low-point. For every Dracula there was a Frankenstein. For every original idea there were dozens of painful sequels. There were some truly terrifying films released during the decade but there wasn’t a lot we hadn’t seen before. Then along came Wes Craven’s now classic slasher pic a revisionist take on the genre that simultaneously dissected its tropes while embracing them. It was equally hilarious and horrific thanks to the auteur’s precise execution and Kevin Williamson’s sharp sardonic script that dynamically pooled the characters’ points of view with those of the audience. Scream’s self-awareness was a true game-changer that has carved a very nice place in film history for itself. Fifteen years and two sequels later the franchises’ principle players have all returned to Woodsboro to catch up on cinematic commentary and thwart the sadistic plans of yet another Ghostface killer in Scre4m.
In how many ways does this bloody new chapter differ from the others? Not many. The story begins when Neve Campbell’s Sidney Prescott now the best-selling author of a self-help book returns home on the last stop of her promotional tour. There she meets up with Dewey and Gale Weathers-Riley (David Arquette and Courtney Cox) her friends and mutual survivors of the Woodsboro Murders though there’s precious little time for a warm reunion because someone has inherited the mantle of Ghostface and begun taking out the town’s well-endowed teenagers. The trio along with a young and attractive cast of victims and suspects including Emma Roberts Hayden Panettiere Nico Tortorella and Rory Culkin attempt to stop the killer despite an escalating body count.
As with the original Williamson’s screenplay is the most valuable part of the production. He employs the same narrative formula he did in ’96 but puts it in contemporary context riffing on cinema’s current trends (namely sequelitis and the torture-porn craze the latter which the filmmakers are clearly not fans of) his own franchise (the opening self-deprecating sequence is absolutely riotous and perhaps the funniest in the entire series) and America’s social media obsession (Twitter Facebook and YouTube references take the place of pagers and other outdated cultural staples further separating the film from its predecessors) which plays a larger part in the story and its characters motivations than you really want to know. If there ever was a film for and about the been-there-done-that post-modern generation it’s Scre4m.
While Williamson is at the top of his game Craven’s direction doesn’t appear to have evolved much since helming the original (a sad fact considering his creative growth with Music From The Heart and Red Eye). A few eerie shots aside he doesn’t take any risks with the material resulting in a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in the earlier entries. Thankfully his enthusiastic cast is more than willing to go over-the-top and beyond to sell the (few) scares; Panettiere particularly stands out as the confident Kirby Reed as does Alison Brie as the slimy PR girl Rebecca Walters. They’re all archetypes fitting into the film’s modus operandi of amusingly adhering to conventions and making it relatively easy for you to predict who’s going to die without spoiling the fun.
Still with so many preconceived notions about what Scre4m should be it’s hard to imagine all moviegoers loving its throwback premise and downright silly tone. What was once clever is now contrived; what was once refreshing and exhilarating for horror buffs is now exploitative of their common knowledge and passion. As a horror-comedy hybrid it brings some funny but not a whole lot of fear; in other words it’s very much like the original. Not that there’s anything wrong with that…
After a brief flashback prologue where we see how the young lion Alex (Ben Stiller) is separated from his father Zuba (Bernie Mac) inadvertently ending up in the Big Apple the story returns to present day as our favorite New York zoo denizens prepare to take off from Madagascar in a crudely constructed airplane piloted by the penguins and propelled by slingshot. Unfortunately for Alex lovelorn giraffe Melman (David Schwimmer) fast talking zebra Marty (Chris Rock) and svelte hippo Gloria (Jada Pinkett-Smith) instead of landing in NYC the aircraft sputters and crash lands right in the middle of Africa where they run into a world of exotic creatures. This also includes Alex’s long lost dad and mom. Happy reunion? Not quite. Zuba’s nemesis Mukunga (Alec Baldwin) insists they follow lion pride lore which means Alex must go through a rite of passage -- one he is sure to fail if Mukunga has his way. Meanwhile Marty tries to integrate into a pack of zebras; Gloria gets hooked up with a soulful hippo (will.i.am); and Melman is up to his neck looking for love. Oh and they also all have to save the Kenya preserve from a life-threatening water shortage. No biggie! Madagascar: Escape 2 Africa’s witty and hip dialogue provides rich voice over opportunities for a talented crew of actors. Stiller continues to be a riot as the showbiz loving Zooperstar Alex especially in his attempts to earn the pride’s respect. Chris Rock earns his stripes as he tries to hang with a large group of look-a-like sound-a-like zebras. Schwimmer is winning and hysterical as Melman now considered a witchdoctor by his fellow giraffe-ians while Pinkett-Smith continues to shine as hippo Gloria looking for a little action. Among the new voices rapper will.i.am as Moto Moto the last of the red-hot hippos will have you wanting More More while Alec Baldwin gets to play the heavy with Lion King style. The late Bernie Mac playing it relatively straight as Alex’s father proves (as he does in his other new release this week Soul Men) shows us just how much his unique brand of humor will be sorely missed. Stealing the show however and getting king-sized laughs in an expanded role is Sacha Baron Cohen back as King Julien the hard-partying head of the lemurs. With a vast improvement in Madagascar’s state-of-the-art computer graphic work directors Eric Darnell and Tom McGrath take this sequel several notches up in terms of technical savvy including the exciting opening sequence as well as the plane crash. But they really score with the script with new co-writer Etan Cohen adding some crisp comedy. What was mostly just a serviceable script the first time around has gotten a lot more sophisticated and clever a development parents being dragged by their kids will be keenly grateful for. This is the rare animated sequel that actually has a reason for existence other than minting money. It has more heart drama and laughs than the original Madagascar which despite its flaws still made half a billion dollars worldwide. Madagascar: Escape 2 Africa should make even more as it proves to be one of the year’s most entertaining comedy delights.
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.