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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In just about every one of Kevin Hart's scenes in Ride Along, there's a joke that is just aching to find its way out of the diminutive, rascally comic actor. Hart is a small-scale physical comedian — of the same ilk as Jack Black — who puts nuclear-degree energy into his facial contortions, anatomical outbursts, and the delivery of every gag in general. If only he had material that was crafted with the same energy.
Unfortunately, nothing else about Ride Along seems at all "hard at work." Not the script, which pads a lifeless story with lazy comedy, and certainly not his screen partner Ice Cube, whose only stage direction seems to be "frown, and be taller than Kevin Hart." So lifeless is Ice Cube that even his machismo-obsessed straight man bit doesn't really work. Instead of the virile and intimidating "bad cop," he comes off as a disapproving middle aged dad without much to show for his own life.
But the script pairs the wily, overzealous high school security guard and video game junkie Ben (Hart) with no-nonsense lawman James (Ice Cube) on the titular ride along, with the scrappy cop-wannabe hoping to prove to the force veteran that he's good enough to marry the latter's younger sister. In earnest, he's not. Ben never puts any respectable effort into learning the tools of the trade, insisting on employing his amateur style and controlling the radio despite his proclamations that he wants, and deserves, James' trust. And James is no saint either — he's irresponsible on crime scenes, violent with perps, and disgruntled to the point of being unable to work with anybody else on the force. These are not good police officers... of course, you'll say, this is a comedy. But where are the laughs, then?
They're not absent entirely, you just have to look for them. In a movie so focused with big, broad humor, it's the smaller comedy that actually lands best. Hart's background mutterings and fumblings, his emoticon-laden texts to girlfriend Angela (Tika Sumpter, whose only stage direction seems to be "smile, and never wear a full outfit of clothing"), and a bizarre repetition of the word "weird" from supporting player John Leguizamo. All good for unexpected chuckles, while jokes like Hart facing off with a pre-teen or being blown backwards into a brick wall after firing a large gun are all lazy, familiar, and flat.
Structurally, the script is a mess. Ride Along spends far too much time on set up — we get it, Hart and his soon-to-be-brother-in-law Ice Cube don't get along — and far too much time on wrap-up — there's a gigantic, dramatic warehouse shootout that, in any other movie, would be the climax, but there's plenty more to go after that — without any cohesive middle to make the movie feel like... a movie.
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Hart, who leaps at every comic opportunity like a kangaroo (wallaby would be more appropriate), is suited just right for a buddy cop comedy, but he needs something fresh with which to work — a real character, an interesting story, actually funny jokes. Even just one of these would be fine!
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Last week, the Dancing With the Stars judges proved that even the mighty can fall from the top after they sent Jaleel White packing in the last Dance Duel of the season. It doesn't matter if you've earned perfect scores or received numerous 10s throughout the competition — absolutely no one has a guaranteed spot in the finals. So now that the Dance Duel has taken its final bow, couples will have to rely on their fan base more than ever before if they hope to dance another day.
This week, the six remaining couples had to once again participate in two different sets of dances: a ballroom dance and a first ever "Trio Dance," which means each couple had to incorporate another professional dance partner into their routine. And while you may think adding an extra pro could make things easier on the stars, you couldn't be more wrong. As if that wasn't enough pressure, Tuesday night's results show will also be a double elimination round, meaning that not one, but two couples will be shown the door by the night's end.
