Disney's new movie Mars Needs Moms suffers from a classic mistake: focusing too much on one aspect of a production -- and in this case it's the visuals. The result is an unbalanced mess that looks terrific but doesn't have enough substance to leave the audience with anything more to "ooh" and "ah" at other than all the pretty colors. As we all know from that one really really hot girl/guy in high school who's now overweight and working a dead-end job looks can only go so far.
Adapted from the children's novel by Berkeley Breathed and directed by Simon Wells Mars Needs Moms follows Milo (acted by Seth Green voiced by Seth Robert Dusky) as he chases after his mother who's been stolen by Martians just a few hours after he told her he'd be better off without her. Once he arrives on Mars (by sneaking on the ship) he meets Gribble (Dan Fogler) who informs him of his problem: the Martians are ruled by a ruthless queen-like Supervisor (Mindy Sterling) who's decided that the hatchlings (babies who sprout from the ground like vegetables) must be divided: all males are thrown away into the dump and the females are raised by "nanny-bots" -- robots programmed by the "discipline" energy of good moms like Milo's from Earth. Milo and Gribble buddy-up and with the help of a rebel Martian named Ki (Elisabeth Harnois) the three of them venture to save Milo's mom before it's too late.
And venture on they do. Coming from producer Robert Zemeckis and utilizing the same motion-capture technology as The Polar Express A Christmas Carol and Beowulf Mars Needs Moms rushes forward embracing its visually stunning universe without taking a moment to stop and breathe. The characters never have a chance to do anything significant that would make the audience think they're substantial or important -- especially Gribble whom the filmmakers really really want us to care for. On top of that it relies on a plot line that we've all seen before and instead of diving into the parts that made it interesting (like the question of why men were thrown in the garbage and not women) it skims safely along the surface doing its best to avoid anything deeper than basic themes.
But that may be a little too picky. After all the movie is just supposed to be a fun little child's tale right? In that vein it succeeds. We feel like we're on an amusement park ride thanks to Ki's vibrant '60s flower-power paintings and the adventures on the Red Planet's surface. Even the moments that aren't super fast-paced present environments that are beautiful. Plus Fogler's performance as Gribble (as Jack Black-esque as it was) gives us some fun enjoyable moments and one-liners that kids will no doubt love.
Yet at the same time Mars Needs Moms' visuals aren't all glorious. In fact some hurt the plot because frankly the humans aren't animated very well. There's no life in their eyes. Simple movements like walking look awkward and too often characters facial expressions don't match the urgency found in their voices. Instead the animation just turns all the characters into weird cartoony versions of themselves that look so "almost human" they appear fake. And as always it's difficult to care for fake people.
Children will definitely enjoy Mars Needs Moms but from a filmmaking standpoint Wells really missed an opportunity to deliver something other than neat visuals and one-liners.
Animation particularly when it comes out of the Disney/Pixar stable is one of those areas of filmmaking that regularly inspires the phrase "They don't make them like they used to." In the case of Toy Story 3 however it's more accurate to say "They have never made them like this." It's certainly not unheard of for an animated film to be good for a Pixar film to be great or for the third film in a trilogy to be outstanding (though that's the rarest of the three) but in the case of Lee Unkrich's film the sheer degree at which it exceeds at all three is not just rare it's unprecedented.
Eleven years have elapsed since Woody (Tom Hanks) Buzz (Tim Allen) and all of Andy's favorite playthings had their last adventure -- rather 11 years have elapsed since Andy stopped playing with his toys. Buoyed by Woody's never-failing devotion the gang is all optimistic that Andy will elect to bring them with him to his first year of college but as that fateful empty-nest day approaches it becomes clearer and clearer that the only toy that will be making the trek to school is Woody. The rest are all by a series of unfortunate events consigned to live out their remaining days at Sunnyside daycare. Things are actually looking up for the neglected entertainers until they realize just how careless the ankle-biters are when it comes to playing with toys.
