A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Based loosely on the 19th century Jules Verne novel 80 Days revolves around two unlikely heroes--the eccentric and reclusive inventor Phileas Fogg (Steve Coogan) and his (French?) valet Passepartout (Jackie Chan). While Fogg's "wacky" inventions actually make a lot of sense to us modern-day folk including his insights on flight electricity (which he has rigged so that light illuminates with a whistle) and even Rollerblades to his turn-of-the-century contemporaries the scientist is a giant crackpot. Desperate to be taken seriously Fogg makes an outlandish bet with Lord Kelvin (Jim Broadbent) the head of the London's Royal Academy of Science that he can circumnavigate the globe in no more than 80 days. Impossible you say? Not to Fogg whose obsession with facts and schedules makes him the perfect candidate for such an adventure. With the ever-faithful Passepartout by his side--who has his own secret reasons for joining in on the fun--Fogg heads out on his frantic heart-pounding journey picking up a third traveler a beautiful French artist named Monique (Cécile de France) in the process. But of course the trip doesn't go exactly as scheduled and Fogg as well as Passepartout learn more than a few valuable life lessons along the way. How sweet. Got a toothache yet?
Jackie Chan knows precisely what works for him. Differing slightly from the 1956 adaptation this 80 Days is all about Passepartout as the story tapers itself to fit Chan's specialties. This means you get to marvel once again at his masterful martial arts skills as well as chuckle at his innate sense of physical comedy. As another perfect straight man to Chan's Chinese sensibilities and kung-fu shenanigans Coogan (24 Hour Party People) also does a nice turn as the befuddled and veddy British Fogg while the lovely de France as Monique breathes some fresh air into her ingénue role (and is much more substantial to the plot than the original's Shirley MacLaine who played an Indian princess). Broadbent is adequately sleazy as the pompous Lord Kelvin full of as much hot air as the balloon Fogg and company take a ride in. But 80 Days's extensive list of cameos is the most fun--from Owen and Luke Wilson as the bickering Wright brothers to Rob Schneider as a malodorous San Franciscan hobo to Arnold Schwarzenegger as a Arabian prince (please tell me he made this before he became California's governor). Plus any movie in which Kathy Bates plays Queen Victoria British accent and all has got to be worth seeing .
Minus all the silly songs 80 Days is splashy family fare reminiscent of such films as Willy Wonka and the Chocolate Factoryand the original 1967 Doctor Dolittle (you know the one with a giant pink sea snail). Supported by glorious sets and costumes director Frank Coraci (The Wedding Singer) clearly loves the fanciful adventure of it all creating colorful transitions from one place to the next as Fogg Passepartout and Monique traverse across the globe. But there's always an inherent problem with films of this nature--they tend to be long-winded. The 1956 version of 80 Days which even with a stellar cast including David Niven and Cantinflas drags quite a bit. But with a feisty martial arts expert in the mix this updated 80 Days maintains its momentum for the most part only losing steam towards the end especially after the whole Passepartout subplot in which he has to return a priceless Buddha to his Chinese village is resolved. Suddenly the film becomes just about the race back to London and less about fighting off evil Chinese assassins. Honestly we don't care much about how an uptight British inventor can build a plane out of a boat that will get him back to his final destination in time so he can give a monologue about how his adventure afforded him to make new friends and fall in love. If it's a Jackie Chan movie it's the awesome fight sequences we want to see.