ParaNorman dares to play to all audiences. Unraveling with a purposefully imperfect stop-motion technique the zombie adventure utilizes striking filmmaking styles sharp wit and scares that will give young ones the willies while tickling the nostalgia bone of any adult who used to stay up past his or her bedtime watching horror movies. The film isn't overtly for anyone; it's simply on a mission to tell a great story. ParaNorman succeeds: embracing a world where bullying is hitting an epidemic level and the social "outcasts" are lashing out the animated movie balances emotional messages with a wild visual ride. Quite out of the ordinary — the living dead being just the beginning.
Norman (The Road's Kodi Smit-McPhee) is a middle schooler living on the fringes. He sits alone at lunch with his only real friend the chubby nerd Neil; he's routinely beat up by schoolyard bully Alvin (Christopher Mintz-Plasse); and the kicker: he sees ghosts — and no one believes him. Norman passes the time by watching old horror movies with the spirit of his Grandma (Elaine Stritch) much to the chagrin of his mother (Leslie Mann) and father (Jeff Garlin). Norman's dad is fed up with Norman's "disturbed" behavior but before he can ship his son off to psychiatric help all hell breaks loose in their hometown of Blithe Hollow. Failing to put together the cryptic words of town crazy Mr. Prenderghast and keep zombies at rest Norman goes on the run from the living dead who take to the streets of Blithe Hollow. Why? The mystery is revealed as Norman embarks on a Goonies-style race around Blithe Hollow.
ParaNorman only loses footing when it's in explanation mode setting up the pieces of the puzzle that will play out in the movie's second half (not unlike most movies of the genre it's riffing on). But the introductions to the colorful cast and horror-inspired adventure brought to life with stunning animation and a muted color palette unlike most kid-friendly cartoons are an absolute treat. Norman is a three-dimensional character both in puppetry and human terms; Smit-McPhee's timid vocals realize the fear of the scary moments and work as perfect deadpan to ParaNorman's comedic asides. The movie advances its risk-taking to a whole other level in the finale offering an explosive crescendo that wows the senses and is sure to bring tears to the eyes. It's a marvel on a technical level — intricate landscapes shot with shallow focus all set to Jon Brion's rousing score — but in the end the film works because it's a great bold story. For a movie grounded in fear ParaNorman stands out as a movie for audiences young and old that's truly fearless.
Jagshemash! (Note: Excuse please any and all Borat-isms in this review. They've infiltrated our vernacular--just like they will yours! Chenquieh.) Borat Sagdiyev (Sacha Baron Cohen) a noted celebrity and TV talking head in his native Kazakhstan is set to travel to U.S. and A. for well make benefit glorious nation of Kazakhstan. With a camera crew and his show's director Azamat Bagatov (Ken Davitian) along for the ride Borat stops first in New York City. It is a nice! Like anyone from a faraway land he is amazed that his hotel room is larger than an elevator and by all the peoples on the subway and by Pamela Anderson. In fact he is so smitten after watching his first Baywatch episode that his mission has changed: He will go to California and marry Pamela and hopefully make a sexy time! Of course he and Azamat will still have to cross the country--in their ice cream truck--to get there stopping along the way in the biggest cities and smallest towns and seeing everything from "vanilla faces" and "chocolate faces" to women who get to choose their sexual partners. If Academy voters had any "khram" whatsoever they'd give Cohen an Oscars invite...which he'd promptly parlay into the opening scene for Borat 2. And who in their right mind wouldn't just kill to see that acceptance speech?! But I optimistically digress. Any breakdown of Cohen's inhabitance of his alter ego Borat--one of three from his beloved Da Ali G Show; he's reportedly set to immortalize Bruno his gay Austrian fashionista from the show next--reveals what is stealthily one of the best performance in years. Before you scoff consider the indisputable facts: In Borat Cohen is (a) pretending to be if not totally becoming someone else and (b) has positively just one take to nail each scene and nail each scene he does. If those don't comprise an amazing performance in the most fundamental sense then what's