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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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Gladiator star Russell Crowe has officially announced his engagement to his longtime Australian girlfriend, singer Danielle Spencer. Reuters reports the 38-year-old Oscar winner, armed with a dozen white roses, proposed to Spencer after returning to Australia in November. Crowe made an impassioned declaration of love to Spencer last month when he announced he was taking an extended hiatus from Hollywood, telling the press: "Let me clarify something. I am in love with Danielle Spencer but I don't get to spend nearly enough time with her...I feel a great need to wake up with her as many days of my life as I can." The couple plans to tie the knot in mid- to late 2003, Reuters reports.
Rocker Tommy Lee has put his upscale 7,400 square foot Malibu home up for sale for $3 million, the Los Angeles Times reported Sunday. In July 2001, a 4-year-old boy accidentally drowned in Lee's pool during a birthday party. Lee, who has two sons, Brandon, 6, and Dylan, 4, with ex-wife Pamela Anderson, said he wants to buy a new home with his fiancée, singer and dancer Mayte Garcia.
Elton John is ditching his trademark flashy frames, Reuters reports. The singer said Sunday he had decided to have laser eye surgery and told BBC TV's Breakfast with Frost program, "I was just fed up with looking for my glasses by the side of the bed and having to squint to see the newspaper," he said. "I've had all the preliminary tests ... I'm going to do it."
Comic book guru Stan Lee has inked a deal with Endeavor, which will also represent his budding production company Pow! Entertainment, Variety reports. Lee's comic book creations have launched several major film franchises, including Spider-Man and X-Men. Pow! has set up close to a dozen film and TV projects, including Stripperella, an animated series on TNN starring Pamela Anderson.
Arnold Schwarzenegger and Cedric the Entertainer are in negotiations to star in Joe's Last Chance. According to The Hollywood Reporter, the film centers on a hit man (Schwarzenegger) who travels to a tropical paradise to terminate his "mark," played by Cedric the Entertainer. A tentative spring start date is being eyed for the project, to be directed by Andrew Bergman.
NBC is developing a remake of the 1970s cop show CHiPs, which starred Larry Wilcox and Erik Estrada as two Los Angeles motorcycle cops. According to Variety, the updated version will be set in San Francisco. The Bourne Identity director Doug Liman is helping develop the action classic.
Former White House intern Monica Lewinsky, whose affair with president Clinton made headlines in 1998, has been banned from the daytime Italian TV show Domenica In (Sunday In), Reuters reports. Lewsinsky was to have been the star guest on the talk show but some politicians were outraged that RAI, a publicly funded state broadcaster, planned to pay for her expenses using taxpayers' money.
R.E.M. is launching their first major tour since 1999. According to The Associated Press, the tour opens June 27 at England's Glastonbury Festival and will continue through July, with stops in Belgium, Germany, Denmark, Switzerland, Austria, Poland, Scotland, Ireland, France and Italy. The tour will come Stateside in the fall. The band is currently working on their new album scheduled for release in 2004.
Former Lovin' Spoonful guitarist Zal Yanovsky died Friday of a heart attack at his home in Kensington, Ontario, six days before his 58th birthday, Reuters reports. The Lovin' Spoonful, named after a Mississippi John Hurt song, formed in 1965. Their hits included Do You Believe in Magic, You Don't Have To Be So Nice and Summer in the City. Yanovsky later traded in his rock star life for a quiet existence as a restaurateur.
A year ago, five unknown guys from Orlando, Fla., went to the Sundance Film Festival with a cheap movie, a neato gimmick and a good publicist.
Today they return to Park City, Utah, as Hollywood players -- the creators of what might become the biggest horror film franchise ever -- and as bona fide filmmakers afforded multimillion-dollar budgets.
Their film cost $10,000 to $100,000, depending on what you read. They sold it for $1 million. It made $140 million in theaters. Maybe you've heard of it: "The Blair Witch Project."
Hands down, the "Haxan Five," as they like to call themselves (Get it? It rhymes with "Jackson Five") are the biggest rags-to-riches story ever to come out of Sundance. Sure, other nickel-and-dime neophytes such as Kevin Smith and Edward Burns have received more critical praise. But none of those guys launched a commercial juggernaut like "Blair Witch," which left most of last year's major studio films in the dust. If not for the festival, the phenomenon may have forever remained a figment of their fertile imaginations.
