All of 45 pages in length and darkly foreboding in its warning of impending ecological catastrophe The Lorax Dr. Seuss’ 1971 environmental fable is hardly good grist for a modern blockbuster. To broaden its appeal – and its merchandising potential – Chris Renaud and Kyle Balda co-directors of Imagine Entertainment’s 3D-animated adaptation have taken generous liberties with the source text. Their efforts more than adequately satisfy the dictates of commercial family entertainment but they will undoubtedly earn the ire of Seuss purists should any still remain after the 2003 Cat in the Hat tragedy.
Fans of the book will at least recognize the essential elements in the film. We still have the Once-ler (Ed Helms) chopping down precious Truffula trees to make his thneeds and we still have the orange-maned Lorax (Danny DeVito) begging him to stop. But now the former has been refashioned into a guitar-toting go-getter with entrepreneurial zeal and a sympathetic backstory while the latter is given a group of adorably incompetent sidekicks. Meanwhile Seuss’ youthful audience surrogate silent and unnamed in the book has become Ted (Zac Efron of course) a sassy adolescent with a pretty crush (Taylor Swift) a snowboarding grandma (Betty White) and a destiny of his own to fulfill replete with its very own villain (Rob Riggle). Oh and there are now musical numbers as well.
The film’s environmental message is considerably less strident than Seuss’ original story which essentially cast industry and nature as adversaries in a zero-sum death match. Seuss’ ominous exhortation “unless” becomes less a plea to stem capitalism’s inexorable advance than a polite suggestion to plant a tree – which I think even the most ardent global warming deniers would agree is worthwhile. The animation which uses Seuss’ original artwork merely as a jumping-off point is absolutely gorgeous even if it probably betrays the author’s minimalist ethos. The new narrative bells and whistles on the other hand are considerably less appealing and seem too conspicuously designed to connect with younger audiences – and to provide a pretext for some ostentatious chase sequences. The Lorax speaks for the trees; Zac Efron speaks for the vital 12-to-18-year-old demographic.
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Like Madagascar the story starts at the New York Zoo. Samson (Kiefer Sutherland) the lion is once again the star of the show but unlike Madagascar’s Alex Samson claims he came from the wild. He regales the other odd assortment of zoo denizens--including a talkative giraffe (Janeane Garofalo) a lisping anaconda (Richard Kind) a snarky Koala (Eddie Izzard) and a take-charge squirrel (Jim Belushi)--with tales of danger and excitement abroad. Of course Samson can’t tell the real truth that he was actually born in captivity and is making it all up because everyone including his rebellious teenage son Ryan (Greg Cipes) would think less of him. But when Ryan runs away thinking he can’t live up to his dad’s reputation and is mistakenly shipped off to the wild Samson has keep up the charade as the gang embarks on a dangerous mission to rescue him. The lion does come clean at some point in case you were wondering. Another vocal roster of big names another dollar. This time around we’ve got Sutherland Garofalo Belushi all doing the animal thing. There’s also William Shatner as a villainous wildebeest headed for the loony bin after deciding he’s tired of being the prey and turns predator. He’s even got his herd of wildebeest dancing a Busby Berkeley number around a volcano á la Lion King. Sigh. Luckily there is one saving grace--sort of: Izzard as the wisecracking Koala bear Nigel who gets mistaken for a god by the wildebeest and milks it for all its worth which isn’t a whole lot. Still if anyone has seen the British comedian’s hilarious HBO special Eddie Izzard: Dressed to Kill you can just imagine him strutting around as a Koala dressed in women’s clothing and doing his shtick. The Mouse House once again proves it doesn’t have an inventive bone in its body--or even the gumption to realize that had something with potential. Apparently the pitch from writers Mark Gibson and Philip Halprin had been mulling around Disney for about nine years before it got made giving the likes of Nemo and Madagascar a head start (I’d be peeved if I were those writers). But even if The Wild did come first it still wouldn’t be able to measure up mostly because the story is insipid. Wildebeest turning into predators? What’s THAT all about? The CGI-animation is spot on of course but we are definitely taking all of that for granted these days. No now what we want is a good compelling story. If not that then at least we should have a couple of really funny characters--like commando penguins or a fish with short-term memory--to help things move along. The Wild doesn’t have either so while children may be left mildly entertained for an hour and a half parents will be left twiddling their thumbs waiting for it to be over.
