For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Movie audiences weren't afraid of a little blood and gore this weekend; on the contrary, they were compelled to find out who won the ultimate monster battle.
Freddy vs. Jason, which pits A Nightmare of Elm Street's steely-fingered Freddy against Friday the 13th's machete-wielding Jason, simply slaughtered the box office competition, debuting at No. 1 with a head-splittin' $36.4 million* and shoving last week's headliner, the police-drama S.W.A.T., down to second place with $18.6 million.
Combining the two horror franchises turned out to be a brilliant idea, generating more opening box office dollars than either individual series has seen lately. The last Friday the 13th installment, Jason X, debuted in 2002 at $6.6 million, while the last Elm Street chapter, Wes Craven's New Nightmare, opened in 1994 at $6.6 million as well.
"[Freddy vs. Jason] worked because it's a brand new series. It's an original movie with name recognition," Russell Schwartz, head of domestic marketing for New Line Cinema told The Associated Press. "We took it seriously and didn't turn it into Scary Movie. Not that it doesn't have humor, but we didn't want to go too campy."
Oscar-winning Kevin Costner's western saga Open Range premiered at No. 3 with a respectable $14.1 million, making it the second best opener of Costner's last five movies. Only the romantic Message in a Bottle topped Range's figure when it opened in 1999 at $16.7 million. Other recent Costner vehicles haven't fared as well: Dragonfly took $10.2 million, 3,000 Miles to Graceland $7.1 million, Thirteen Days $46,688 and For Love of the Game $13 million.
The body-switching comedy Freaky Friday took fourth place with $13.1 million, while the girl-powered Uptown Girls debuted in the fifth spot with $11.2 million. Other newcomers this week included the skateboarding laffer Grind, which premiered with a measly $2.6 million, and the underground comic book indie American Splendor, which debuted in limited release and took in $156,000.
Overall, box office grosses were up, up, up this weekend, nearly 4 percent from last weekend and a whopping 34 percent from the same weekend last year.
THE TOP TEN
New Line Cinema's R-rated horror fest Freddy vs. Jason spooked its way to the top spot with an ESTIMATED $36.4 million in 3,014 theaters. Its $12,085 per theater average was the highest of any movie playing wide this week.
Friday the 13th's Jason Voorhees leaves the cozy confines of Camp Crystal Lake for Elm Street, where he meets his most dangerous adversary yet--A Nightmare on Elm Street's Freddy Krueger. But this town only has room for one slasher.
Directed by Ronny Yu, it stars Robert Englund and Ken Kirzinger.
Sony Pictures' PG-13-rated S.W.A.T. dropped from the top spot to No. 2 in its second week with an ESTIMATED $18.6 million (-50%) in 3,220 theaters (+18 theaters; $5,776 per theater). The film, revolving around a newly trained S.W.A.T. team, has garnered $70 million so far.
Directed by Clark Johnson, it stars Colin Farrell, Samuel L. Jackson, LL Cool J and Michelle Rodriguez.
Buena Vista's R-rated Open Range moseyed into third place in its opening weekend with an ESTIMATED $14.1 million in 2,075 theaters, taking in an average of $6,795 per theater.
In the film, a posse of "freegrazers"--rogue cowboys who drive their own cattle--runs into trouble in prairie town run by a kingpin rancher.
Directed by and starring Kevin Costner, it also stars Robert Duvall, Annette Bening, Diego Luna and Michael Gambon.
Buena Vista's PG-rated Freaky Friday fell a couple of spots to No. 4 in its second week with an ESTIMATED $13.1 million (-41%) in 2,979 theaters (+25 theaters; $4,397 per theater). Its cume is $57.9 million.
Directed by Mark Waters, it stars Jamie Lee Curtis, Lindsay Lohan, Chad Michael Murray and Mark Harmon.
*Box office estimates provided by Exhibitor Relations, Inc.
MGM's PG-13-rated Uptown Girls giggled all the way to No. 5 in its premiere weekend with an ESTIMATED $11.2 million in 2,495 theaters ($4,489 per theater).