Unfortunately there is no escape in sight for the lovable personalities Pixar has been refining for over a decade. Lotso Huggin' Bear (Ned Beatty) runs a tight ship at Sunnyside; the new toys are just going to have to be sacrificed to the aggressive toddlers so the old veterans can have a relaxing time with their more mature counterparts. Eventually Woody catches wind of what kind of life his old pals are being forced to live and Toy Story 3 quite brilliantly becomes a riff on classic prison escape movies as Woody seeks to breach Lotso's security measures and bring his bunch back to Andy where they belong. And while this on-the-run chunk of the film is some of the most thrilling material Pixar has ever delivered it's also some of the most touching.
Unlike most sequels not a moment of Toy Story 3 feels artificial. There's no sense that Pixar decided to make a third film because it knew that the box office would gladly support another entry; no sense that this is a cash grab (unlike a certain green ogre's most recent trip to the big screen). All of those typical sequel pitfalls are carefully avoided by a swelling sense of finality. Toy Story 3 isn't just another adventure with these characters -- there is in fact no doubt that this is their final adventure their final hoorah together. Director Lee Unkrich and screenwriter Michael Arndt meticulously lead the audience along with bated breath the entire time culminating in a life-or-death scenario for the toys that is more heartfelt and genuine than most live-action films can ever muster.
It's astonishing how the creative team at Pixar can make you forget that what you're watching is all a bunch of digital wizardry. Maybe it's the 3D this time around maybe it's that this is the studio's most accomplished technical feat to date (there are single shots at a landfill that pack in richer detail than the entirety of the pioneering first film) that makes Toy Story 3 such an immersive experience. Or maybe it's simply because Pixar treats its property which is ostensibly for children with the utmost sincerity. The result is an overwhelming success the rare kind of film that were it a human being would be your best friend.
One could reasonably make the case that Toy Story 3 is the single best animated film ever made. I wouldn't outright agree with such grandiose claims but it's certainly not a baseless proposition that you'd be laughed at for bringing up. However with part three now tucked under Pixar's belt one could present an even better case that Toy Story is the best film trilogy ever made -- a claim I am far more comfortable signing on the dotted line for.
Based on the popular American Girl series of books and doll line this first edition focuses on Kit Kittredge (Abigail Breslin) an aspiring young cub reporter who during the Great Depression finds her sunny world turned upside down when her father’s (Chris O'Donnell) car dealership goes under and he must leave Cincinnati to find other work. This leaves Kit and her mother (Julia Ormond) to fend for themselves selling eggs and home-grown veggies and renting out rooms in order to keep the family home. Kit always has time for others bringing home a stray Basset hound or convincing her parents to let a couple of hobo friends (Max Thieriot Willow Smith) help out around the house in return for meals. They are among the colorful characters in her life including the Kittredge’s new tenants a magician (Stanley Tucci) a man-hungry dancer (Jane Krakowski) and a ditzy librarian (Joan Cusack). Kit also spends a lot of time writing articles including a glowing one on the hobo community which she hopes to sell to the craggy publisher (Wallace Shawn) of the local newspaper. When a crime spree suddenly hits and the Kittredge’s savings are wiped out blame is pointed at the hobo camp. With the help of her buddies Stirling (Zach Mills) and Ruthie (Madison Davenport) Kit must solve the mystery and save the day. With a part tailor-made for her Breslin is the perfect Kit endlessly optimistic determined and hopeful. Clearly she is the child star of the moment walking capably in the footsteps of the Culkins and Fannings of the world. The film not designed for anyone over 10-years-old really belongs to the kids with both Mills--as the awkward Stirling--and Davenport--as best friend Ruthie--add a lot of charm to the proceedings. Also doing nicely is Thieriot (Jumper) as one of the young hobo boys and Will Smith’s daughter Willow in a surprising turn as his good friend (who may or may not be who she seems). Adult roles are largely one-dimensional but a good supporting cast makes the most of them particularly Tucci and the colorful Cusack. Shawn is fun as the editor Kit keeps trying to impress and O'Donnell and Ormond are sympathetic parents. Director Patricia Rozema (Mansfield Park) competently directs this old-fashioned live-action family film that is so “G” and squeaky clean it seems out of place with all the hipper CGI-type of fare aimed at younger audiences today. Since this film was obviously designed to sell the enormously popular American Girl dolls you can’t expect a masterpiece. Still there is a certain sweetness and longing for a life long ago that makes this more a cousin to something out of the ‘30s or ‘40s like Judy Garland’s Meet Me in St. Louis than to Breslin’s previous hits Nim's Island and Little Miss Sunshine. How her fans react will be interesting but clearly the filmmakers (which include executive producer Julia Roberts) are just hoping to move some merchandise and put a smile on the faces of the very youn--and very female--target audience. If Rozema’s pleasant film does that you can expect a slew of sequels based on other American Girl dolls.
