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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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Von Anhalt was photographed leaving a Beverly Hills fertility clinic in California on Wednesday (13Apr11), and he admits he is considering becoming a father.
He tells TMZ.com, "It was always my wife's dream for us to have a child... and even though we won't be using any of her eggs, she would be thrilled to know I'm going through with this.
"I am so excited!! I hope Zsa Zsa is going to hang around for awhile. I want her to see and hold the baby's hand. She will be a mother again at 95!! It was her wish to have a boy."
Gabor, who was treated after she coughed up blood at her home last month (Mar11), has been in and out of hospital since she fell and broke her hip last summer (10).
Von Anhalt was among the potential fathers fighting for custody of Anna Nicole Smith's baby daughter Dannielynn following the actress/model's death in 2007. He claimed the little girl could be his.
DNA tests eventually confirmed photographer Larry Birkhead was the child's biological father.
The 93-year-old actress was taken to UCLA Medical Center on Sunday (02Jan11) after a spreading lesion began showing signs of gangrene.
Doctors planned to amputate part of her leg but delayed the operation in the hope that powerful antibiotics would help clear up the lesion.
That hasn't worked and now von Anhalt has revealed he must decide whether or not to put his wife's life at risk, and give medics the OK to proceed with surgery.
Putting Gabor under anaesthesia will reportedly give her a less than 50 per cent chance of surviving the surgery, and if he decides against the operation, the strong antibiotics she'll be forced to take could bring about kidney failure, reports TMZ.com.
The actress was taken to UCLA Medical Center on Sunday (02Jan11) after the lesion began showing signs of gangrene.
Her husband Prince Frederic Von Anhalt told media agencies his wife had been scheduled for surgery before Christmas (10), but chose to delay it.
The star's representative John Blanchette now tells People.com, "Over the next two days, the doctors are treating her with powerful antibiotics in the hope that they will affect the lesion on her lower leg... It's now very deep, and 12 inches long."
The 93-year-old U.S. TV regular star has been in a serious condition for months after she underwent hip replacement surgery following a fall at her Bel-Air home in July (10).
There comes a time in every filmmaker’s career when it suddenly feels like they’re coasting. They’ve made a name for themselves had some success and challenged themselves in one way or another so now it’s time to take it easy do what they do best and give the people what they want. Perhaps they’re taking a break before they try to do something big again or maybe they’re paying off the debt of a previous flop but the one thing they’re not doing is taking any risks. It’s the same-old same-old and while it might please the fans the real admirers probably won’t be pleased. It happens more often than we’d like to admit but unfortunately it does happen.
This is the case with Jean-Pierre Jeunet’s Micmacs the latest from the director who gave us Amelie Delicatessen and City of Lost Children (the latter two co-directed with Marc Caro). Those films earned him comparisons to Terry Gilliam and Tim Burton but Jeunet proved he had a unique and witty cinematic style that he could call his own and with the international popularity of Amelie audiences everywhere took notice granting this very talented director a lot of leeway to make films in his own style. With his next film 2004’s A Very Long Engagement he decided to stray from the style of his previous films and attempt something more dramatic and though the film was generally well-received Jeunet decided to go back to the well of whimsy with Micmacs with very mixed results. While casual fans should be pleased anyone interested in watching a filmmaker grow artistically (as Jeunet had been) will shrug and leave disappointed.
Like his fellow fantasists Gilliam and Burton Jeunet’s detractors have often described him as a stylist first and storyteller second. I’ve never subscribed to that theory until now — I always felt a connection to his offbeat characters and stories — but with Micmacs he either has failed to help us make that connection or he simply doesn’t care enough himself. Part of the problem is that the film hangs on the flimsiest of plotlines: Homeless man Dany Boon seeks revenge on the feuding weapons manufacturers responsible for the landmine that killed his parents and the bullet in his head (a result a drive-by shooting) by teaming up with a rag-tag group of other homeless people all of them with their own set of special skills. A picture like this should hook us in from the very start or it’s never going to get off the ground and Micmacs’ opening already suggests that Jeunet isn’t breaking any new ground here; whimsy for whimsy’s sake will only yield limited results especially without a real story in place. Although it’s filled with a number of the filmmaker’s patented set pieces Micmacs is never as engaging as it would like to be. Numerous sequences that resemble Rube Goldberg meets Warner Brothers cartoons are definitely amusing to watch and offer some trademark Jeunet imagery but there’s no reason to care about what we’re seeing. Boon’s plight should be a moving one but for Jeunet it feels more like an excuse to shoot his regular co-star Dominique Pinon out of a giant cannon.
Pinon’s presence represents another problem with Micmacs: although the film is very well cast almost none of these characters register with the audience. Boon’s homeless “family” is filled with faces out of the Jeunet central casting book but we never really learn who they are nor do we understand why they follow Boon’s character through the lengths that they do. Just because they’re “characters” doesn’t really give them character to portray and though the film is energetically performed by all (with special recognition going to the charming Marie-Julie Baup) they’re just figures for Jeunet’s giant Parisian play set. There’s no question that there are certain pleasures to be found in Micmacs; it looks wonderful with some great production design and cinematography by Tetsuo Nagata and Jeunet’s use of classic Max Steiner music definitely adds to the fun. But these enjoyments are really surface-level only and the film doesn’t have enough weight to hold them up. I certainly wanted to like this one more than I did and I’m sure many of you will disagree with my assessment and enjoy yourselves anyway but Micmacs ultimately isn’t the best example of what Jean-Pierre Jeunet is capable of.
O.J. Simpson has hinted he could be the father of Anna Nicole Smith's baby daughter Dannielynn.
Former football star Simpson--who appeared alongside Smith in the 1994 film Naked Gun 33 1/3--wants his name added to the list of possible dads, which already includes Larry Birkhead, Howard K. Stern and Frederic Von Anhalt.
But the 59-year-old's paternity claim to a Caucasian baby--made to Norman Pardo, a videographer who documented Simpson between 2000 and 2005--appears to have been made in jest.
Pardo tells PageSix.com, "(He) said he was throwing his hat into the ring. He said he knew Anna Nicole pretty well, and he said he had slow-moving sperm, and he might be the father."
Simpson claims he doesn't want to be named as Dannielynn's dad so Fred Goldman--who is pursuing him for damages after winning a multimillion-dollar civil suit over the murder of his son Ron and Simpson's wife Nicole--can't make a claim over Smith's fortunes.
Quoting Simpson, Nardo adds, "I hope they don't do a DNA test on Anna Nicole's baby. If they find out Dannielynn is mine, I don't want Fred Goldman trying to seize her money--or the baby herself."
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