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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Do the Bourne movies make any sense? Enough. The first three films — The Bourne Identity Supremacy and Ultimatum — throw in just enough detail into the covert ops babble and high-speed action that by the end Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A "sidequel" to the original trilogy Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs jumps and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue chase scenes morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ — a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy Cross' own training program Outcome is terminated. Unlike Bourne Cross is enhanced by "chems" (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz vibrant in nearly every role she takes on plays a chemist who is key to Cross' chemical woes. The two are forced into partnership Weisz limited to screaming cowering and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths — a darker more aggressive character than Damon's Bourne but with one out of every five of the character's lines being "CHEMS!" shouted at the top of his lungs Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton Duplicity and the screenwriter of the previous three movies) is a master of dense language but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene when Gilroy finally slows down and unleashes absolute terror on screen is striking. Unfortunately the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion it only feels like the first hour has played out. The movie crawls — which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.
The Breakfast Club director, who was born in the state's capital of Lansing, received the Michigan Filmmaker Award on the opening night of the Traverse City Film Festival, reports the Associated Press.
Past recipients include actress Christine Lahti and Arachnophobia star Jeff Daniels.
Hughes' widow, Nancy, and his sons, James and John III, accepted the dedication in his honour, and expressed their appreciation for "the opportunity to acknowledge how Michigan... helped shape his humour and storytelling."
The 59 year old passed away last year (09) after suffering a heart attack.
The film follows the journey of the title character (Kirsten Dunst) the winsome sweet-natured teenage archduchess of Austria who is dispatched by her family in the late 1700s into a politically advantageous marriage to Louis XVI (Jason Schwartzman) the future king of France. While the trappings of the royal palace at Versailles are as extravagant and glamorous as any traditional historical biopic the heart of the film is Marie Antoinette’s smaller more emotional world as she struggles to fit in with the puzzling customs and often-stern judgment of a foreign court. She must also fulfill her duty to her own nation—namely producing an heir to safeguard their political status a task that proves increasingly frustrating as she romances her maddeningly reticent new husband. Much like any modern young woman in our era of airhead heiresses she initially soothes her angst by indulging in excessive shopping sprees wild parties and flirtations with a hunky war hero. But she also eases into her role on the throne only to find that her starving angry peasant subjects have taken a harsh view of the gossip surrounding her profligate behavior as they mount the French Revolution. As a child actress who worked steadily into her teens and early twenties Dunst has always been a fresh sunny presence on screen in popcorn films like Bring It On but who could also reveal an ability to access darker corners as she did in her debut performance in Interview with the Vampire and in Sofia Coppola’s directorial debut The Virgin Suicides. But after her breakthrough role in 2002’s Spider-Man most of Dunst’s subsequent efforts seem to have be chosen more to build her Hollywood stardom than challenge her acting skills and perhaps unchallenged she delivers performances more competent than compelling. Marie Antoinette is a welcome return to a more complicated and conflicted role and she rises to the challenge admirably with her most appealing and most affecting turn to date. Utterly capturing the queen’s evolution from naïf to sophisticate gaining wisdom and maturity from her youthful frustrations and overindulgences Dunst makes Marie’s plight utterly relatable and imbues virtually every scene of the film with a watchability that outdoes even the luxe production design. In only her third—and most ambitious—film writer-director Sofia Coppola continues on her hot streak. Already one of the most atmospheric and subtle helmers working in Hollywood she not only marries her modern dreamlike style to the opulent visuals of a historical drama she effectively redefines Marie Antoinette in a way that any alienated over-her-head teen of today could appreciate while also showing just why the population at large might have considered her a monster. As Coppola is the quiet introspective daughter of a revered famously over-the-top filmmaker she too was thrust into a sophisticated world at an early age and was with her much-panned acting turn in The Godfather Part III certainly misunderstood by the public if not reviled. One is tempted to think a certain reliability applies to her success with her story. But her assured skills as a filmmaker are what really make Marie soar—even her experimental touches such as the use of anachronistic music on the soundtrack (the Strokes Bow Wow Wow New Order and others appear alongside Vivaldi). It make perfect sense in context the kind of tunes a disaffected adolescent might play in her bedroom while wondering why no one understands them. That’s just the icing; the rest of Marie’s delectable cake is well worth eating.
Top Story: Britney Spears Bitter About Men
Pop princess Britney Spears says she became bitter with men after her very public breakup with ex Justin Timberlake. In an interview with Newsweek magazine in its Nov. 3 issue, Spears says she swore off dating for a while after the experience. "There was a time when I was like, 'OK, I'm over men. They're mean,'" she says. "For like six months, not a single thing happened. Not like they weren't drawn to me, but there wasn't a single real attraction. I'm like, 'What's happening? I know I'm not a lesbian.'" Spears says she is still not involved with anyone and denies reports that she hooked up with 21-year-old Columbus Short, a married backup dancer. Spears also talks about her suggestive layouts for Rolling Stone, British Elle and Esquire magazines. "I did feel kind of weird after those photos," Spears says. "I was in a moment. I had, like, eight Red Bulls and said, 'OK, let's do it.' I learned my lesson and you won't see me like that for a while. I'm kinda over it myself. Not that it's dirty or tacky, but it is really revealing and I wouldn't want my kid, at 21, to be dressing like that."
