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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It's rare that a sequel trumps the original but The Expendables 2 manages to do just that with a steady stream of one-liners and welcome weathered faces as well as a few new ingredients. E2 seems even more self-aware of its own silliness especially with Jean-Claude Van Damme as the villain (named Vilain of course) and Chuck Norris and Arnold Schwarzenegger popping up in smaller roles alongside previous Expendables Sylvester Stallone Jason Statham Jet Li Dolph Lundgren Bruce Willis Terry Crews and Randy Couture.
Then again The Expendables wasn't any sort of action classic; it was like writer/director/star Stallone threw a whole bunch of ideas at the wall to see which would stick then added massive amounts of weapons and the occasional hand-to-hand combat. It was popular but it definitely not the kind of awesome actioner that the stars were able to make 10 or 20 years ago. There's the rub actually; like women actors who have written or directed their own projects because nothing else was available or satisfactory Stallone created The Expendables because Hollywood didn't seem to know what to do with him and his fellow action stars as they got older. It's easy to criticize Stallone et al for not doing the same amount of stunt work or hand-to-hand fighting that for example Statham is capable of but the whole thrust of the movie is that they're expendable -- to themselves to the world and until Stallone kickstarted these movies to Hollywood.
E2 is still clumsy but it's a little more adventurous and a little more introspective. Two new additions to the crew seem to throw everyone for a loop in one way or another. Liam Hemsworth shows up as Bill the Kid a sniper who left the military after a raid in Afghanistan went horribly wrong; his age and hopefulness not to mention physical prowess is a foil the Sylvester Stallone's Barney Ross and one that Barney is well aware of. Nan Yu joins the team as Maggie who is apparently the only person who can disarm the safe that holds whatever secret thing Church (Willis) has sent them to retrieve. And if the Expendables don't get her back alive Church will make them pay because even though Maggie is some sort of multilingual computer genius with a vicious roundhouse she's a lady. On one hand perhaps we're supposed to gather that this group of old dogs is learning new tricks by having to deal with a smart capable woman in their midst; the attempts Gunner (Lundgren) makes to flirt with her are clunky and goofy and she's obviously way too smart for fall for that claptrap. On the other when she whips out some instruments of torture Barney cracks "What are you going to do give them a pedicure?" And of course her role also devolves into an incredibly stilted and unbelievable romantic interest for Barney. One point for trying but two points deducted for falling into the romantic interest trap.
At times it's hard to tell whether or not we're laughing with the crew or at them. Plus because of how jam-packed the cast is some actors get the short end of the stick. Statham is the most charismatic of the bunch and he also has the most impressive hand-to-hand fight scenes but the emphasis in E2 is sheer firepower so he doesn't get nearly enough screen time. Couture is fairly forgettable while Lundgren plays the lunkiest of lunkheads; the running joke is that he has a chemical engineering degree from MIT and was a Fulbright Scholar which is supposed to be funny... except it's also true. (We're to assume he's mended his evil ways between the first Expendables and the second.) Is Lundgren agreeably poking fun at himself the same way Schwarzenegger hams it up at every turn? Or does E2 have shades of JCVD which stars Van Damme was a washed-up action star? Are the emotional moments supposed to fall so hilariously flat on purpose? For some reason it seems important to tease out which parts of these movies are earnest and which are tongue-in-cheek.
There's a weird melancholy about watching this group of aging action stars that has the same tang as watching someone you love grow older especially as they try so very hard to fight the ravages of time. If you dig a little deeper maybe deeper than E2 warrants you could find a well of sadness below the back-slapping antics. The world has changed and even though Stallone and his crew have muscles so hard and juicy they could pop out of their skin like grapes they can't compete with Bill the Kid and Maggie and others like them. They know it and we know it and while it's good fun to see old friends or onscreen enemies kill scores of bad guys (led by JCVD sporting a truly horrible fake Baphomet-style neck tattoo) there are better smarter more exciting and more interesting action films on the horizon.
And there's also The Expendables 3.
Contagion a sharp thriller from writer/director/cinematographer/editor/do-all Steven Soderbergh (Ocean’s 11 The Informant!) is like an adaptation of a Michael Crichton novel that never was. The movie quickly sets up its pawns in order to engage you in a game of pandemic chess where the terror comes from science and the humanity comes from your own empathy. Instead of relying on a sci-fi backstory outlandish deaths or large-scale set pieces Soderbergh lets the facts do the talking—and it's scary as hell.
Much like his Oscar-winning film Traffic Soderbergh unfolds the story by weaving in and out between a series of character perspectives: Matt Damon's Mitch who loses his wife to a mysterious virus and strives to protect the rest of his family; Laurence Fishburne and Jennifer Ehle members of the Center for Disease Control racing against the clock to find a cure; Kate Winslet's Erin a field agent tracking down the source of the American outbreak; Jude Law's Alan a high-profile blogger searching for the truth behind the disease; and Marion Cotillard's Dr. Orantes another agent hunting for Patient Zero in Hong Kong. While the drama spans globally each characters' quarrels are playing out in a claustrophobic scenario a world in which any person they meet any object they touch can infect them with the life-threatening disease.
