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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
Follow @Michael Arbeiter
| Follow @Hollywood_com
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
I long ago gave up hand-wringing about Hollywood’s preoccupation with remakes. Still the trailers for Harald Zwart’s remake of The Karate Kid the 1984 underdog classic that introduced such priceless phrases as “Wax on wax off” and “Sweep the leg!” into the pop-culture lexicon set me ill at ease. To me the film seemed little more than a high-profile vanity project for child star Jaden Smith son of Will Smith and Jada Pinkett who for all we know gave him the movie as a Christmas gift a $40 million stocking-stuffer. Pillage my childhood memories if you must Hollywood but damnit at least show a little respect for the source material.
Much has changed in the update: Daniel Larusso is now Dre Parker; California’s San Fernando Valley is now Beijing China; Mr. Miyagi is now Mr. Han; and karate is now kung fu. Most of the story beats and thematic elements however are essentially the same. After his single mother (Taraji P. Henson) gets a job transfer 12-year-old Dre (Smith) is forced to move from his native Detroit to the unfamiliar climes of Beijing where he’s besieged by a local group of pubescent fascists after being caught innocently flirting with a pretty schoolmate.
Dre’s tormentors all of whom practice a peculiarly sadistic version of kung fu taught at the neighborhood martial arts academy adhere vigorously to the “No weakness no pain no mercy” credo of their autocratic master. As such they’re not about to let their puny prey off with just one humiliating beatdown. During a subsequent ass-whooping Mr. Han (Jackie Chan) the eccentric maintenance man from Dre’s apartment building comes to the rescue fending off the ruthless urchins with some pretty fancy fighting moves of his own. After some cajoling Mr. Han reluctantly agrees to teach the child kung fu and several life lessons and inspirational montages later a resurgent Dre finally faces up to his adversaries at a climactic kung fu tournament.
The case for nepotism in this new Karate Kid is not without merit. Though allegedly 11 years old Smith doesn’t look a day over 10 and appears jarringly undersized for a 12-year-old. Seeing the baby-faced lad (he definitely takes after his mom in the looks department) get repeatedly brutalized by adolescent thugs twice his size gets uncomfortable as do later scenes of him training shirtless his torso the size of Chan’s forearm.
But it’s a minor quibble. In truth Smith surpasses his predecessor Macchio in both acting ability and martial arts proficiency. Whereas Daniel-San’s fighting scenes in the original Karate Kid require a suspension of disbelief that diminishes his eventual triumph at the All-Valley Karate Championships (Even as a kid I always suspected that the Cobra Kai kids were either sandbagging it or their sensai was the worst in-game coach since Jim Tressel) Smith’s moves are both more authentic and more athletic. Moreover he has the good sense not to collapse hysterically into a wailing heap at the slightest touch from an opponent as Macchio so famously did.
The Karate Kid is every bit an unabashed crowd-pleaser -- which isn’t necessarily such a bad thing in a summer movie season that has thus far given audiences precious little to cheer for. At two-and-a-half hours it takes far too long to get going and would have benefited from a more assured hand behind the camera. Zwart’s overemphasis on the bullying and fish-out-of-water elements becomes redundant and the dialogue and culture-clash jokes border on embarrassing at times. But the meat of the story the bond that forms between an unlikely kung fu teacher and his equally unlikely student is undeniably affecting.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
February 08, 2002 2:07pm EST
Jonathan Cross (Chris Klein) is down and out in California when he runs into his old friend Marcus Ridley (LL Cool J) driving a pricey sports car and dripping in gold jewelry. As it turns out Ridley is making it big in an international Rollerball league and convinces Cross to do the same. Fast-forward four months into the future and Jonathan has become one of the biggest and most sought-after Rollerball stars. He's rich drives a nice car and is having a steamy relationship with his teammate Aurora (Rebecca Romijn-Stamos). From the looks of it Rollerball is a serious moneymaking operation: We are constantly shown million of dollars worth of currency going through money counters at record speed. And by the instant ratings numbers that appear on the organizer's monitors it's obvious that Rollerball fever has taken over the world. When conniving Rollerball creator Petrovich (Jean Reno) discovers that the ratings go through the roof when blood gets spilled things start to go very wrong. Cross and his teammates suddenly find themselves playing for their lives.
Chris Klein (American Pie 2) is Jonathan Cross the all-American Rollerball player but he underplays the role. You would expect a character in his position to have a certain amount of charisma and charm but Klein's delivery is a bit deadpan and lacking in attitude. His best pal Marcus Ridley is played by LL Cool J (Kingdom Come) who manages to add a bit of dimension to his otherwise underdeveloped character. In fact he may have been better suited for the lead. The only good part about model-turned-actress Rebecca Romijn-Stamos' (X-Men) role is that it didn't incorporate too many lines. Sounding like Natasha from Rocky and Bullwinkle you have to wonder what she was thinking with that accent which (contrary to the actress' recent statement on MTV that a bad accent is not necessarily bad acting) certainly is part of the acting and certainly is bad. Jean Reno (Just Visiting) was probably the most interesting character. He was all bad without a single redeeming quality which he at least pulled off with flair whether it was in his delivery or his elaborate fur coats.
Rollerball is director John McTiernan's (The Thomas Crown Affair) take on the 1975 classic directed by Norman Jewison. There is definitely enough action in Rollerball to keep viewers interested but the major problems lies within the characters' development-there isn't any. So while the action may keep your eyeballs glued to the screen momentarily you will find yourself indifferent to the characters their plight and what happens to them. Cross and Aurora's relationship for example is implied through one hastily done sex scene in the gym. Consequently when the evil Petrovich threatens to hurt her if Cross tries to leave the game we could care less because we don't really know her or how important she is to Cross. Being such an internationally renowned sport the accents which play a big part in the film are done too shoddily. The French accents go from Canadian to European within a sentence and that's only from the ones I could pick up. Who knows what other languages were massacred in the process?