the criterion? And not to be forgotten in all that Cohen pulls off here is Borat's entire straight-faced diction--from the accent to the word usage--which audiences could appreciate more in earnest if their howls of laughter didn't overpower some of the dialogue but who can blame 'em? Lest we forget veteran actor Davitian (a California native!) has a hand in quite a bit of the madness as well. One of his scenes in particular will be burned into your memory for a long time to come. Oh you'll know it when you see it--it's the one that makes a Steve-O stunt look like PBS programming. Borat is admittedly not for everyone because some people just don't like to laugh! In all seriousness--and more so as an obligatory disclaimer--the movie is beyond offensive and some people will walk out. But the worst thing you can do is dismiss it even if you just skip it. Because underneath Cohen's mustache that puts Earl Hickey's to shame his soiled suit and his who's-gonna-know-it's-faux? Kazakh accent the British comedian is interested not in attacking America but rather in exposing its underbelly that is rarely vulnerable--in other words if he didn't want to wake people up with this film it would've been called Cultural Learnings of Switzerland (which still would've been pretty funny). Thus his intentions while not necessarily educational fall somewhere between hilarity and eye-opening satire--not vitriol. Director Larry Charles (Seinfeld Curb Your Enthusiasm Entourage) must have some stories to tell his grandchildren about the guerilla-style hit-and-run filmmaking that was executed but as co-writer star and character creator Cohen shoulders all the onus credit and death threats. His anonymity and privacy might take some hits too. Speaking of which he is indeed Jewish. Unfortunately for Cohen however he's not also black mentally or physically handicapped gay a female a gypsy a Kazakhstani or an animal. Which is to say loosen up people! Nobody goes untouched here least of all the man perpetrating the offenses.
Part Mean Girls part Heathers—hell there’s even a little bit of Hilary Duff’s ridiculously stupid The Perfect Man thrown in there—John Tucker Must Die fits the genre nicely. But the word “die” is a little harsh. Actually when three high school girls—wannabe journalist Carrie (Arielle Kebbel) head cheerleader Heather (Ashanti) and vegan activist Beth (Sophia Bush)—find out they are all dating the delectable John Tucker (Jesse Metcalfe) the school’s basketball star they decide to get even. After several embarrassing tactics backfire the girls come up with the perfect idea. They’ll recruit pretty but anonymous new kid Kate (Brittany Snow) doll her up and get Tuck to fall in love with her so she can ceremoniously dump him. Wow I can’t see anything going wrong with that plan. Not at all. Talk about some pretty people John Tucker has got them in spades starting off with the insanely handsome Metcalfe who literally had women weak in the knees as the hot gardener who woos Desperate Housewives’ Eva Longoria. It’s not a big stretch to see him as the sexy Tuck the most popular er player in school. Then there’s the trio of revengeful hotties: tall lean and blonde Kebbel (Aquamarine) as the “smart” girl; curvy singer/actress Ashanti (Coach Carter) as the bring-it-on “cheerleader”; and luscious and exotic Bush (TV’s One Tree Hill) as the “experienced” one. But really its the perky Snow’s (The Pacifier) show effectively playing the “invisible” girl no one knows or even cares to know who moves around a lot whenever her mother (Jenny McCarthy in a nice bit part) breaks up with a “John Tucker” herself. What’s wrong with these single moms dragging their daughters all over the place after their hearts get broken? Betty Thomas best known for her turn as Sgt. Lucy Bates on Hill Street Blues doesn’t have the best track record in town as a director (I Spy is hers for example). But she’s helmed enough passable comedies (The Brady Bunch Movie Dr. Dolittle) to grant her admittance into the club. Problem here is Thomas isn’t teamed up with a sharp writer like Saturday Night Live alum Tina Fey whose Mean Girls script simply zings. John Tucker is pretty standard fare taking bits and pieces from the already established high-school formula. Still the coveted teen market will more than likely enjoy all the antics in the film—especially the whole “thong” bit in which Tuck caught wearing a thong in one of the girls’ schemes makes it cool for guys everywhere to wear thongs. Yeah you get the picture.