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]
The film follows the same tired action genre step by step. Ex-con and single dad O2 (Tyrese Gibson) is trying to go straight for the sake of his young son Junior. But when the kid is kidnapped in what seems to be a typical carjacking O2 has to pull out all the stops to get him back. Turns out O2 had some nefarious dealings with a gang overlord named Big Meat (The Game) who likes to hack off people’s body parts with a machete. And now Meat wants some payback taking for ransom the only thing O2 cares about in the entire world [sniffle]. So what’s a guy to do? Pit rival gang leaders against each other hook up with a beautiful street hustler (Meagan Good) rob safety deposit boxes and get caught in an extended car chase that’s what. "It's either all or nothing " realizes O2. Very prophetic. Waist Deep has got some great character names--Meat O2 Coco Lucky Junior. Too bad most of the performances can’t live up to them. Tyrese (Four Brothers) does try his best though as the hunky O2 making a convincing albeit a tad stiff attempt at playing a father who’s whole life is his son. Good (Roll Bounce) gets to wear tight sexy clothes and strut around as Coco O2’s accomplice and eventual love interest as they rob banks Bonnie and Clyde style. Larenz Tate (Crash) plays Lucky O2’s unreliable cousin who actually isn’t lucky at all caught between a rock and hard place. And then there’s Meat played by big-time rapper The Game in his feature debut. With a battered face and covered in tattoos The Game certainly looks like one mean badass wielding a mad machete. Thankfully he doesn’t have to do much more than that. Here’s a few words of advice to would-be actors who want to play effective bad guys: Less is more. It’s movies like these that really give South Central L.A. a bad rep—shoot-outs in the middle of the street in broad daylight the carjacks the depravity the sad stories of little kids getting shot. It’s not exactly a warm and fuzzy place. Of course actor-turned-director/co-writer Vondie Curtis-Hall (best known for his numerous TV guest spots) doesn’t want it to be showing the grit in all its glory and collecting a cast from the area who could lend some credibility to the surroundings. But Hall needs a few more lessons in how to craft a well-thought action movie. The script is hackneyed beyond the usual taking bits not only from Bonnie and Clyde but also Thelma and Louise Boyz N the Hood--and even a little Shawshank Redemption. Hall’s camerawork is also too frenetic at times almost dizzyingly so with unnecessary close ups and choppy sequences. That isn’t to say some of the gun play and car chases aren’t exciting enough. There just seems to be a lack of experience overall.
The Academy of Motion Picture Arts and Sciences handed out 21 awards tonight for scientific and technical achievements.
Actress Charlize Theron hosted the black tie gala at the Regent Beverly Wilshire hotel.
Scientific and Technical Awards are presented by the academy for ``devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures.''
Seven Scientific and Engineering Awards were presented in the form of plaques, and 14 Technical Achievement Awards were given out as certificates. Its board of directors chose the winners based on recommendations from the
Scientific and Technical Awards Committee.
Achievements receiving the scientific and technical awards needn't have been invented during the current year, said Awards Administration Director Richard Miller. They are considered ``only if they have proved their exceptional merit through successful use,'' he said.
An Oscar statuette was presented to Edmund M. Di Giulio, who the academy calls one of the film industry's ``foremost engineering minds.'' De Giulio was the Gordon E. Sawyer Award recipient. The award, established
in 1981, is ``presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.''
Perhaps best known for his part in the engineering and development of the Steadicam, Di Giulio has been active on various Academy subcommittees. He chaired the Academy's Scientific and Technical Awards Committee for five
An Award of Commendation went to Rune Ericson, who was honored for ``his groundbreaking efforts on and dedication to the development of the Kodak Super 16mm film format for motion pictures.'' According to the academy, the Swedish director of photography has worked for more than 30 years to improve the Super 16mm, which has been used for more than 500 feature films shot throughout the world since the 1970s.
The system gives the camera extreme mobility, allowing cuts in production costs and shooting time without corrupting the quality of the image, according to AMPAS. The 16mm film format has also played a significant part in furthering the mainstream success of low-budget films. By extending the width of the 16mm frame, more of the frame height can be used, which allows low-budget films to be produced in a technically compatible version for widescreen theatrical release.
Here are the Scientific and Engineering Award recipients:
John Eargle, Don Keele and Mark Engebretson for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems;
Iain Neil won for the concept and optical design and Al Saiki for the mechanical design of the Panavision Primo Macro Zoom Lens, a compact, wide-angle, macro focus lens;
Peter Kuran for the invention, and Sean Coughlin, Joseph A. Olivier and William Conner for the engineering and development, of the RCI-Color Film Restoration Process, which restores color to faded color negatives;
Franz Kraus, Johannes Steurer and Wolfgang Riedel for the design and development of the ARRILASER Film Recorder, which demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality;
Makoto Tsukada, Shoji Kaneko and the Technical Staff of Imagica Corp., and Daijiro Fujie of Nikon Corp., for the Imagica 65/35 Multi-Format Optical Printer, a liquid-gate optical printer that offers ease of set-up and change-
over to various formats from 35mm to 65mm;
Steve Gerlach, Gregory Farrell and Christian Lurin for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film, which allows all four soundtrack systems to be exposed on a single negative
with relative ease, facilitating more economic distribution of motion pictures; and
Paul Constantine and Peter M. Constantine for the design and development of the CELCO Digital Film Recorder products.
Here are the Technical Achievement Awards winners:
Pete Romano for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures;
Jordan Klein for his pioneering efforts in the development and application of underwater camera housings for motion pictures;
Lance Williams for his pioneering influence in the field of computer-generated animation and effects for motion pictures;
Bernard Werner and William Gelow for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems;
Tomlinson Holman for the research and systems integration resulting in the improvement of motion picture loudspeaker systems;
Geoff Jackson and Roger Woodburn for their DMS 120S Camera Motor;
Thomas Major Barron for the overall concept and design; Charles Smith for the structural engineering; and Gordon Seitz for the mechanical engineering of the Bulldog Motion Control Camera Crane;
John Anderson, Jim Hourihan, Cary Phillips and Sebastian Marino for the development of the ILM Creature Dynamics System;
Dr. Steve Sullivan and Eric Schafer for the development of the ILM Motion and Structure Recovery System;
Carl Ludwig and John Constantine Jr. for their contributions to CELCO Digital Film Recorder products;
Bill Spitzak, Paul Van Camp, Jonathan Egstad and Price Pethel for their pioneering effort on the NUKE-2D Compositing Software;
Dr. Uwe Sassenberg and Rolf Schneider for the development of ``3D Equalizer,'' an advanced and robust camera and object match-moving system;
Garland Stern for the concept and implementation of the Cel Paint Software System; and
Mic Rodgers and Matt Sweeney for the concept, design and realization of the ``Mic Rig,'' a self-contained, low bed picture car carrier and camera platform.