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 British Academy of Film and Television Arts (BAFTA) recognized some of the year’s best films on Sunday. "Gladiator" was chosen best film, and "Crouching Tiger, Hidden Dragon" took away best foreign-language film honors. Each of these Oscar contenders received four BAFTA awards in total.
Producers Douglas Wick, David Franzoni and Branko Lustig accepted the best film award for "Gladiator," praising director Ridley Scott during their acceptance speech, who lost out on the best director prize to Ang Lee for "Tiger."
Besides best foreign film and best director, "Crouching Tiger" also won for music (Tan Dun) and costume design (Tim Yip). Of BAFTA and the United Kingdom, Lee said: "You've always been great to me. This is like a second home to me now."
“Gladiator” also won the Orange Audience Award for most popular film of 2000. Scott thanked DreamWorks and Universal for their courage in backing a $100 million film in a genre that hadn't been touched for 30 years. "It is especially good to win this on my home turf as I spend so much time in the United States," Scott said during his acceptance speech. "I am absolutely thrilled."
Besides the BAFTA honor for best film, "Gladiator" also picked up awards for cinematography (John Mathieson), production design (Arthur Max) and editing (Pietro Scalia).
British effort "Billy Elliot" won three awards, including best British film, best actor (Jamie Bell) and best supporting actress for Julie Walters.
Julia Roberts was named best actress for her performance in the title role of "Erin Brockovich." Presenter Hugh Grant, and co-star in "Notting Hill," picked up the award for the absentee actress.
Best original screenplay and best sound awards went to Cameron Crowe’s "Almost Famous." Crowe's wife, Nancy Wilson, accepted his award, saying that Crowe was unable to attend the event as a double ear infection prevented him from flying. "He meant this movie as a love letter from his heart to music," Wilson said.
Steven Soderbergh's "Traffic" also won two awards, for adapted screenplay (Stephen Gaghan) and supporting actor (Benicio Del Toro).
Veteran casting director Mary Selway was given the Michael Balcon Award for her outstanding contribution to cinema. Actor Albert Finney was presented with a British Film Academy Fellowship for lifetime achievement, receiving a standing ovation.
The complete list of winners:
THE ACADEMY FELLOWSHIP: Albert Finney
THE MICHAEL BALCON AWARD for outstanding British Contribution to Cinema: Mary Selway
THE ALEXANDER KORDA AWARD for outstanding British Film of the Year: "Billy Elliot"
BEST FILM: "Gladiator"
THE DAVID LEAN AWARD for Achievement in Direction: Ang Lee, "Crouching Tiger, Hidden Dragon"
SCREENPLAY (Original): Cameron Crowe, "Almost Famous"
SCREENPLAY (Adapted): Stephen Gaghan, "Traffic"
PERFORMANCE BY AN ACTRESS in a leading role: Julia Roberts, "Erin Brockovich"
PERFORMANCE BY AN ACTOR in a leading role: Jamie Bell, "Billy Elliot"
PERFORMANCE BY AN ACTRESS in a supporting role: Julie Walters, "Billy Elliot"
PERFORMANCE BY AN ACTOR in a supporting role: Benicio Del Toro, "Traffic"
FILM NOT IN THE ENGLISH LANGUAGE: "Crouching Tiger, Hidden Dragon" (Bill Hong/Hsu Li Kong/Ang Lee )
THE ANTHONY ASQUITH AWARD for achievement in Film Music: Tan Dun, "Crouching Tiger, Hidden Dragon"
THE CARL FOREMAN AWARD for Most Promising Newcomer to British Film: Pawel Pawlikowski
CINEMATOGRAPHY: John Mathieson, "Gladiator"
PRODUCTION DESIGN: Arthur Max, "Gladiator"
COSTUME DESIGN: Tim Yip, "Crouching Tiger, Hidden Dragon"
EDITING: Pietro Scalia, "Gladiator"
SOUND: Jeff Wexler/D.M. Hemphill/Rick Kline/Paul Massey/Mike Wilhoit, "Almost Famous"
ACHIEVEMENT IN SPECIAL VISUAL EFFECTS: Stefen Fangmeier/John Frazier/Walt Conti/Habib Zargarpour/Tim Alexander, "The Perfect Storm"
MAKE UP/HAIR: Rick Baker/Kazuhirop Tsuji/Tony G./Gal Ryan/Sylvia Nava, "How the Grinch Stole Christmas"
SHORT FILM Gary Holding/Justine Leahy/Tinge Krishnan, "Shadowscan"
SHORT ANIMATION: Claire Jennings/Willem Thijssen/Michael Dudok de Wit, "Father and Daughter"
ORANGE AUDIENCE AWARD: "Gladiator"