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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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.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
It might have been early in the morning, but that didn't stop everyone from Dido to Moby to Evanescence's Amy Lee from showing up at the announcement of the 46th annual Grammy Award nominations this morning at the Beverly Hilton Hotel in Beverly Hills, Calif.
OutKast, Jay-Z, Beyoncé, and the Neptunes' Pharrell Williams are tied for the lead with six nominations apiece. Missy Elliott, 50 Cent, Eminem, the Neptunes' Chad Hugo, Justin Timberlake, Ricky Skaggs, Evanescence, Luther Vandross and the late Warren Zevon are close behind with five noms each.
The four big categories--album of the year, record of the year, song of the year and best new artist--reflect the dominance of rap, hip-hop and R&B artists in mainstream music as well as the renewed popularity of rock music.
Up for album of the year are Missy Elliott's Under Construction, Timberlake's Justified, Evanescence's Fallen, the White Stripes' Elephant and OutKast's Speakerboxxx/The Love Below.
Hip-hop duo's OutKast's single "Hey Ya!" will go head-to-head for record of the year against Black Eyed Peas' "Where is the Love?," Beyoncé and Jay-Z's "Crazy in Love," Eminem's "Lose Yourself" and Coldplay's "Clocks."
For song of the year, which goes to the songwriter as opposed to the recording artist, nominees are Linda Perry for Christina Aguilera's "Beautiful," Eminem and Luis Resto for Eminem's "Lose Yourself," Richard Marx and Luther Vandross for Vandross' "Dance With My Father," Avril Lavigne and the Matrix for Lavigne's "I'm With You" and the late Warren Zevon and Jorge Calderon for Zevon's "Keep Me in Your Heart."
Sean Paul, 50 Cent, Evanescence, Fountains of Wayne and Heather Headley will compete for the best new artist award.
The Grammy Awards will be held on Sunday, February 8 at the Staples Center in Los Angeles and will be telecast on CBS from 8-11:30 p.m. (EST/PST).
Here is a partial list of nominations (a full list of nominees is posted on Grammy.com):
Album of the Year
Under Construction, Missy Elliott
Speakerboxxx/The Love Below, Outkast
Justified, Justin Timberlake
Elephant, The White Stripes
Record of the Year
"Crazy In Love," Beyoncé Featuring Jay-Z
"Where Is The Love?," Black Eyed Peas featuring Justin Timberlake
"Lose Yourself," Eminem
"Hey Ya," Outkast
Best New Artist
Fountains Of Wayne
Song of the Year
Linda Perry for "Beautiful" (performed by Christina Aguilera)
Richard Marx and Luther Vandross for "Dance With My Father"
Avril Lavigne and The Matrix (Lauren Christy, Graham Edwards and Scott Spock) for "I'm With You"
Jorge Calderón and Warren Zevon for "Keep Me In Your Heart"
Jeff Bass, Marshall Mathers (aka Eminem) and Luis Resto for "Lose Yourself"
Best Rap Song (NEW!)
