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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"I’ve had a few rough years. It’s not been easy, but I keep working. I say no to things that I feel I can’t bring something unique to; I don’t want to be a generic actress. I don’t want to do things that everybody can do." Actress Jacqueline Bisset is hoping Sunday night's (12Jan14) Golden Globes win for her role in Dancing at the Edge gives her a career boost.
On the surface, framing the tumultuous civil rights era around the personal drama of a black butler working inside the White House might seem hokey. Folding history lessons in an entertaining package has always proven a difficult balancing act. But Lee Daniels' The Butler stands as a testament to reserved directing, a focused script and strong character-acting for the sake of the larger picture outside the movie house.
The heart and soul of the piece resides firmly in the capable hands of Forest Whitaker who, as titular character Cecil Gaines, balances pathos, pride, and strength with a human dash of regret. The other characters all seem to pass through his life but leave bold marks on him and the film's drama. Oprah Winfrey as Ms. Gloria Gaines, Terrence Howard as the sleazy philandering neighbor who takes advantage of the lonely Gloria, and Cuba Gooding Jr. and Lenny Kravitz as fellow White House help stand out the strongest for their raw abilities to inhabit their roles.
Though you would expect such actors to hold their own, the real delight of the Butler comes from the fact that there are no shortcomings in the film's supporting roles. The dynamic between the brothers of Cecil and Gloria offers a delightful comic relief, which is peppered amongst the drama just enough to keep the struggles of those times bearable. Elijah Kelley delights as the younger, naïve, parent-pleasing Charlie, and David Oyelowo embodies ultra-righteousness as Louis, jumping at every opportunity of civil disobedience to fight for his people's human rights (from protesting Jim Crow laws in the South to joining the Black Panther party). Meanwhile, the presidents — despite being played by high profile actors like Robin Williams (Eisenhower), John Cusack (Nixon), Liev Schreiber (LBJ), Alan Rickman (Reagan), and an unforgettable Jane Fonda as Nancy — never hang around the drama long enough to distract from its main concern of a black man struggling with apathy as the times change around him.
No character ever overshadows Cecil, who encapsulates an array of issues, from escaping an oppressive life on a cotton farm as a child to arriving at a revelation stemming from a simple gesture by taking a seat at a fancy dinner in his twilight years. It's this quiet struggle of a man trying to get by in a rough and tumble world that remains the film's main concern. The 52-year-old Whitaker does a noble job as he ages from a young man to a 90-year-old.
Compared to Daniels' powerful breakout Precious (2009) and the horrible, dull mess of the Paperboy (2012), the film features a reserved sensibility thanks to the director's decision to turn down the histrionics for a change. Throughout his short filmmaking career, Daniels has always shown a keen control over camera placement to keep a film visually dynamic, despite some dramatic failings. The Butler is no exception, as Daniels' artistry appears in the film's first frame. He still, however, leans on slow motion during a few scenes for overkill emphasis. He doesn't need that. His greatest accomplishment in The Butler lies in how he keeps the other characters in check against the quiet but important struggles of Cecil. Despite the film's many stars, no one is distracted as Daniels reveals a strong sense of mise-en-scène when burying the cast's celebrity. Daniels also continues to do raw well with make-up and wardrobe dialed down to keep it real and earthy.
The script deserves singling out as the glue that makes The Butler work as neatly as it does. Written by Danny Strong, the scribe behind another brisk political drama, the acclaimed McCain-Palin exposé Game Change on HBO, it makes for an engaging, well-paced affair despite running over two hours long. Strong based his script on a Washington Post article about a black man who served as a butler to eight presidents between the '50s and '80s. In order to emphasize the history and the tension of the civil rights movement on this family who happened to have close ties to the White House, Strong took liberties with the story. He created composite characters based on other memoirs with intimate access to the White House. It's a matter of convenience to place some of these characters at three or four too many important historical moments that may seem contrived to some. However, I'd forgive the film for teetering close to Forrest Gump cartoonery for the sake of its emphasis on moments in history that can too easily be forgotten as generations pass.
After the Supreme Court's recent decision to strike down Section 4 of the Voting Rights Act, The Butler serves as an important role in reminding us that equality and malaise between ethnic groups and classes still festers in this era, even after the election of the first black president. We need a movie that looks back at history and offers a reminder about the long way America has come and the long way it still has to go. That The Butler can do it while remaining entertaining is a bonus many will appreciate.
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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.
Jack and Terry (Mark Ruffalo and Laura Dern) are an unhappy couple stifled by years of sullen barely concealed rage Jack's inertia and Terry's drinking. Their friends Hank and Edith (Peter Krause and Naomi Watts) are similarly miserable with each other which they act out through barely concealed affairs. As Jack and Edith begin their illicit tryst they instinctively seek to pair up Hank and Terry partly to make it easier for them to sneak around but mostly to alleviate their own guilt. So the two couples basically substitute one rut for another wheels spinning in the muddy morass of their own confused attempts at adulthood. Through it all their children become a sort of juvenile Greek chorus for their parents making the kinds of precocious pronouncements that are only uttered from the mouths of screenwriters.
As joyless as the movie is to sit through the acting is brilliant. Krause (Six Feet Under) tosses his nonchalance around as an impenetrable shield caring so little that he's impossible to wound. Ruffalo (Collateral) who is the most (and probably the only) human of the quartet provides the only thing approaching a moral center. And even in this company Dern manages to act circles around them. Her Terry is a definitive portrait of the party girl who finally wakes up hung over one morning only to discover she's got two kids to feed a house to clean and a husband who'd rather talk than make love. To her love means always having to admit you're desperate. So it's sad and chilling to watch her begin her affair with Hank only because in her own twisted way she thinks her husband wants her to.
Watts is still the most compulsively watchable actress working today summoning reserves of inner turmoil on cue and yet always making it look effortless. It is interesting to contrast her role here with her work in the far superior and brilliantly written 21 Grams. Both characters are deeply unhappy people trying to make sense of the cruel world. And yet 21 Grams which is much unhappier and more despondent achieves a sublime grace as each character discovers their humanity in their desperation. In this movie you just hope that at some point the four main characters will jump in an SUV that has faulty brakes.
The two men are college professors and the movie makes the most of that milieu with flirtatious students college bars and long leafy runs providing the backdrop. But most of the movie's plotting feels like its been done on graph paper. Jack and Terry make love. Cut to Hank and Edith making love. Jack talks to his daughter. Cut to Edith talking to her daughter. The rhythm of this duet becomes numbing. The movie is directed by John Curran an Australian making his first American feature. But the impetus for the story comes from screenwriter Larry Gross adapting two short stories by Andre Dubus who wrote In the Bedroom. Dubus' movie characters are all variations on the same emotionally stifled yuppie theme although In the Bedroom saved itself by turning into an old-fashioned revenge melodrama. We Don't Live Here Anymore is one of those movies and there have been oodles where the characters are so inert that the suspense if one can call it suspense is who will act first to break the circle of despair. And so the children of course are trotted out as pawns on the chessboard forcing the kings and queens to choose. I don't know which is more depressing: that this movie cliché has been used so often or that there are undoubtedly thousands of couples in the world who act exactly like this.