"Everything hinged on us getting into Sundance," Daniel Myrick, who co-wrote and directed the movie with partner Eduardo Sanchez, told the Dallas Morning News last year. "It's such a validation for our sort of filmmaking. It's like winning the lottery.
"We have these bongos in our office that we beat whenever something good happens. The day we were picked, we partied and beat on those drums all night. Now, we're living the dream, man."
How's tricks nowadays with Myrick, Sanchez and their producers, Gregg Hale, Mike Monello and Robin Cowie? Not bad at all.
This spring, they are set to begin filming their first post-"Witch" feature, a comedy called "Heat of Love" for Artisan. Earlier this month, they signed a big deal with Artisan in which Sanchez and Myrick will executive produce "Blair Witch 2," to be directed by veteran documentarian Joe Berlinger, and they will write and direct a third installment, a "Blair Witch" prequel, set for release in fall 2001. Both the sequel and prequel will be budgeted in the $7 million to $10 million range.
Add to that all their talk show appearances, magazine interviews, the merchandising (including a hugely hyped pre-Halloween home video release, a video game version of the movie, books, etc.), and a TV show in development at Fox, it's been quite a year. Their schedules are so full, they couldn't (or wouldn't) be interviewed for this article (their publicist apologized).
"I think in terms of money, 'Blair Witch' is the most successful movie to come out of Sundance. There's not anything that comes close," says John Anderson, chief film critic for Newsday in New York and author of the book "Sundancing: Hanging Out and Listening in at America's Most Important Film Festival" (Spike Publishing).
But now that Sanchez, Myrick, et. al. are players, the player-haters will inevitably come out of the woodwork. It's already started: After receiving a big buzz-bounce out of Sundance last year, "Blair Witch" was greeted with mostly favorable reviews as critics praised it as an anti-film, a horror original. But as the film became a phenomenon, detractors appeared, saying, "it's not scary," "it's cheap-looking" or "stop shaking the camera already, you're giving me a migraine."
"The reaction was kind of funny," Anderson says. "Almost as soon as it started making money, people turned on it. There's always this perverse critical reaction when something becomes too popular, but you have to admit it had one of the great marketing plans, both by the filmmakers and by Artisan."
That marketing plan began back in 1997, when Sanchez and Myrick succeeded in getting snippets from "Blair Witch," then a work-in-progress, onto indie film guru John Pierson's cable TV show "Split Screen." From the beginning, the project was presented as if it were a true-to-life documentary, and the filmmakers neither confirmed nor denied its authenticity. To maintain a veil of mystery, they made sure the film's three actors, who portray the film crew lost in a haunted Maryland woods, didn't speak to the media until after the film was released theatrically in July.
The actors, Heather Donahue, Joshua Leonard and Michael Williams, who lent their real names to their characters, have also fared well in the wake of the film's box-office bonanza. All three were complete unknowns beforehand -- they didn't even have SAG cards -- but they spent last summer making promo appearances on Jay Leno, the MTV Movie Awards and other gigs. Now they all live in Los Angeles and have agents.
Leonard has enjoyed the most immediate big-time success, recently landing a part in "Navy Divers," a mainstream Hollywood flick with Robert De Niro and Cuba Gooding Jr. He also worked on a low-budget film, "City of Bars," which was shot last year in San Francisco. Not bad for a guy whose resume previously boasted of a few films most have never heard of and stage work at the Seattle Fringe Festival.
Donahue, whose credits included stage work in New York, is now auditioning for films and spends time camping in the California mountains, an interest she developed while working on "Blair Witch." And Williams is also passing out headshots in Hollywood, having moved to the area last year after getting married. He also has diffused a longstanding rumor that he once played minor league baseball in the Yankees farm system.
What's next? Many filmmakers who hit pay dirt the first time out suffer a sophomore jinx, and the industry will surely be watching to see if the Haxan guys sink or swim with their new comedy. Will it be funny? Will it be in focus? Will there be lots of rocks and twigs?
The Haxan guys are being familiarly coy about "Heat of Love," which they have described as "'It's A Mad Mad Mad Mad World' meets Ruth Buzzi and Erik Estrada."
"Whatever they do next, they're going to have to try extra hard to get over the hump," Anderson adds. "A lot of people feel like they were snookered by 'Blair Witch' because they [Sanchez and Myrick] were so cagey about the origins of the footage.
"Mainstream narrative filmmaking is a whole new ball game for them. There's no reason to think that they'll be better at it than anybody else. They caught lightning in a bottle the first time out."