Soderbergh doesn't have much time to dive into his characters' backstories but the film's screenwriter Scott Z. Burns carefully constructs each scene to deliver just the right balance of terrifying scientific babble and revealing personal drama. When the virus starts massacring the world population and vandalism riots and societal unrest emerge the thing that makes Contagion click is our interest in the personal stories. Damon as seems to be the case with everything he touches elevates the material being the perfect everyman and our surrogate for the too-plausible-for-comfort scenario. Fishburne too turns what's normally a plot-forwarding government agent role into a man dealing with the weight of his decisions watching citizens of the country drop like flies from his ivory tower. It's heavy stuff but Burns' playful dialogue helps the cast lighten the harrowing mood—only so the movie can pull the carpet from underneath you over and over again.
But in the end Contagion is Soderbergh's show. The director uses every ounce of cinematic artistry to leave us squirming in our seats with a fetishistic approach to shooting the most mundane of objects. The close-up is Soderbergh's weapon of choice honing in on common day objects that we realize are infested with germs (with the effect amplified by a thousand if you catch the movie in IMAX). A door handle a bathroom drier button the human face—Soderbergh lingers as a reminder of his invisible villain: the virus. That's a compliment: the design and photography is striking the purposefully pristine picture quality fills the characters' quest to stay healthy with tension. Composer Cliff Martinez's electronic score compliments the icky scenario germinating over the picture like audible infection. The world of the film is rich with detail. Just the icky kind.
Contagion isn't flawless. With so much going on things fall to the wayside—Cotillard's plotline specifically gets lost in the shuffle—but the reality keeps us engrossed. The movie plays like an oral history of a horrific event with each detail frighteningly exposed. Except in the case of Contagion it's not an event that has happened so much as one that could happen.
And at any moment.
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.
The story of Lust Caution begins in the midst of WWII in Asia as the Japanese have a stranglehold on key areas of China including Shanghai and Hong Kong. The iron-fisted Chinese who are collaborating with the invaders are led by Mr. Yee (Tony Leung) a cruel and ruthless man who delights in the torture and murder of his fellow countrymen who are fighting against the Japanese occupation. When a patriotic band of college students (made up of four men and two women all part of the drama school) decide to strike a blow for Chinese freedom by assassinating Mr. Yee it falls to Wang (the mesmerizingly beautiful Wei Tang) to infiltrate his home and heart to pave the way for the killing. But as her compatriots--including handsome Kuang played by American-born Chinese rock star Lee-Hom Wang who loves her from afar--bid their time waiting for the moment to strike Mr. Yee and Wang enter into a torrid affair that begins to consume them both. Think of the Hitchcock classic Suspicion shift from Europe to Asia add in intensely explicit sex scenes and a completely unexpected ending and you have Lust Caution--a film that is soon to be considered a classic as well. Veteran actors Tony Leung and Joan Chen lead a fine cast of actors who together create this completely believable glimpse into Chinese culture during the dark days of Japanese occupation. Both give intense performances--he as the powerful emotionless Mr. Yee and she as his vapid shopping and Mah Jong-obsessed wife. But the most amazing performance is that of newcomer Wei Tang the Miss Universe finalist who makes her film debut in Lust Caution. Her fantastic face slim body and almost ethereal presence seem to blot out everyone else when she is on the screen; you can’t help but look at only her. Her transformation in the four-year span of the story is masterful. As she goes from a naïve young student to a mature woman whose physical obsession with a man she despises begins to overwhelm her. The ingénue proves that she is much more than just a pretty face. In fact she deserves an Academy Award nomination for her often subtle always fearless performance that is at the heart of the film. Ang Lee has a unique cinematic ability to begin a story very specific to a time a place and a culture and end with a universal tale that resonates across all societies and peoples. He did it beautifully with Sense and Sensibility Crouching Tiger Hidden Dragon as well as Brokeback Mountain and he’s done it again masterfully with Lust Caution. This newest film is an intense look at how war often causes an individual to make the ultimate sacrifice for the common good yet it also explores another underlying theme: the idea that there is a never-ending battle between the sexes for emotional dominance within a sexual relationship. Ang Lee’s deft hand is evident in every frame including the incredibly explicit (and often violent) sex scenes that have given the film its NC-17 rating. But this is not pornography; every scene is necessary to the story showing us that using sex as a means to an end (no matter how noble that end) is a very dangerous game to play especially during wartime. Look for Ang Lee’s name to come up on the Academy’s list again this year as awards season kicks into high gear. He deserves every honor for this emotionally disturbing masterpiece.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.