When ordered to fire a long-time janitor named Stavi (Luis Avalos) Steve Barker (Johnny Knoxville) softens the blow by hiring him to mow the lawn at his apartment complex. Steve didn't provide him with health insurance so Stavi naturally loses a few fingers in a mowing accident and now it'll cost thousands to save the digits. What's a guy to do? Why of course fix the Special Olympics—a suggestion of Steve's degenerate uncle Gary (Brian Cox) who's also in the financial dumps. Former track star Steve reluctantly goes along with the scam and competes in the Special Olympics. His competitors are quick to pick up on his ruse but they decide to help him after Steve explains his motive. He must also try not to disappoint Lynn (Katherine Heigl) the beautiful volunteer who doesn't know of his real identity. What's a guy to do? Take the high road of course. Certainly Knoxville—of Jackass infamy and debauchery—would have no moral trepidation about headlining offensive exploitative crap like The Ringer but stardom beckons him if he only he stops aiming so damn low! His performance here was probably not as easy as it'd seem but it's reasonable to think that Jackass stunts involving a bottle of absinthe and some paper cuts to the cornea quickly eliminated any butterflies. What Knoxville has in spades is that rare charisma to prevent him from ever looking uncool. Then there's Cox the latest revered journeyman to sell his soul on the cheap for a role completely beneath him. Mostly disabled actors round out the cast uttering any and all funny lines but there's something fundamentally wrong when the audience erupts in laughter before the lines are even delivered. Though the Farrelly brothers—directors of There's Something About Mary and Dumb & Dumber--only acted as executive producers of The Ringer their lowbrow stamp is smeared all over. Directing chores were handed over to Barry Blaustein prolific writer of comedies like Coming to America making his feature directorial debut. The Ringer delivers on its promise of frat-dude humor and Blaustein certainly knows how to make his leading man shine—but it does so in cheap sophomoric ways.
December 20, 2001 11:09am EST
Jimmy Neutron (voiced by Debbi Derryberry) is not only the smartest kid in school he's the smartest kid on the planet. His ingenious contraptions include an automatic bed maker a school-smell-remover called "Box" and a homemade toaster satellite that picks up extra-terrestrial transmissions. Yet all these inventions don't seem to earn him respect amongst his peers: Cindi (voiced by Carolyn Lawrence) the teacher's pet calls him a "Nerd-tron" and Nick (voiced by Candi Milo) the cool guy thinks Jimmy's a geek. His only real friends are Carl (voiced by Rob Paulsen)--whose level of intelligence is less than equal to Jimmy's and Goddard--Jimmy's robotic metal-eating nuts-and-bolts-pooping dog. Ultimately though it's Jimmy's genius that saves every kid (friend or foe) from becoming an orphan when aliens pluck every parent from their homes.
The female voice of Debbi Derryberry took charge of the squeaky-clean Jimmy Neutron character with upbeat optimism minus manly macho-ism (proving a good match for the pre-pubescent junior high animation). But the real "claim to fame" this film boasts is Martin Short (voice of the alien Ooblar) who was unfortunately a disappointment. During what little face time Ooblar has in the film he blathers ridiculously without much wit. The film's second-famous cast member is Patrick Stewart (voice of the alien King Goobot). Yet this king and captain of the parent-heisting spaceship doesn't get much face time either. He's also not a very threatening alien considering his plan to sacrifice the parents gladiator-style is easily thwarted by Jimmy's clan. Stewart seems better suited for the Enterprise anyway.
Because the film is based on a regularly featured cartoon by the same name writer Steve Oedekerk and director John Davis didn't have much room to move. Kids are familiar with the characters' temperaments and Jimmy's propensity for inventing without much setup; besides the film has its very funny moments complete with girl-eating plants and invisible running hamsters. But Davis did have room to move on how the story was told and he didn't use it. Quite honestly the direction is linear and predictable and there isn't much more in the movie that couldn't be picked up by watching the trailer. It's OK if the good guys win in the end (in this case if the kids get their parents back) but it might have been told to us in a way that would make it easier on adult brains (and bottoms) to sit through when their kids are begging to go to the theater.