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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As Boardwalk Empire is imbued with a larger population than most Asian countries, it's always helpful to take a step back and give some thought to where each of the HBO drama's characters are setting up to go at the beginning of every new chapter. The Season 4 premiere set a number of familiar faces on their courses for the next set of episodes…
Nucky ThompsonNow a bachelor, standing knee-deep in that same narcissistic lust for troubled showgirls that has plagued him since the Lucy days, Nucky takes an interest in Eddie Cantor's new onstage sidekick, using his ominous reputation as a tool to entice her (and scare detractors like Cantor). Meanwhile, Nucky manages a peace treaty with kingpins Masseria and Rothstein, albeit one that feels oh so fragile.
Al CaponeEternally affixed on his public image, Capone goes nuts when a local newspaper runs reports of his and Johnny Torrio's malfeasances but with his name misspelled as "Caponi." We see Al's childlike rage build as he yearns for notoriety and respect.
Chalky WhiteA businessman on the rise, Chalky institutes a deal with a talent agent… one who faces a nasty end when Chalky's right hand man, Dunn Purnsley, finds himself in one severely twisted love triangle.
Eli and Will ThompsonPutting his best foot forward in the fathering game, Eli is really riding his oldest son Will to stay studious, healthy, and righteous. Will, on the other hand, wants in on the family business. And, of course, he will probably get involved pretty soon.
Gillian DarmodyPoor Gillian. Poor, pathetic, corrosive, evil Gillian. With a legion of prostitutes over whom to loom no longer, Gillian has taken to turning tricks herself, roping in big bucks for her encounters with deep-pocketed businessmen. Her latest client, played by Ron Livingston, seems like the sort we'll be seeing quite a bit this season. Additionally, we find Gillian on the villainous side of a heated legal battle for custody of Tommy Darmody — also fighting to adopt the child: Richard's flame Julia and her father, Mr. Sagorsky. Which brings us to…
RichardStill pretty glued to the whole "killing people" thing, we see Richard take down three nameless cads over the course of the episode, but a far more surprising conclusion faces our favorite character: he goes home. Back to the farm, where he reunited at long last with his twin sister. So does this mean he can finally be happy? Maybe? Please?
Where will the season take these characters? And which old favorites are we looking forward to seeing pop up next week?
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Fun Size may be the only production from kid-centric studio Nickelodeon to also feature underage drinking (complete with red solo cups) and boob groping. The murky demographic for the movie ends up hurting the well-intentioned Halloween flick — it's not quite suitable for the young ones nor is it funny or wild enough for the Gossip Girl crowd which director Josh Schwartz (creator of the show) knows well. Instead we get a floundering trick or treat adventure that reduces the colorful twisted holiday to a meandering situational comedy.
Nick TV grad Victoria Justice (Victorious) stars as Wren a high school "geek" who finds herself unable to bag the guy of her dreams (who adores her) but finds a glimmer of hope in the big cool kids' Halloween party. Ready for a night out with her best friend April (Jane Levy) Wren thinks life is finally going her way until her Mom (Chelsea Handler) sticks her with her troublemaking little brother Albert (Jackson Nicoll) for the night. If chaperoning Albert wasn't already the worst thing in the world Wren finds herself in an even bigger dilemma when her brother wanders off into his own night of mischievous debauchery.
The "one crazy night" formula fits perfectly with Halloween but Fun Size struggles to find interesting material for its eclectic ensemble. Unlike many of the young actresses who have previously collaborated with Schwartz Justice seems unable to crack his voice and comedic style. She's too hip to too aware to play someone struggling with high school. The material doesn't serve her or Levy either; off-color jokes and a bizarre sense of entitlement turn them into two people you don't want to see succeed. Luckily for the audience during their sweeping search for Albert Wren and April cross paths with two true nerd-looking boys: Roosevelt (Thomas Mann) and Peng (Osric Chau) who along with feeling like real teenagers actually land a joke or two.
Interwoven into this speedy adventure — Fun Size clocks in at a little over 75 minutes giving little time to flesh out our teenage heroes — is Albert's encounter with a convenience store clerk named Fuzzy. The adults of Fun Size see the ten-year-old Albert as a parter-in-crime rather than a lost little boy. Fuzzy recruits him for a raid on his ex-girlfriend's house; after running away he meets a lady who brings him to a nightclub. At one point a sleazebag kidnaps Albert and locks him in his bedroom. If Fun Size were madcap it may all make sense. Instead things just happen — and it's not hilarious scary or even deranged.
Nick's '90s sitcom Pete & Pete created an amazing sense of weirdness and heart in its exploits of two teenage brothers. Anyone could watch and enjoy it. Fun Size has a beautiful look (the colors of Halloween are mesmerizing) and Schwartz as always has impeccable soundtrack tastes but when it comes to telling a story that feels both relatable and wonderfully weird — what Pete & Pete did so well — the movie falls flat. It's stereotype humor (the movie packs many a fat and gay joke) doesn't cut it — when paired to Nick's best efforts the movie lives up to the title: a bite-size portion of a bigger better cinematic sweet.
With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
Former teen star Lark Voorhies recently gave an interview to People so bizarre that it made the public voice speculation on the possibility that drugs were somehow involved. The Saved By The Bell actress, 38, who used to portray the fashionable Lisa Turtle, adamantly denied any drug use. Her mother has come forward claiming her daughter has been diagnosed with bipolar disorder.
"There are things that have traumatized her," her mother Tricia said, referring to the end of Saved By the Bell in 1993 and a 2001 divorce. "I care deeply about my daughter and I want her to resume her life."
The interview in question featured a sometimes incoherent Voorhies; for some periods, she would just sit in silence. She also made a few strange statements that perplexed many viewers.
But after her mother said that Voorhies suffered from bipolar disorder, the actress denied it.
“They can’t explain it. They can’t treat it. They don’t know about it… I have a strong spiritual sense,” Voorhies said. “You caught me in moments of pray [sic]."
Voorhies is currently living with her mother, working on low-budget indie productions, recording music and self-publishing her own books.
Follow Sydney on Twitter @SydneyBucksbaum
[Photo Credit: WENN]
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