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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Lust for Love / YouTube
Every Joss Whedon fan knows he plays favorites with actors and actresses who have starred in his various TV shows and films. (Similar to Tim Burton with Helena Bonham Carter and Johnny Depp.) But since Whedon is engrossed in the Marvel world, there hasn’t been too much room for a Whedonverse reunion since Much Ado About Nothing. However, some of the gang is getting together without their fearless leader for the new movie Lust for Love.
The independent film from director Anton King was partially funded by Kickstarter in the fall of 2011, but is finally gracing theaters in February. Lust for Love follows Astor (Fran Kranz), who screws up his one chance at a relationship with his lifelong crush Mila (Beau Garrett). Convinced he needs more experience with women in order to woo her back, Astor enlists Mila’s ex-best friend Cali (Dichen Lachman).
Kranz and Lachman worked together on Whedon’s 2009 series Dollhouse, along with fellow Lust for Love costar Enver Gjokaj. The group of Whedon alums is rounded out by Felicia Day who costarred in Dr. Horrible’s Sing-Along Blog. (She also had a minor part in Dollhouse — in the post-apocalyptic episodes “Epitaph One” and “Epitaph Two: Return.”)
Given the Whedon-approved cast (even if he’s not involved), fans of the writer and director should check out Lust for Love. Especially because the film looks really interesting.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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If there's a cinematic alchemy award to be given this year director Bill Condon deserves to take it home after magically turning the tedious Twilight franchise into entertainment gold. 2011's Part 1 was a horror camp romp that turned the supernatural love triangle — the naval gazing trio of Bella Edward and Jacob — on its head. Breaking Dawn - Part 2 continues the madcap exploration of a world populated by vampires and werewolves mining even more comedy thrills and genuine character moments out of conceit than ever before. The film occasionally sidesteps back into Edward and Bella's meandering romance (an evident hurdle of author Stephenie Meyer's source material) but the duller moments are overshadowed by the movie's nimble pace and playful attitude. Breaking Dawn - Part 2 will elicit laughs aplenty — but thankfully they're all on purpose.
Part 2 picks up immediately following the events of the first film Bella (Kristen Stewart) having been turned into a vampire by Edward (Robert Pattinson) to save her life after the torturous delivery of her half-human half-vampire child Renesmee. She awakes to discover super senses heightened agility increased strength… and a thirst for blood. One dead cougar later Bella and the gang are able to focus on the real troubles ahead: Renesmee is rapidly growing (think Jack) and vampiric overlords The Volturi perceive her a threat to vampiric secrecy. Knowing the Volturi will travel to Forks WA to kill the young girl (a 10-year-old just a month after being born) The Cullens amass an army of bloodsucking friends to end the oppression once and for all.
Packed with an absurd amount of backstory and mythology-twisting plot points (some vampires can shoot lightning now?) Condon and series screenwriter Melissa Rosenberg mine revel in the beefed up ensemble of Breaking Dawn - Part 2 and thanks to a wildly funny cast it never feels like pointless deviation. Along with the usual suspects Lee Pace adds swagger to the series as a grungy alt-rock vampire Noel Fisher appears as a hilarious over-the-top battle-ready Russian coven member and Michael Sheen returns has Volturi head honcho Aro and steels the show. Flamboyant diabolical and a steady stream of maniacal laughter Sheen owns Condon's high camp vision for Twilight and he lights up the screen. There are a few throw away nations of vampires — the oddly stereotypical Egyptian and Amazonians sects are there mostly there to off-set the extreme whiteness — but the actors involved bring liveliness to a franchise known for being soulless. Even Stewart Pattinson and Taylor Lautner give personal bests in this installment — a scene between Bella and her dad Charlie (Billy Burke) is genuinely heartfelt while Jacob's overprotective hero schtick finally lands.