So who among the six couples will be the next to leave the ballroom and who will make it to the final four? Judging by the shakeup on the leaderboard this week, it's going to be a hard one to tell. Check out the scores below (from highest to lowest) and see if you agree with the ranking scale this week:
William Levy and Cheryl Burke
Foxtrot: "Stray Cat Strut" by Stray Cats
Score: 30 out of 30
Trio Dance: Paso Doble
Trio Dance Score: 27 out of 30
Total Score: 57 out of 60
Roshon Fegan and Chelsea Hightower
Foxtrot: "Sweet Pea" by Amos Lee
Score: 29 out of 30
Trio Dance: Paso Doble "Turn Me On" by Nicki Minaj
Trio Dance Score: 27 out of 30
Total Score: 56 out of 60
Donald Driver and Peta Murgatroyd
Tango: "Higher Ground" by Stevie Wonder
Score: 27 out of 30
Trio Dance: Jive "Rip It Up" by Bill Haley and His Comets
Trio Dance Score: 28 out of 30
Total Score: 55 out of 60
Katherine Jenkins and Mark Ballas
Viennese Waltz: "Kathleen" by David Gray
Score: 26 out of 30
Trio Dance: Cha Cha "She's A Lady" by Tom Jones
Trio Dance Score: 29 out of 30
Total Score: 55 out of 60
Maria Menounos and Derek Hough
Viennese Waltz: "A Thousand Years" by Christina Perri
Score: 28 out of 30
Trio Dance: Samba "Mama Do the Hump" Rizzle Kicks
Trio Dance Score: 25 out of 30
Total Score: 53 out of 60
Melissa Gilbert and Maksim Chmerkovskiy
Foxtrot: "Maggie May" by Rod Stewart
Score: 24 out of 30
Trio Dance: Samba "Hard To Handle" by Otis Redding
Trio Dance Score: 27 out of 30
Total Score: 51 out of 60
What did you think of tonight's set of performances? Did you agree with the judges' scores? Are you a fan of the Trio Dance? Who stands the biggest threat of going home Tuesday night amid all this talent? Sound off in the comments below!
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Check back tomorrow night to find out who gets eliminated. Dancing With the Stars' result show airs Tuesday nights at 9 p.m. (ET/PT) on ABC.
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The romantic action comedy Scott Pilgrim vs. the World is like nothing — and if you’re a person between the age of approximately 18 to 35 everything — you’ve seen before. British director Edgar Wright’s (Shaun of the Dead Hot Fuzz) adaptation of Bryan Lee O’Malley graphic novel is so densely laden with pop-culture references it often times feels less like a movie than a mixtape. Those who share the tastes of the film’s 31-year-old writer and 35-year-old director will find the experience to be exhilarating; those who don’t however will likely be at a loss to comprehend what all the fuss is about.
The list of ‘80s and ‘90s video game nods in Pilgrim alone is daunting: Tekken Super Mario Bros. Tetris Zelda and even retro titles like Galaga and Ms. Pac-Man are represented just to name a few. To fit all of it in Wright must practically invent a brand-new kind of filmmaking. Using techniques and iconography culled from the holy fanboy triumvirate of comic books video games and anime/manga and armed with a clearly generous effects budget he splatters the screen with a dazzling array of CGI visual aids as the action unfolds: informational pop-ups supply key details on each character as they are introduced; words like “Boom!” and “Pow!” burst forth when blows are landed during fight sequences; a “Level Up!” graphic indicating increased levels of key character attributes appears after the film’s hero triumphs in battle. Even the old Universal Studios logo has been revamped by Wright rendered in the rudimentary graphics and sound of the old 8-bit Nintendo Entertainment System. Call it easter-egg filmmaking.
At the center of this digital maelstrom is Scott Pilgrim a 22-year-old Canadian hipster waif played by 22-year-old Canadian hipster waif Michael Cera. Unemployed and in no great rush to find work he splits his time evenly between jamming with his middling band Sex Bob-Omb (a Super Mario Bros. reference) combing thrift shops for new additions to his near-limitless collection of ironic t-shirts and pining for Ramona Flowers (Mary Elizabeth Winstead) a beguiling New York City emigre whose signature attribute is her constantly-changing hair color.
After a few abortive encounters Scott finally gets Ramona to reciprocate his affections. Thus begins the quest — or "campaign " as gamers call it — portion of the film as Scott soon discovers that in order to secure Ramona’s hand he must defeat each of her seven evil exes (six boys and one girl) in spontaneous death matches of decreasing novelty. (A few of them could easily have been excised without harming the narrative but that might invite the ire of comic book fans who typically demand nothing less than absolute adherence to the source text.) With a variety of found power-ups and an entirely implausible collection of fancy kung-fu moves he faces off against among others a pompous vegan straight-edge (Brandon Routh) a self-absorbed action star (Chris Evans) a spiteful lesbian (Mae Whitman) and a smarmy record producer (Jason Schwartzman).
