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 recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Morning Glory like its director Roger Michell’s most notable film Notting Hill doesn’t reinvent the wheel but takes it for a pleasant spin around town. He trades the grey skies of London for the skyscrapers of Manhattan with a fun if formulaic romantic comedy that boasts an impressive but underused cast including Harrison Ford Diane Keaton and Jeff Goldblum.
Of course the real star of the show is Becky Fuller the behind-the-scenes boss of fictional network IBS’ (what a name) fledgling morning show Daybreak played by America’s newest sweetheart Rachel McAdams. She gives Becky spunk sexiness and a strong resolve to succeed in a business that isn’t kind to new recruits. Her task is simple to grasp but hard to execute: revive the show and boost its ratings. Had she been working with Matt Lauer or Diane Sawyer the job would’ve been easy but the film would’ve missed out on the possibilities for screwball workplace comedy.
The heartiest laughs are provided by supporting characters like Ty Burell’s Paul McVee who is more entertaining to watch in his ten minutes of screen time than the majority of the core cast throughout the film’s 102 minute run. Not every character is meant for comic relief though like Ford’s growling curmudgeon Mike Pomeroy a hard-nosed award-winning journalist and relic of the past in a world more interested in “fluff” over facts. Pomeroy is strong-armed by Becky into Daybreak co-hosting duties because of a clause in his contract and he does everything he can to make her life a living hell. His reluctance to cooperate is eventually undermined as a result of a “mutual understanding” between the two but it feels unauthentic as he betrays his own ideals for a barely developed friendship.
Even more phony is the virtually useless love angle between Becky and Adam Bennett (Patrick Wilson) a fellow producer at IBS who advises her not to hire Pomeroy based on his own negative experience with the seasoned commentator. You could remove the character from the film completely without affecting the end result. Unfortunately the same can be said for Keaton’s co-host Colleen Peck whose arc mirrors Ford’s but who arrives at the finish line first. It’s a shame really because both are fine actors who could have done a lot more with characters with a bit more depth.
Its message about the sad state of American media aside depth isn’t what Morning Glory is about. This is a cheery comedy with a few chuckles and plenty of charm. Sure it’s silly but it’s definitely not stupid and doesn’t get overly sentimental. The script courtesy of The Devil Wears Prada scribe Aline Brosh McKenna is sharp enough to entertain if you don’t think too hard about it. It may not be the most memorable movie you’ll see this winter but it’ll surely bring a smile to your face.