Not content to let the lifeless zombies of 2004‘s Polar Express define his legacy as a pioneer of 3-D Christmas movies (a genre to which incidentally he remains the sole contributor) director Robert Zemeckis is back for another go at it and this time his inspiration isn’t just some fly-by-night Caldecott Medal winner; it’s Charles Dickens’ A Christmas Carol perhaps the most cherished piece of Christmas fiction of all time.
While other filmmakers have tackled Dickens’ most famous work before none adapted it in the way the author would have wanted it to be presented: as a big-budget three-dimensional motion-capture animated spectacle starring the legendary Jim Carrey. Thankfully for us Zemeckis stepped up to the plate.
For the dozen or so who are unfamiliar with A Christmas Carol’s simple yet powerful story a quick rundown is in order. On a snowy Christmas Eve in 19th-century London a notorious miser named Ebenezer Scrooge (played by Carrey) is visited by three ghosts (also played by Carrey): Christmas Past Christmas Present and Christmas Yet to Come. Together the terrifying apparitions conspire to teach Scrooge an unforgettable lesson about the folly of his avarice and the virtue of charity and compassion.
Unlike Zemeckis’ previous literary adaptation 2006’s Beowulf there isn’t a whole lot about A Christmas Carol’s tale of yuletide redemption that cries out for the 3-D treatment — nor does the star of Dumb and Dumber and Ace Ventura: Pet Detective seem especially suited to play the part of Scrooge. And yet both creative decisions prove surprisingly successful in this movie. Zemeckis’ 3-D animation is wondrous to behold and Carrey is simply terrific as the bitter old grinch.
The problem is Zemeckis can’t resist falling in love with his technology and his star; consequently A Christmas Carol overdoses on both. The first time the camera glides through the streets of Dickensian London or soars above its snow-covered skyline the experience is breathtaking like being plunged into a world of Thomas Kinkade paintings. (And I mean that in a good way — even the fiercest detractors of the Painter of LightTM’s mass-produced portraits have to admit they hold a certain romantic appeal.) But by the fifth or sixth time it devolves into tedious showmanship.
Similarly while Carrey’s total immersion into the Scrooge character is remarkable his manic mugging as the Christmas ghosts is all too often distracting. Don’t ask me what the Ghost of Christmas Present was talking about during his sequence; all he seemed to do was laugh like a drunken Viking and blather on with an exaggerated Scottish accent.
But in the end neither Zemeckis’ overreach nor Carrey’s hysterics can obscure the impact of A Christmas Carol’s timeless message. As with previous adaptations of the story I couldn’t help but tear up a little when Tiny Tim uttered his trademark closing line “God bless us everyone!” — even if he did kinda look like a cartoon zombie.
Chloe (voiced by Drew Barrymore) is a diamond-drenched pampered pooch who lives the high life in Beverly Hills. Beloved by her owner Aunt Viv (Jamie Lee Curtis) and adored by the landscaper’s Chihuahua Papi (George Lopez) she is left with a babysitter niece Rachel (Piper Perabo) when Viv takes off on vacation. Rachel impulsively departs on a last-minute weekend romp to Mexico with Chloe who not only gets lost south of the border but ends up in some very bad company. Saved from certain death in a dog fight she hooks up with a street-savvy German Shepherd (Andy Garcia) harboring a dark secret from his past life as a police dog. Along the way her diamond ID collar is swiped by a conniving rat (Cheech Marin) and his accomplice a very fidgety Iguana (Paul Rodriguez) leading to major chaos as all of them are pursued by the vicious El Diablo (Edward James Olmos) a Doberman out for revenge and one very disoriented Chihuahua. Will Rachel and Papi be able to find her in time before clueless Aunt Viv’s return? That’s the burning question. Basically a talking dog movie with a heavy Spanish accent Beverly Hills Chihuahua doesn’t exactly shy from stereotyped Mexicans but since this is a canine Babe it manages to get away with just about anything simply because these pooches are just so darned cute. The voice cast which features such Latino stars as George Lopez Edward James Olmos Paul Rodriguez Cheech Marin and Andy Garcia is perfectly cast lending a lot of fun to the proceedings especially Lopez as the lovably loyal Papi and Marin as a jewel-thief rat. Barrymore is also ideal as the ultra-rich and spoiled Chloe who is the equivalent of a canine Paris Hilton. The human actors are basically wallpaper with Curtis given little dimension in her relatively brief screen time and Perabo spending most of the film searching for the pup she carelessly misplaced. Manolo Cardona does nicely as the family gardener who helps out in the search. But it’s the remarkable real dog stars that steal this show. You have to wonder how their trainers led by Birds And Animals Unlimited’s Mike Alexander pulled some of this stuff off. These animals are more three-dimensional than most real thesps we’ve seen lately and actually do seem to be mouthing their lines (including some very clever dialogue). The old show-business adage says to never work with kids or animals--they take center stage everytime. In this case director Raja Gosnell and the group of talented trainers behind the cameras have proven the saying absolutely right. Dominating the breezy 86-minute time the bulk of the movie is devoted to stars of the four-legged variety and Gosnell makes it look easy with inventive camera angles giving us the POV of all the various dog stars who seem to be taking on the distinct personalities of the “characters” they are playing particularly the soulful down-and-out ex-police dog Garcia voices. You really do wonder what this dog’s deep dark secret is and the relationship forged between him and Chloe is genuinely real. It’s a tribute to Gosnell’s talents and the entire behind-the-scenes team that Beverly Hills Chihuahua turns out to be the family delight it is.