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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Relativity Media’s “Act of Valor” stars a group of active-duty U.S. Navy SEALs in this action packed story of a mission to rescue a kidnapped CIA operative. The film is unique in that the aviators who were involved in this film as well as the personnel in submarines are all real military members and that live rounds are used in the combat sequences. The film had strong appeal in the heartland of America and also resonated well with male audiences as well as action fans and topped the chart this weekend with a better-than-expected $24.7 million. With a production budget of just $12 million, the film is a total winner for the studio and Bandito Brothers, the production company that brought the film to the big screen.
“Tyler Perry’s Good Deeds” from Lionsgate adds yet another hit to Perry’s box office track record with a $16 million debut. Perry directs and stars as Wesley Deeds, a businessman whose life is changed when he meets a single mother (played by Thandie Newton) who works on the cleaning crew in his office building. Perry’s films perform consistently well at the box office and this film adds to that reputation.
Warner Bros. “Journey 2: The Mysterious Island” starring action star Dwayne “The Rock” Johnson continues to be a family film favorite that continues to show amazing staying power in its third weekend. The film is outperforming its predecessor at this point and this weekend drew $13.5 million against a small 32% drop and will have $76.7 million in domestic revenue by Sunday night.
Universal’s “Safe House” shot its way back to the top of the box office chart over President’s weekend after debuting a week earlier in second place. The film has continued to dominate the mid-week box office derby as great word-of-mouth has boosted revenues for the Denzel Washington action drama. In its third weekend, the film earned $11.4 million a total domestic gross through Sunday near the $100 million mark.
Rounding out the top five is Sony’s romantic drama “The Vow” starring Channing Tatum and Rachel MacAdams. The film has continued to charm audiences and crossed the $100 million mark this weekend. $11.4 million in its third weekend of release shows that the date crowd and female audiences continue to make it their first choice.
Universal’s R-rated comedy “Wanderlust” starring Paul Rudd and Jennifer Aniston and Summit Entertainment’s thriller “Gone” starring Amanda Seyfried both debuted outside of the top five with $6.6 million and $5 million respectively.
Oscar weekend is another strong one at the box office with revenues up 24% from the same weekend a year ago and year-to-date revenues 18% ahead of last year.
Oscar Weekend Box Office
Top Movies for Weekend of February 24, 2012
Movie Weekend Gross Total to Date
1 Act of Valor (R) $24.7M $24.7M
2 Tyler Perry's Good Deeds (PG13) $16.0M $16.0M
3 Journey 2: The Mysterious Island (PG) $13.5M $76.7M
4 Safe House (R) $11.4M $98.1M
5 The Vow (PG13) $10.0M $103.0M
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.
Rushed into production last spring in order to make an October release date right in the heart of a presidential election director Oliver Stone’s W hits the bullseye with this fairly well-balanced portrait of George W. Bush (Josh Brolin) a man who grows up in the shadow of a larger-than-life father and goes on to serve in the White House four years longer than his “Poppy” did. Stone’s biographical study of the brash cowboy from Texas chronicles his early years as an oilman and baseball team owner through his run for Congress his work on his father’s presidential campaign his election as Governor of Texas and finally his ascent into the White House where he still sits today. We also see his courtship of Laura (Elizabeth Banks) and particularly his awkward dealings with his dad (James Cromwell) a complex relationship that ultimately forces W to rise up and compete with the legacy of his father and mentor. It’s that difficult dynamic between Bush Sr. and Jr. that forms the heart of the film and reveals the enigma that remains George W. Much of the story centers on the buildup to the decision to go into Iraq. Those sequences set in the White House situation room are at times hilarious in a Dr. Strangelove way and also a somewhat sobering if speculative window into how the Bush Administration does things. This film could not succeed if it was played as simply a Saturday Night Live sketch favoring impersonation over interpretation. Stone asked his actors to get the “spirit” of their respective characters and the results are impressive indeed. Brolin hits a career high and leaps into the Oscar race with his portrayal of George W. Bush. He’s close enough physically although more movie star in looks but he neatly captures the bravado and masked insecurities at the heart of the 43rd President particularly when dealing with his father brilliantly played by Cromwell. Ellen Burstyn as Barbara Bush doesn’t have a whole lot of screen time but certainly captures what we think we know about the former First Lady. Elizabeth Banks as Laura Bush is charming and winning. As for the Bush Administration figures who play a pivotal part in the proceedings Richard Dreyfuss stands out playing VP Dick Cheney as a Machiavellian figure out to create an empire in the Middle East. He loses himself in the skin of Cheney with almost effortless ease. Equally impressive is Toby Young who not only resembles political mastermind and Bush operative Karl Rove but turns this polarizing figure into a three-dimensional human being. Stacy Keach as a religious influence and Scott Glenn as Secretary of Defense Donald Rumsfeld also shine in their few scenes. Less successful are Jeffrey Wright lacking authority as the imposing Colin Powell and Thandie Newton trying too hard to become Condoleeza Rice. There is no question Oliver Stone knows his way around this kind of controversial subject matter but what may shock many is the measured and thoughtful way he approaches the material. Screenwriter Stanley Weiser’s take on Bush is to present a man haunted by the legacy of his father with a need to prove he is tougher and stronger. Stone approaches it as straight biography while also treating it as part comedy. Despite its dramatic structure W. is often subtly played for laughs. Clearly the cast of characters in this almost Shakespearean tragedy gives the filmmaker lots of fodder but they are presented in a surprisingly respectful manner. Even W comes off as an empathetic and sometimes likeable figure a cowboy in the White House. As always Stone’s command of the medium is impressive and this is one of his finest films in many years. There’s something about a president that sparks him creatively whether it’s J.F.K. Nixon and now W.. Ultimately he holds back his own views and presents the man warts and all; he lets the viewer decide what place in history there will be for George W. Bush and by extension the film Stone has made about him.