In this riches-to-rags tale, the daughter of a late rock-and-roll star gets a rude awakening when all her money is embezzled and she has to take a job as the nanny to a very uptight 8-year-old girl.
Directed by Boaz Yakin, it stars Brittany Murphy, Dakota Fanning, Donald Faison, Marley Shelton and Heather Locklear.
Buena Vista Pictures' PG-13-rated fantasy actioner Pirates of the Caribbean: The Curse of the Black Pearl collected more booty, slipping to sixth place in its sixth week of release with an ESTIMATED $8.5 million (-35%) at 2,710 theaters (-460 theaters; $3,137 per theater). Its cume is approximately $247.9 million.
Directed by Gore Verbinski and produced by Jerry Bruckheimer, it stars Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.
Universal Picture's R-rated comedy American Wedding plummeted four spots to seventh in its third week with an ESTIMATED $8.16 million (-47%) at 2,985 theaters (-210 theaters; $2,735 per theater). Its cume is $80.6 million.
Directed by Jesse Dylan, it stars Jason Biggs, Seann William Scott, Alyson Hannigan, Eddie Kaye Thomas and Thomas Ian Nicholas.
Universal Pictures' PG-13-rated drama Seabiscuit fell three notches to No. 8 in its fourth week, taking in an ESTIMATED $8.12 million (-32%) in 2,462 theaters (+34 theaters; $3,300 per theater). Its cume is approximately $83 million.
Directed by Gary Ross, it stars Tobey Maguire, Jeff Bridges and Chris Cooper as three down-and-out men who find fame and fortune in an equally down-and-out racehorse.
Dimension Films' PG-rated Spy Kids 3-D: Game Over dropped three spots to No. 9 in its fourth week with an ESTIMATED $5.2 million (-46%) in 3,003 theaters (-385 theaters; $1,745 per theater). Its cume is approximately $96.8 million.
Written and directed by Robert Rodriguez, it stars Alexa Vega, Daryl Sabara, Sylvester Stallone, Salma Hayek and Ricardo Montalban.
Sony Picture's R-rated buddy actioner Bad Boys II continued to move down the list to take 10th place in its fifth week with an ESTIMATED $3.2 million (-47%) at 1,785 theaters (-664 theaters; $1,793 per theater). Its cume is approximately $128.8 million.
Directed by Michael Bay, it stars Will Smith, Martin Lawrence, Jordi Molla, Gabrielle Union and Peter Stormare.
Warner Bros.' PG-13-rated Grind opened with an ESTIMATED $2.6 million in 2,253 theaters ($1,161 per theater).
Four free-wheelin', skateboarding buddies head cross-country to try to get into a pro-skateboarding demo tour.
Directed by Casey La Scala, it stars Mike Vogel, Adam Brody, Vince Vieluf, Joey Kern and Jennifer Morrison.
Fine Line's R-rated American Splendor debuted in limited release with an ESTIMATED $156,000 in 6 theaters ($26,000 per theater).
In this true story, hospital administrative clerk Harvey Pekar goes from rags to (relative) riches with his homegrown autobiographical comic book series, American Splendor.
Directed by Robert Pulcini and Shari Springer Berman, it stars Paul Giamatti, Hope Davis and Harvey Pekar.
The Top 12 films this weekend grossed an ESTIMATED $132 million, up 33.2 percent from last year's take of $99.1 million. The Top 12 films were also up 3.6 percent from last weekend when they grossed $127.4 million.
Last year's top three included: Sony's PG-13-rated actioner xXx, which stayed in first place its second week in a row with $22.1 million in 3,388 theaters ($6,526 per theater average); Buena Vista's PG-13 rated sci-fi thriller Signs, which held on to second place for two consecutive weeks with $19.3 million at 3,344 theaters ($5,790 per theater average); and Universal Pictures' PG-13-rated Blue Crush which opened in third with $14.1 million in 3,002 theaters ($4,720 per theater).