Knocked Up barely meets the “romance” quota that qualifies it as a romantic comedy but fear not fellas—it’s mostly comedy and of the highest grade. The movie centers around two twentysomethings who couldn’t be more different: gorgeous careful career-minded Alison (Katherine Heigl) and beastly reckless foggy-minded Ben (Seth Rogen). After a promotion at her job working for the E! network Alison decides to cut loose for one night and celebrate. She and her sister (Leslie Mann) go out to a local club where they meet Ben and his stoner friends (Jason Segel Jay Baruchel Jonah Hill and Martin Starr). One drink leads to another and before long Alison is drunk enough to take Ben home and into bed. Eight weeks later Alison is singing the morning-sickness blues and sure enough pregnancy test after pregnancy test confirms her worst fear: bun in the oven...from a one-night stand...with a guy who repulsed her when she saw him through sober eyes. So she decides to tell manchild Ben that he knocked her up and it changes everything—well sorta. Meet Seth Rogen this year’s Steve Carell Award winner for Breakout Star and Best Unknown Lead. Of course neither Carell nor Rogen was truly unknown before his respective breakout—Rogen it could be argued really broke out in last year’s 40-Year-Old Virgin alongside Carell—but the Everyman appeal and unlikely ascension to stardom between the two are similar. As with Virgin Rogen is hilarious primarily with the delivery of the absurdity he spews. And not only does Rogen display a surprising soft-ish side when necessary he projects something so relatable that you’ll swear you’ve had a Ben in your circle of friends at one point. The glue of the onscreen relationship and chemistry is Heigl. The Grey’s Anatomy star shows that she’s much more than a pretty face convincingly going hormonal as hell while improving upon the comedic chops she hinted at in the god-awful The Ringer. Mann writer/director Judd Apatow’s real-life wife and the only other source of estrogen in the movie is very much game for the pot(ty mouth) humor but it’s Paul Rudd as Mann’s cynical husband who seems to be Apatow’s comedic muse. Already a member of the Frat Pack it’s only a matter of time before Judd makes Rudd his lead. Judd Apatow has been working for much longer than most people care to realize but he finally made a splash (read: box office hit) with last year’s Virgin and Knocked Up solidifies him as the one to beat when it comes to comedy. Apatow combines certain elements that make his style reign supreme. First and foremost is a distinct note of improvisation that makes his actors—many of whom he repeatedly employs—feel at home and thus his audiences do as well. Then there’s his affection for the underdog which is no doubt how he sees or once saw himself. It not only endears him to his ever-growing fan base it’s a theme that grows on you throughout the course of his movies (namely his last two) convincing you that sometimes the good guy CAN get the girl. Knocked Up builds on both themes: The actors seem like they sat around with Apatow took one toke too many and started riffing on each other and pop culture; and Rogen is certainly Apatow’s underdog a nod to underdog dreamers everywhere and to comedy by implying “Would it be funny if the movie was George Clooney trying to woo Katherine Heigl?” He caps it off in mature real-world fashion to mimic his protagonist’s arc by throwing in some sentimentality. It's effective and seems credible which sums up all of Apatow's work.
