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.
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
The supernatural thriller The Rite is a different kind of literary adaptation a film not “based on” or even “inspired by” a written work but rather “suggested by” one. The degree to which this fictional film adheres factually to its source material Matt Baglio’s book The Rite: The Making of an American Exorcist is anybody’s guess. Fans of The Exorcist might argue that it’s more strongly “suggested by” William Friedkin’s 1973 horror classic than anything else.
Erstwhile unknown Colin O’Donoghue in his first feature role plays Michael a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn’t even sure he believes in god much less the Catholic doctrine of exorcism Michael is inclined toward the more humanistic view of the “possessed” as simply disturbed or schizophrenic individuals. What they really need he insists is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism Michael’s headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins) a Welsh Jesuit (shorthand for “eccentric”) and practicing exorcist. Having been around the theological block a few times Lucas reacts to Michael’s unbelief with wry nonchalance (a Hopkins specialty and the film’s most appealing trait); he knows that Satan’s arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith first using a pregnant Italian girl as his vessel then incorporating other representatives of the animal kingdom tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father played by Rutger Hauer who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card of course is Hopkins whose character eventually becomes possessed himself thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone with Hafstrom seemingly unable to decide if his film is to be a moody serious-minded psychological thriller or some campy outlandish horror-comedy. By the time Father Lucas becomes possessed and the reenactment of the first great celestial battle begins the film gives itself wholly over to the latter. As channeled by Hopkins the devil comes off as a less eloquent more vulgar version of Hannibal Lecter taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
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
Show business trade magazine The Hollywood Reporter announced its annual list of the 100 most powerful women in Hollywood on Tuesday. Topping this year's list is Paramount Pictures' Sherry Lansing, who became the studio's first female chairman in 1992.
"When Sherry Lansing wants to peruse a project that is potentially risky, her tendency to share the financial burden with other studios helps counterbalance the risk," said Christy Grosz, managing editor of the trade's Women in Entertainment issue. "It's the business savvy and goodwill within the entertainment community that pushed her to the top of this year's Power 100."
The Reporter began ranking the 50 most powerful women in 1991, but expanded it last year to include 100 women to celebrate the list's 10-year anniversary.
Stacey Snider, who runs Universal Pictures, ranked No. 2. She occupied the No. 1 spot last year.
Rounding out the top 5 were Amy Pascal, vice chairman of Sony Pictures, ranking third; Nancy Tellem, president of CBS Entertainment at No. 4; and Michele Anthony, executive vice president, Sony Music Entertainment, at No. 5.
Pascal greenlit the 2002 actioner Spider-Man--one of the highest grossing films in Hollywood history. Laura Ziskin produced the film, as well as the 2002 Academy Awards.
Celebrities on the list include Oprah Winfrey (8), Julia Roberts (12), Madonna (60), author J.K. Rowling (64) and twins Mary-Kate and Ashley Olsen (98).
"No longer are female stars just 'the talent.' They could very well be the path to parity for all women working in entertainment," Grosz said, adding that Roberts' ability to open a movie, command a big paycheck and run her own production company gives her the clout to hire whomever she chooses.
Women leading the four Hollywood guilds also made the list, including Kathleen Kennedy, president of the Producers Guild of America (46), Melissa Gilbert, president of the Screen Actors Guild of America (89), Martha Coolidge, president of the Directors Guild of America (96), and Victoria Riskin, president of the Writers Guild of America (97).
Criteria for the Power 100 include each woman's position within her company, her force of personality and how much money she controls.
Despite the increasing number of women in Hollywood's executive ranks, however, the Reporter notes that the percentage of female writers dropped from 14 percent in 2000 to 10 percent in 2001. Female directors dropped from 11 percent in 2000 to 6 percent in 2001.