Calvin Broadus (aka Snoop Dogg), Chad Hugo and Pharrell Williams for "Beautiful" (performed by Snoop Dogg Featuring Williams and Uncle Charlie Wilson)
Shawn Carter (aka Jay-Z), Chad Hugo and Pharrell Williams for "Excuse Me Miss" (performed by Jay-Z Featuring Williams)
Mike Elizondo, Curtis Jackson (aka 50 Cent) and A. Young for "In Da Club" (performed by 50 Cent)
Jeff Bass, Marshall Mathers and Luis Resto for "Lose Yourself" (performed by Eminem)
Missy Elliott and Tim Mosley for "Work It" (performed by Elliott)
Best Rap Album
Missy Elliott, Under Construction
50 Cent, Get Rich Or Die Tryin'
Jay-Z, The Blueprint2 - The Gift & The Curse
Outkast, Speakerboxxx/The Love Below
Best R&B Album
Erykah Badu, Worldwide Underground
Blu Cantrell, Bittersweet
Aretha Franklin, So Damn Happy
Isley Brothers Featuring Ronald Isley aka Mr. Biggs, Body Kiss
Luther Vandross, Dance With My Father
Best Contemporary R&B Album
Ashanti, Chapter II
Beyoncé, Dangerously In Love
Mary J. Blige, Love and Life
Anthony Hamilton, Comin' From Where I'm From
R. Kelly, Chocolate Factory
Best Rock Album
Foo Fighters, One By One
matchbox twenty, More Than You Think You Are
Nickelback, The Long Road
Best Rock Song
Evanescence, "Bring Me To Life" (David Hodges, Amy Lee and Ben Moody)
Train, "Calling All Angels" (Charlie Colin, Pat Monahan, Jimmy Stafford and Scott Underwood)
Bruce Springsteen and Warren Zevon, "Disorder In The House" (Jorge Calderón and Warren Zevon)
The White Stripes, "Seven Nation Army" (Jack White)
Nickelback, "Someday" (Chad Kroeger, Mike Kroeger, Ryan Peake and Ryan Vikedal)
Best Rock Performance By A Duo Or Group With Vocal
The White Stripes
Best Female Pop Vocal Performance
Christina Aguilera, "Beautiful"
Kelly Clarkson, "Miss Independent"
Dido, "White Flag"
Avril Lavigne, "I'm With You"
Sarah McLachlan, "Fallen"
Best Pop Collaboration With Vocals
Lil' Kim and Christina Aguilera, "Can't Hold Us Down"
Tony Bennett and k.d. lang for "La Vie En Rose"
Pink and William Orbit for "Feel Good Time"
Bob Dylan and Mavis Staples for "Gonna Change My Way Of Thinking"
Sting and Mary J. Blige for "Whenever I Say Your Name"
Best Pop Vocal Album
Christina Aguilera, Stripped
George Harrison, Brainwashed
Annie Lennox, Bare
Michael McDonald, Motown
Justin Timberlake, Justified
Best Pop Male Vocal Performance
George Harrison, "Any Road"
Michael McDonald, "Ain't No Mountain High Enough"
Sting, "Send Your Love"
Justin Timberlake, "Cry Me A River"
Warren Zevon, "Keep Me In Your Heart"
Best Pop Instrumental Performance
Ry Cooder and Manuel Galbán for "Patricia"
Dave Koz, "Honey-Dipped"
Randy Newman, "Seabiscuit"
The Brian Setzer Orchestra, "The Nutcracker Suite"
Best Traditional Pop Vocal Album
Bette Midler Sings, Bette Midler
Rosemary Clooney Songbook, Rosemary Clooney
The A Wonderful World, Tony Bennett and k.d. lang
As Time Goes By…The Great American Songbook: Volume II, Rod Stewart
The Movie Album, Barbra Streisand
Best Spoken Word Album For Children
Charlie And The Chocolate Factory, Eric Idle
Harry Potter And The Order of the Phoenix, Jim Dale
Prokofiev: Peter And The Wolf/Beintus: Wolf Tracks, Bill Clinton, Mikhail Gorbachev and Sophia Loren
Tell Me A Scary Story, Carl Reiner
Winnie-The-Pooh, Jim Broadbent
Best Spoken Word Album
Fear Itself, Don Cheadle
Lies And The Lying Liars Who Tell Them: A Fair And Balanced Look At The Right, Al Franken
Living History, Hillary Rodham Clinton
Nikki Giovanni Poetry Collection, Nikki Giovanni
When You Ride Alone You Ride With Bin Laden, Bill Maher
Best Female Country Vocal Performance
Patty Loveless, On Your Way Home
Martina McBride, This One's For The Girls
Dolly Parton, I'm Gone
Shania Twain, Forever And For Always
Best Country Collaboration With Vocals
Willie Nelson and Norah Jones, Wurlitzer Prize (I Don't Want To Get Over You)
Willie Nelson and Toby Keith, Beer For My Horses
June Carter Cash and Johnny Cash, Temptation
Alan Jackson and Jimmy Buffet, It's Five O'Clock Somewhere
James Taylor and Alison Krauss, How's The World Treating You
Best Country Album
Faith Hill, Cry
Lyle Lovett, My Baby Don't Tolerate
Willie Nelson and Ray Price, Run That One By Me One More Time
Willie Nelson, Live And Kickin'
Shania Twain, Up!
Compilation, Livin', Lovin', Losin' - Songs of the Louvin Brothers