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 decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The film and television nominations for the 18th Annual Screen Actors Guild Awards have been released, recognizing achievements in both individual performances and the strengths of ensemble casts. This year's television award nominations are listed below, including many worthy recipients, but there are also a few surprising absences. Among the hard-hitters listed below are dramas like HBO's Mildred Pierce and Boardwalk Empire, AMC's Breaking Bad and comedies such as ABC's Modern Family (which swept the Emmys this year) and NBC's 30 Rock. However, some might be surprised not to find the new Showtime drama Homeland or NBC's secret weapon Parks and Recreation.
The 18th Annual Screen Actors Guild Awards will air live at 8 p.m. ET/5 p.m. PT on Jan. 29, 2012 on TNT and TBS.
Click here to read the list of this year's film nominees.
18th ANNUAL SAG AWARDS NOMINATIONS: PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Laurence Fishburne - Thurgood (HBO)
Paul Giamatti - Too Big to Fail (HBO)
Greg Kinnear - The Kennedy (Reelz Channel)
Guy Pearce - Mildred Pierce (HBO)
James Woods - Too Big to Fail (HBO
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Diane Lane - Cinema Verite (HBO)
Maggie Smith - Downton Abbey (PBS)
Emily Watson - Appropriate Adult (Sundance Channel)
Betty White - Hallmark Hall of Fame: The Lost Valentine (CBS)
Kate Winslet - Mildred Pierce (HBO)
Outstanding Performance by a Male Actor in a Drama Series
Patrick J. Adams - Suits (USA)
Steve Buscemi - Boardwalk Empire (HBO)
Kyle Chandler - Friday Night Lights (DirecTV)
Bryan Cranston - Breaking Bad (AMC)
Michael C. Hall - Dexter (Showtime)
Outstanding Performance by a Female Actor in a Drama Series
Kathy Bates - Harry's Law (NBC)
Glenn Close - Damages (DirecTV)
Jessica Lange - American Horror Story (FX)
Julianna Margulies - The Good Wife (CBS)
Kyra Sedgwick - The Closer (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
Alec Baldwin - 30 Rock (NBC)
Ty Burrell - Modern Family (ABC)
Steve Carell - The Office (NBC)
Jon Cryer - Two and a Half Men (CBS)
Eric Stonestreet - Modern Family (ABC)
Outstanding Performance by a Female Actor in a Comedy Series
Julia Bowen - Modern Family (ABC)
Edie Falco - Nurse Jackie (Showtime)
Tina Fey - 30 Rock (NBC)
Sofia Vergara - Modern Family (ABC)
Betty White - Hot in Cleveland (TV Land)
Outstanding Performance by an Ensemble in a Drama Series
Boardwalk Empire (HBO) - Steve Buscemi, Dominic Chianese, Robert Clohessy, Dabney Coleman, Charlie Cox, Jose & Lucy Gallina, Stephen Graham, Jack Huston, Anthony Laciura, Heather Lind, Kelly Macdonald, Rory & Declan McTigue, Gretchen Mol, Brady & Connor Noon, Kevin O'Rourke, Aleksa Palladino, Jacqueline Pennewill, Vincent Piazza, Michael Pitt, Michael Shannon, Paul Sparks, Michael Stuhlbarg, Peter Van Wagner, Shea Whigham, Michael Kenneth Williams, Anatol Yusef
Breaking Bad (AMC) - Jonathan Banks, Betsy Brandt, Ray Campbell, Bryan Cranston, Giancarlo Esposito, Anna Gunn, RJ Mitte, Dean Norris, Bob Odenkirk, Aaron Paul
Dexter (Showtime) - Billy Brown, Jennifer Carpenter, Josh Cooke, Aimee Garcia, Michael C. Hall, Colin Hanks, Desmond Harrington, Maria Doyle Kennedy, Rya Kihlstedt, C.S. Lee, Edward James Olmos, James Remar, Lauren Velez, Peter Weller, David Zayas
Game of Thrones (HBO) - Amrita Acharia, Mark Addy, Alfie Allen, Josef Altin, Sean Bean, Susan Brown, Emilia Clarke, Nikolaj Coster-Waldau, Peter Dinklage, Ron Donachie, Michelle Farley, Jerome Flynn, Elyes Gabel, Aiden Gillen, Jack Gleeson Iain Glen, Julian Glover, Kit Harington, Lena Headey, Isaac Hempstead Wright, Conleth Hill, Richard Madden, Jason Mamoa, Rory McCann, Ian McElhinney, Luke McEwan, Roxanne McKee, Dar Salim, Mark Stanley, Donald Sumpter, Sophie Turner, Maisie Williams
The Good Wife (CBS) - Christine Baranski, Josh Charles, Alan Cumming, Matt Czuchry, Julianna Margulies, Chris Noth, Archie Panjabi, Graham Phillips, Makenzie Vega
Outstanding Performance by an Ensemble in a Comedy Series
30 Rock (NBC) - Scott Adsit, Alec Baldwin, Katrina Bowden, Kevin Brown, Grizz Chapman, Tina Fey, Judah Friedlander, Jane Krakowski, John Lutz, Jack McBrayer, Tracy Morgan, Maulik Pancholy, Keith Powell
The Big Bang Theory (CBS) - Mayim Bialik, Kaley Cuoco, Johnny Galecki, Simon Helberg, Kunal Nayyar, Jim Parsons, Melissa Rauch
Glee (Fox) - Dianna Agron, Chris Colfer, Darren Criss, Ashley Fink, Dot Marie Jones, Jane Lynch, Jayma Mays, Kevin McHale, Lea Michele, Cory Monteith, Heather Morris, Matthew Morrison, Mike O'Malley, Chord Overstreet, Lauren Potter, Amber Riley, Naya Rivera, Mark Salling, Harry Shum Jr., Iqbal Theba, Jenna Ushkowitz
Modern Family (ABC) - Aubrey Anderson-Emmons, Julia Bowen, Ty Burrell, Jesse Tyler Ferguson, Nolan Gould, Sarah Hyland, Ed O'Neill, Rico Rodriguez, Eric Stonestreet, Sofia Vergara, Ariel Winter
The Office (NBC) - Leslie David Baker, Brian Baumgartner, Creed Bratton, Steve Carell, Jenna Fischer, Kate Flannery, Ed Helms, Mindy Kaling, Ellie Kemper, Angela Kinsey, John Krasinski, Paul Lieberstein, B.J. Novak, Oscar Nunez, Craig Robinson, James Spader, Phyllis Smith, Rainn Wilson, Zach Woods
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
If Jerry Springer can go from the Cincinnati mayor's office to his own brand of confrontational TV, then why can't talk show host Geraldo Rivera run for mayor of New York?
Simple. Rivera's bosses at NBC have vetoed his political plans.
TV Guide cites a letter to Rivera from NBC News Vice President David Corvo indicating that a 2001 mayoral candidacy would conflict with the flamboyant host's reporting role for the network. Rivera is the host of CNBC's "Rivera Live" as well as a documentary producer for NBC.
"It's tricky with Geraldo because he wears different hats for us," Corvo said. "But we didn't even want to have the perception that his political ambitions were affecting the objectivity of his reporting for the documentaries."
Although Rivera has reluctantly dropped his plans for the mayor's seat, he tells TV Guide: "I want to affect New York's future. ... And if NBC objects to that, I'll quit."