The first Santa Clause had a somewhat clever premise on how an ordinary guy can become Santa Claus just by putting on the red suit while the second Clause was about finding a Mrs. Claus. What’s the third clause? The Escape Clause which allows anyone who is Santa the option to give it all up and become a mortal man again. Of course Scott Calvin (Tim Allen) aka the current Santa has no intentions of leaving the job. But his lovely wife Carol (Elizabeth Mitchell) is expecting their first child and missing home a great deal so Scott has to juggle having his in-laws (Alan Arkin and Ann-Margaret) come to the North Pole--which he has to disguise as Canada to keep the “Secret of Santa” alive--with getting ready for Christmas. It’s kind of hectic. And throwing a huge wrench in the whole deal is the envious Jack Frost (Martin Short). Relegated as the “opening act” to Christmas Frost wants his own gig and sabotages Scott at every turn in order to steal the job away from him. There’s no nipping at your nose with this guy; it’s all-out war. Allen makes no apologies for his career. Why should he? He’s been moderately successful playing everyday dads in Disney comedies displaying the right mix of milquetoast-iness and humor. Plus as Scott/Santa he also gets to be sentimental. I just wonder if he still wouldn’t like to do something more cutting edge? Short on the other hand never could find the right kind of starring vehicle for himself but instead has created some hilarious supporting characters (if you don’t believe me rent The Big Picture). Jack Frost is another one to add to the list. The comedian has way too much fun playing the nasty ice man with steely blue eyes a smart--if frosty--three-piece suit and who gets to say lines like “I invented ‘Chill!’” Mitchell (TV’s Lost) reprises her role as the sweet-as-pie Mrs. Claus and has some nice moments with Scott. And what a surprise to see Alan Arkin and Ann-Margaret in this! They are perfect as the meddling in-laws especially Arkin who finds everything wrong with Scott and his “toy factory.” Buena Vista didn’t feel it was necessary to pre-screen Santa Clause 3 for critics. They probably believe the audiences for this franchise is already built in and they don’t need jaded critics slamming the film for being silly and meaningless. Smart. But as much as it pains me to say it Santa Clause 3 directed by Michael Lembeck (who did Santa Clause 2) really isn’t that awful. Yes it’s all terribly predictable with the schmaltz so thick you could cut it with a knife. But there’s also something surprisingly endearing about these movies. They have always provided a sort of warm family-friendly feel without too much forced circumstances—and most importantly they are legitimate Christmas movies--even its being released just as we are putting away the Halloween decorations. Honestly I’d take a Santa Clause 3 over a Christmas with the Kranks (sorry Tim Allen) any day.
It’s Halloween Eve in suburbia and while most of the neighborhood kids are gearing up for a candy extravaganza two young‘uns--DJ (voiced by Mitchell Musso) and Chowder (voiced by Sam Lerner)--are fretting and dreading. They’re convinced that the decrepit house across the street is in fact a monster house inhabited by an old hermit named Nebbercracker (voiced by Steve Buscemi) that will lure kids in on Halloween night. But just as DJ’s parents who naturally don’t believe him to begin with leave for a vacation DJ inadvertently sends Nebbercracker to his death--or so he fears. Now DJ believes Nebbercracker’s monster house will seek revenge on him specifically and to make matters worse his negligent babysitter (voiced by Maggie Gyllenhaal) won’t hear of his yapping. After DJ and Chowder are forced to take action they along with a girl peddling candy (voiced by Spencer Locke) discover how the monster came to be and just how unforgiving she is. When it comes to animation acting the main goal is to make audiences forget that the actors are giving their performances in a studio possibly dressed in their PJs and sans makeup. That goal’s usually achieved but Monster House takes a gamble in supposing that child actors comprising the lead characters will be able to wrap their still-expanding brains around the concept. Somehow Lerner and Musso grasp this despite sounding like they haven’t even been in this world very long! The two are surrounded by a fail-proof supporting cast: it takes a while to recognize Buscemi’s voice as Nebbercracker but once it hits it fits and Gyllenhaal as the babysitter is great if unpredictable casting. Quasi-cameos from Jason Lee as Gyllenhaal’s punk boyfriend Jon Heder as a video-game god and Kevin James and Nick Cannon as slow-moving and -thinking cops garner the most laughs. Not only does it help a film’s box office performance to have Steven Spielberg and Robert Zemeckis onboard as executive producers it helps a film’s director--in this case a rookie director named Gil Kenan. (Zemeckis directed ‘04’s somewhat similar-looking The Polar Express.) While the animation doesn’t quite stand up to say Pixar’s earth-shattering visuals Kenan makes up for it with a fun-filled story (from scripters Dan Harmon Rob Schrab and Pamela Pettler) and an overall lively involved effort--and it’s not like the movie doesn’t still look gorgeous. Besides sometimes it’s refreshing to not be so entranced by the CGI that you lose sight of the actual movie at hand. Kenan’s film is one of the scarier animated movies in a while but that still doesn’t exclude many age groups. What the first-time director thrives on is stopping just shy of true horror moments at which point he reverts to feel-good mode without ever being sappy.