Whereas Breaking Dawn - Part 1 stuck mostly to the personal story relying on the intimate moments as Bella and Edward took the big plunge into marriage and sex Part 2 paints with broader strokes and Condon has a ball. Delving into the history of the vampires and the vampire world outside Forks is Pandora's Box for the director. One scene where we learn why kids scare the heck of the Volturi captures a scope of medieval epics — along with the bloodshed. Twilight might be known for its sexual moments but Breaking Dawn - Part 2 will go down for its abundance of decapitations. The big set piece in the finale is something to behold both in the craftsmanship of the spectacle and in its bizarre nature.
The Twilight Saga: Breaking Dawn - Part 2 had the audience hooting hollering and even gasping as it twisted and turned to the final moments. There's little doubt that even the biggest naysayer of the franchise would do the same. No irony here: the conclusion of Twilight is a blast.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
Sorry, people who love both Gary Oldman and Akira: the two will reportedly not merge. But the good news is, another tenacious figure from Christopher Nolan's Batman universe has been offered the The Colonel role that Oldman turned down: Ken Watanabe.
We've been hearing a lot about the developing remake of Akira, the 1988 anime sci-fi feature. So far, Garrett Hedlund is still the only actor officially cast—he'll be playing Kaneda, the hero of the story and young biker who becomes involved in the quest to stop his newly psychokinetic best friend Tetsuo from destroying the city.
Others still in question for Akira roles include Kristen Stewart, Keira Knightley, Alden Ehrenreich and Helena Bonham Carter.
Those looking forward to the remake (there are quite a few purists out there who aren't on board with a live-action take on the celebrated film) might be disappointed by Oldman's dismissal of the role. However, Watanabe has a pretty impressive resume under his belt; the actor was arguably the strongest player in Nolan's Inception.
As news continues to accumulate about Akira, we all have our hopes, and our doubts. But if Watanabe signs on for The Colonel, I think we can all at least nod in subtle approval.
If you're going to remake the classic anime Akira as a live-action Hollywood film, you might as well shoot for the stars.
Kristen Stewart has been cemented as one of the biggest stars of today, thanks to her Twi-normous vampire series, Twilight, and its so-close-we-can-taste-the-glitter next chapter Breaking Dawn Part 1. Vying for some of her star power are the people behind the developing Akira remake (a team that includes director Jaume Collet-Saura and writer Steve Kloves). Stewart is being reached to play a romantic interest for the protagonist Kaneda and the story's primary heroine: Kei.
Stewart is not the first teen twi-dol to be reached for an Akira role. Back in March, it was reported that Robert Pattinson was among a slew of young heartthrobs wanted to play the Kaneda character—a part that inevitable went to Garrett Hedlund. Others in talks for Akira roles include Ezra Miller and Alden Ehrenreich, both for the second lead male Tetsuo, Keira Knightley for an undisclosed role, Gary Oldman for the Colonel and Helena Bonham Carter for Lady Miyako.
So, what will Akira fans think of Stewart's casting? Hard to say. On the one hand, anime aficionados might be averse to Twi-casting in this particularly cherished piece of the medium. On the other hand, it's unfair to discount Stewart's talent just because of the palpable schism between people who like Twilight and people who like anime. On a third hand, anime needs more vampires. Right? ... Right?
Anime is sort of a polarizing art form. Some people are immediately deterred by the word, while others recognize the amazing storytelling this medium has exhibited. But it helps to bridge the gap when the former group hears about familiar names being involved with anime projects. You may have heard that the anime benchmark Akira is being remade by Unknown director Jaume Collet-Serra. The latest news on this project regards the two acting talents being reached for major roles: Gary Oldman and Helena Bonham Carter.
Oldman would be demoted from his formidable title of Commissioner to play the Colonel, were he to accept the role in Akira. In the original film, the Colonel is the tough but principled and good-natured project head of Akira who is unique as a government figure in his aversion to corruption.
Carter's role would be that of Lady Miyako, the high-priestess of a Neo-Tokyo (where the story is set) temple who becomes a prominent figure in the story's central battle.
Also in talks for this project is Tron Legacy's Garrett Hedlund, slated to play one of the lead characters.