I expect Scott Pilgrim vs. the World will polarize audiences and not just because of Wright’s distinctively dizzying directorial style. (Which I thoroughly enjoyed even though it occasionally overdoses on manufactured quirk and is a bit too proud of its cleverness.) The film glosses over Scott and Ramona’s wooing process in its rush to commence with its succession of comic-book battles which grow somewhat tedious toward the end. It’s simply assumed that Ramona would fall for our protagonist as it’s likewise assumed that we already have. But not everyone will embrace Scott’s castrati hipster affect which too often comes across as grating rather than charming. (The movie’s funniest moments come courtesy of Scott’s sassy gay roommate played by Kieran Culkin who is never without a clever barb for his lovelorn pal.) And beneath Cera’s self-effacing sheen exists an unmistakable whiff of pretentiousness that isn’t entirely justified — at least not yet. Far less debatable is the appeal of Winstead whose spunky Ramona appears every bit worth the hassle of fending off seven or more ex-lovers.
God knows what she sees in him.
Cannes, after all, is not the Oscars. So it's no surprise when the big winners at the chi-chi film festival assume the largely unknown (to us) names of, uh, Lars von Trier and, er, Wong Kar-wai.
Danish director von Trier's modern-day musical "Dancer in the Dark" nabbed the top prize, the Palm D'Or, for best feature as the 53rd Cannes Film Festival closed out its 12-day run Sunday. The film's first-time actress, Icelandic pop diva Bjork, took home the award for best actress.
"Dancer in the Dark" is about a blind Czech immigrant (played by Bjork) who escapes to an imaginary world of musical fantasies.
Another big winner was Hong Kong auteur Wong Kar-wai, whose "In the Mood for Love" won the best actor award for male lead Tony Leung. The film, set in mid-1960s Hong Kong, follows two neighbors who gradually discover that their spouses are having an affair.
Other winners included a best screenplay nod for Neil Labute's "Nurse Betty," starring Renee Zellweger. "Nurse Betty" was the only U.S. film to be singled out for a main Cannes honor.
Here's the complete list of this year's Cannes winners:
Palm d'Or: "Dancer in the Dark" (Denmark/France/Sweden), directed by Lars von Trier Grand prix: "Devils on the Doorstep" (China), directed by Jiang Wen Best actress: Bjork ("Dancer in the Dark") Best actor: Tony Leung ("In the Mood for Love") Special mention: Ensemble of actors in "The Wedding" Best director: Edward Yang ("A One and a Two ...") Best screenplay: John Richards, James Flamberg ("Nurse Betty") Prix du Jury (shared): "Blackboards" (Iran), directed by Samira Makhmalbaf, and "Songs From the Second Floor" (Sweden), directed by Roy Andersson Palm d'Or for short film: "Anino" (Phillippines), directed by Raymond Red Technical Award: Christopher Doyle, Mark Li Ping-bing, William Chang Suk-ping for "In the Mood for Love" Camera d'Or (best first feature): shared by "Djomeh" (Iran), directed by Hassan Yektapanah, and "A Time for Drunken Horses" (Iran), directed by Bahman Ghobadi International Critics' Association Awards: Best film in an Official Section: "Eureka" (Japan), directed by Shinji Aoyama; Best film in a Parallel Section: "A Time for Drunken Horses" Ecumenical Awards: Best Film: "Eureka"; Special prizes: "Fast Food, Fast Women" (U.S.), directed by Amos Kollek, and "Code Unknown" (France), directed by Michael Haneke Fondation Gan Award: (Best feature in Un Certain Regard): "Things You Can Tell Just by Looking at Her" (U.S.); Special mention: "Me, You, Them" (Brazil)
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.