A loosely based remake of the 1963 Stanley Donen classic Charade? Sure The Truth About Charlie sounds good on paper. In the updated version Regina Lambert (Thandie Newton) is a sweet unassuming woman who decides to end her 3-month whirlwind marriage to playboy Charles Lambert (Stephen Dillane). Returning to Paris from vacation she gets to their apartment and finds it empty--except for Paris Police Commandant Dominique (Christine Boisson) whose been waiting for Reggie to inform her Charlie has been murdered and question her. Suddenly Reggie's world comes to a screeching halt. First there's American embassy official Mr. Bartholomew (Tim Robbins) who warns her about the danger she is in. Then she's followed by three oddballs-: Il-sang Lee (Joong-Hoon Park) Emil Zadapec (Ted Levine) and Lola Jansco (Lisa Gay Hamilton) who claim Charlie stole about $6 million from them. Her only ally seems to be Joshua Peters (Mark Wahlberg) a seemingly innocent guy she meets on vacation and then in Paris always happens to be there at the right time. Thrust into the middle of the puzzle Reggie has to piece together exactly what happened to her husband where the money is and more importantly who the heck she can trust. The story seems to flow nicely but you simply get bored midway through the film. There's just not enough intrigue to carry it out to fruition.
The 1963 Charade wasn't the best script out there either. It tended to drag but what made the film become an enduring classic was the on-screen pairing of Audrey Hepburn and Cary Grant. Together they had enough style and class to enlighten any mediocre script. Unfortunately Newton and Wahlberg pale in comparison--Hepburn and Grant they are not. Without a doubt the camera loves Newton and she's very appealing as the lost Regina trying to get a semblance of her life back. She has a fluidity which keeps your attention. And she could have easily had sparks with any another actor but with Wahlberg it's a complete wash. Writer/director Jonathan Demme makes the character Peters more of a Boy Scout rather than a suave sophisticate. Yes Wahlberg can do a role like this with his eyes closed but the part also requires that certain je ne sais quoi--and he just doesn't have it. The actor actually weighs the film down whenever he is on the screen. The supporting cast almost makes up for it especially Levine (The Silence of the Lambs) Joong-Hoon and Hamilton (Beloved) as the strange trio after the pot of gold. Robbins has a fairly nondescript part throughout most of the film but manages to make it solid when it counts.
Jonathan Demme definitely has a quirky sensibility that makes his films very entertaining to watch. He has been out of the limelight since his 1998 Beloved which was a much more classically structured film as was his Academy Award-winning Silence of the Lambs. But I remember his off-the-wall beginnings with Something Wild and Married to the Mob and am very happy to see Demme's unique style return in Charlie. To be honest it's what the saves the film from being a total yawner. He simply adores his surroundings shooting Paris much like New Wave directors of the '60s and '70s such as Francois Truffaut and Jean-Luc Godard and you can tell Demme is inspired by them. There are strange ethereal characters popping up in Reggie's view--a widow dressed in black by a bridge a saggy-faced woman at the market--which keeps the action off-kilter. Unlike the romantic Paris of Charade Demme goes into the seedier side of the city while still capturing its charm. The director also incorporates some of France's cinematic and cultural royalty including actress Anna Karina who made several films with Godard and Charles Aznavour a international singer/composer. The quirks definitely work.