Price Is Right Announcer Dies
Veteran television announcer Rod Roddy died Monday at Century City Hospital of colon and breast cancer at age 66, The Associated Press reports. For 17 years, Roddy's voice was familiar to fans of the television game show The Price Is Right for the legendary phrase: "Come on down!" Host Bob Barker said Monday that Roddy, who taped his last show two months ago, stayed with the CBS show as long as his health permitted. "The courage he showed during those difficult times was an inspiration to us all," Barker said. "He was quite a character. He was important to the success of the show." A private funeral service will be held in Texas, with a memorial service planned sometime later in Los Angeles.
California Fires Destroy Part of Aviator Set
The Southern California wildfires, which have destroyed at least 1,134 homes, killed 15 people, forced thousands to evacuate and disrupted auto and air traffic, also partially destroyed a set for Warner Bros.' Howard Hughes biopic The Aviator in the Simi Valley area over the weekend. According to Variety, the blaze at Big Sky Ranch forced the production to switch to interior shooting in Long Beach, Calif. Mike Dilorenzo of Santa Clarita Studios said his facility is operating at full capacity with CSI and Carnivale shooting, but added that the studio was on full alert with fires hoses hooked up and ready to go.
David Bowie and Iman To Appear in Hilfiger Ads
Rock icon David Bowie and his wife, supermodel Iman, will appear in their first ad campaign together. According to Billboard.com, the couple will be the new faces for designer Tommy Hilfiger's new H Hilfiger line, to be launched in spring 2004. The collection, described as "sophisticated, sexy and refined," will be part of Hilfiger's high-end line. The ad campaign, shot this month in Amsterdam by renowned photographer Ellen Von Unwerth, will debut in American magazines in April 2004.
Rosie O'Donnell, G+J Court Date Delayed
The court battle between Rosie O'Donnell and her ex-publishing partner, Gruner + Jahr USA Publishing, was put on temporary hold on yesterday as a scheduling conflict caused the judge to delay Tuesday's start date. G+J charges that everything unraveled at the now defunct Rosie magazine when O'Donnell shut down her daytime TV show in 2002 and went from being known as "fun-loving" to becoming a self-proclaimed "uber-bitch." O'Donnell, however, claims the publisher seized control of the magazine, fired editors who were loyal to her and tried to smear her reputation. Manhattan Supreme Court officials told Reuters the breach-of-contract case over the messy demise of the entertainer's namesake magazine will likely open later this week.
Fox Pulls Plug on Luis
After only four airings, Fox has decided to pull the plug on its freshman series Luis. The show starred feature character actor Luis Guzman as a doughnut shop owner in Spanish Harlem, but it opened to poor reviews and ratings, averaging 3.6 million viewers in its four airings. According to The Hollywood Reporter, production on the series, which aired Friday at 8:30 p.m., was shut down Monday. Ten episodes of the comedy were produced overall. For the next two Fridays, Fox will air original episodes of Wanda at Large at 8 and 8:30 p.m. The network had previously scheduled movies to run on the last two Fridays of the November sweep.
ABC News: Oswald Acted Alone
ABC said Monday that an in-depth investigation of the Kennedy assassination conducted by ABC News indisputably confirms that Lee Harvey Oswald acted alone. The network said ABC News worked with an expert who created a computer-generated reconstruction of the shooting based on maps, blueprints, physical measurements, more than 500 photographs, films and autopsy reports. Through interviews and other documentation, ABC News also concludes that Jack Ruby, who later killed Oswald, acted simply out of his love for Kennedy, the AP reports. The two-hour special on the event is scheduled to air Nov. 20, two days before the 40th anniversary of President John F. Kennedy's assassination.
Tim Robbins To Host Cash Tribute
Actor Tim Robbins will host the Nov. 10 musical tribute to country legend Johnny Cash, who died Sept. 12 at age 71 of complications from diabetes. According to the AP, The Bull Durham star did an audio interview with Cash for promotion of the singer's 2000 album, American III: Solitary Man. Cash also wrote and performed "In Your Mind" for the soundtrack to Dead Man Walking, a 1995 film Robbins directed. Tickets for the tribute concert, which will take place at the Ryman Auditorium, were free and distributed by lottery. John Mellencamp, Dwight Yoakam, George Jones, Willie Nelson, Kris Kristofferson, Sheryl Crow, Hank Williams Jr., Jack Clement, Steve Earle, Larry Gatlin and Cash's daughter, Rosanne, are scheduled to perform.