It's graduation day for Scotty (Scott Mechlowicz) but the celebration comes to an abrupt end when his girlfriend Fiona (Kristin Kreuk) dumps him by blatantly announcing she has been unfaithful to him--over and over again. At a graduation party that night Fiona makes her point by jumping on stage during rockers Lustra's performance of "Scotty Doesn't Know " which goes something like this: "Scotty doesn't know that Fiona and me do it in my van every Sunday..." Dumbfounded Scotty gets drunk and goes home to confide in his Berlin-based computer pen pal Mieke (Jessica Boerhs) who suggests coming to America for a "rendezvous." Scott rudely rebuffs him (and that's putting it mildly) not aware that Mieke is not a guy but actually a really hot high school girl. He tries to make amends but Mieke won't read his e-mails so his pal Cooper (Jacob Pitts) convinces him to go to Berlin and meet her face-to-face. Short on cash they take a cheap courier flight to London where they meet up with twin pals Jenny (Michelle Trachtenberg) and Jamie (Travis Wester) before hopscotching to Amsterdam Bratislava Rome Vatican City and finally Berlin. Of course the chase is always better than the kill and Eurotrip is no different: Whether Scotty gets Mieke is beside the point; the amusement is all in the journey there. Who knew for example that you could spend the night in a five star hotel and partake in a night of clubbing in Eastern Europe on $1.87 U.S.-and still have 27 cents left over when it's all over?
Newcomer Mechlowicz is perfectly cast as the lead here playing a character that is simple-minded daring sympathetic and charming. But it's Mechlowicz's personal spin--his bewildered expressions--that really nails the role for him whether he is witnessing the twins accidentally making out on the dance floor in a drunken stupor or waking up to find a strange passenger cozying up to him on a train. As his buddy Cooper Pitts (K-19: The Widowmaker) plays the wisecracker of the bunch and although he doesn't go over the top with the crassness there is a little too much David Spade influence in his delivery (and the similar haircuts don't help the matter either). Like the rest of the cast Wester is careful not to typecast his character Jamie a meticulous planner who can't travel without Frommer's by loosening him up slightly. Jamie for example knows when it's time do drop the book and experiment even if it means nude sunbathing. Trachtenberg (Buffy: The Vampire Slayer) also infuses her twin character Jenny with the perfect blend of sexuality and innocence. The result is a cast of mishmash characters that are just so darn likeable. Look for a surprise cameo from Matt Damon as well as small but hilarious performances from Vinnie Jones as Mad Maynard a Manchester United soccer hooligan; Lucy Lawless as S&M mistress Madame Vandersexxx; and Saturday Night Live's Fred Armisen credited as "the creepy Italian guy."
Jeff Schaffer makes his directorial debut here from a screenplay co-written with his longtime partners scribes Alec Berg and David Mandel. And ads touting it as a comedy "from producers of Road Trip and Old School " may be exactly what Eurotrip a comedy starring relative unknowns needs to draw the coveted teen crowd. After all Ivan Reitman the producer responsible for catapulting low budget comedies into box-office gold territory has secured quite a following--and fans won't be let down with this latest offering. Unlike its predecessors Eurotrip isn't afraid to be crass and while the characters are sweet the storyline is anything but. In this Euro-centric tale writing trio Schaffer Berg and Mandel proudly embrace every stereotype imaginable but do so at the expense of the inexperienced foursome which makes the material funny rather than offensive. Nude beaches the young Americans discover aren't necessarily packed with hot gorgeous women and Amsterdam's sex industry isn't exactly the stuff young male fantasies are made of. With one hilarious gag after another as well as funky map graphics with dotted lines that transport viewers from city to city the film maintains its fast-moving pace throughout. Surprisingly the film was shot entirely on location in the Czech Republic with Prague doubling as London Paris Berlin Amsterdam Rome Vatican City Bratislava--and even Hudson Ohio with landmarks such as the Eiffel Tower the Coliseum and Big Ben added using CGI. Accompanied by an awesome soundtrack featuring Lutsra's "Scotty Doesn't Know " Chapeaumelon's "My Generation" and The Salads "Get Loose " this film succeeds on all levels.