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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While the first two Shrek films scored high praise from both critics and audiences the third installment of the animated saga 2007’s Shrek the Third was widely considered a letdown a signal that Dreamworks’ wildly successful franchise had finally jumped the shark. But that didn’t deter the studio from greenlighting a fourth Shrek film Shrek Forever After with the somewhat dubious assurance that it would be the last to feature the titular green ogre.
The plot of Shrek Forever After in many ways reflects the creative fatigue the filmmakers clearly feel: After fathering triplets with his wife Fiona (Cameron Diaz) Shrek (Mike Myers) has settled into a wearisome domestic routine of morning feedings clogged bathrooms and neighborhood pot lucks. But a domesticated Shrek is a boring Shrek and he soon longs to escape the tedium of family life and return to the carefree days when all the creatures of the forest feared his roar. But how? He's stuck.
Or so it seems until a lispy local charlatan Rumpelstiltskin (Walt Dohrn doing a solid Paul Reubens impression) offers Shrek a magical “deal” enabling him to turn back the clock for a day and spend 24 hours without the oppressive dictates of family life which the beleaguered ogre eagerly accepts. But fairytale contracts rarely come without hidden caveats and Shrek soon awakens in a nightmarish bizarro world where his family and friends have vanished and ogres are hunted by vicious gangs of witches. Worst of all Rumpelstiltskin has managed to install himself as Far Far Away’s decadent dictator turning the castle into some sort of crazy lesbian nightclub where his witchy subordinates gyrate to pounding techno music.
Call it It’s a Wonderful Shrek — or even Shrek to the Future if you will. It’s not the most original storytelling scheme but it allows the filmmakers to essentially hit the reset button on the Shrek canon and re-introduce familiar faces like Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas) in slightly tweaked form. Fiona is no longer a dainty princess awaiting her savior but the butched-out (this emerges as a trend in the film) leader of an underground ogre resistance plotting to free Far Far Away from its effete Napoleon and his haggish minions. In order to avoid vanishing from history entirely Shrek has to woo her all over again — a task made harder by her newfound independent streak.
Fans of Shrek will be happy to know that Shrek Forever After — its weird butch/femme dynamic notwithstanding — marks a definite improvement over its predecessor. That said it won’t likely inspire any grassroots campaign to convince Dreamworks to reconsider its supposed decision to retire the character for good. The film works partly because it carries more modest aspirations largely shunning the laugh-a-minute pace and copious pop-culture humor that characterized the first three installments. The franchise is clearly running on fumes but this film has just enough laughter in the tank to make it to the finish line intact.
One final note: The 3D aspect of Shrek Forever After is surprisingly mundane adding little to the overall viewing experience. It’s disappointing considering that Dreamworks just recently did such terrific work on the 3D sequences in How to Train Your Dragon. Save your cash and hit a 2D showing instead.