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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Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
February 06, 2003 12:14pm EST
The Writers Guild of America has announced its nominations for outstanding achievement in screen in 2002.
Antwone Fisher, Bowling for Columbine, Far From Heaven, Gangs of New York and My Big Fat Greek Wedding have been nominated for the WGA's best original screenplay award.
About a Boy, About Schmidt, Adaptation, Chicago and
The Hours meanwhile will contend for best adapted screenplay.
Antwone Fisher, Written by Antwone Fisher; Fox Searchlight
Bowling for Columbine, Written by Michael Moore; United Artists/Alliance Atlantis/Salter Street Films/Dog Eat Dog Films
Far From Heaven, Written by Todd Haynes; Focus Features
Gangs of New York, Screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan, story by Jay Cocks; Miramax Films
My Big Fat Greek Wedding, Written by Nia Vardalos; Gold Circle Films/HBO/MPH Entertainment/Playtone
About a Boy, Screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby; Universal Pictures/Studio Canal/Working Title Films/Tribeca Productions
About Schmidt, Screenplay by Alexander Payne & Jim Taylor, based on the novel by Louis Begley; New Line Cinema
Adaptation, Screenplay by Charlie Kaufman and Donald Kaufman, based on the book The Orchid Thief by Susan Orlean; Columbia Pictures
Chicago, Screenplay by Bill Condon, based on the musical play, book by Bob Fosse and Fred Ebb and the play by Maurine Dallas Watkins; Miramax Films
The Hours, Screenplay by David Hare, based on the novel by Michael Cunningham; Paramount Pictures/Miramax Films
Animation--any length--one airing time (new category)
"The Bart Wants What It Wants" (The Simpsons), Written by John Frink & Don Payne; Gracie Films in association with 20th Century Fox Television; Fox
"Blame It on Lisa" (The Simpsons), Written by Bob Bendetson; Gracie Films in association with 20th Century Fox Television; Fox
"Godfellas" (Futurama), Written by Ken Keeler; 20th Century Fox Television; Fox
"Jaws Wired Shut" (The Simpsons), Written by Matt Selman; Gracie Films in association with 20th Century Fox Television; Fox
"My Own Private Rodeo" (King of the Hill), Written by Alex Gregory & Peter Huyck; 20th Century Fox Television Productions in association with Deedle-Dee Productions, Judgmental Films and 3 Arts Entertainment; Fox
Santa Baby! Written by Peter Bakalian & Suzanne Collins; Rankin/Bass; Fox
Original Long Form--over one hour--one or two parts, one or two airing times
Dor to Door, Written by William H. Macy & Steven Schachter; Turner Pages, Inc.; TNT
The Gathering Storm, Teleplay by Hugh Whitemore, Story by Larry Ramin and Hugh Whitemore; a Scott Free Production in association with HBO Films; HBO
Sins of the Father Written by John Pielmeier, based on the magazine article that appeared in Texas Monthly by Pamela Colloff; Artisan; FX
Strange Relations, Written by Tim Kazurinsky; Showtime; Granada Entertainment; Showtime
Adapted Long Form--over one hour--one or two parts, one or two airing times
"Batogne" (Band of Brothers), Written by Bruce C. McKenna, based on the book by Stephen E. Ambrose; DreamWorks/Playtone/HBO; HBO
Hysterical Blindness, Teleplay by Laura Cahill, based on the play by Laura Cahill; Hysterical Films, Inc.; HBO
Last Call, Screenplay by Henry Bromell, based on the memoir Against the Current: As I Remember F. Scott Fitzgerald by Frances Kroll Ring; Room 520/Barnstorm Films; Showtime
Mark Twain's Roughing It, Teleplay by Steven H. Berman, based on the book Roughing It by Mark Twain; Larry Levinson Productions; Hallmark Channel
Episodic Drama--any length, one airing time
"Game On" (The West Wing), Written by Aaron Sorkin & Paul Redford; John Wells Productions in association with Warner Bros. Television; NBC
"In Place of Anger" (Six Feet Under), Written by Christian Taylor; Six Feet Productions; HBO
"Nino Del Polvo" (Resurrection Boulevard), Written by Robert Eisele; Showtime; Viacom Productions, Inc.; Patagonia House; Showtime
"On the Beach" (ER), Written by John Wells; Constant C Productions; Amblin Television; Warner Bros. Television; NBC
Pilot (The Education of Max Bickford), Written by Dawn Prestwich & Nicole Yorkin; 20th Century Fox Television; CBS
"Whoever Did This" (The Sopranos), Written by Robin Green & Mitchell Burgess; Soprano Productions, Inc.; HBO
Episodic Comedy--any length, one airing time
"Change of Address" (Sex and the City), Written by Julie Rottenberg & Elisa Zuritsky; Darren Star Productions in association with HBO Original Programming; HBO
"I Heart NY" (Sex and the City), Written by Michael Patrick King; Darren Star Productions in association with HBO Original Programming; HBO
Pilot (The Bernie Mac Show), Written by Larry Wilmore; Regency Television in association with 20th Century Fox Television; FOX
"My First Day", (pilot, Scrubs), Written by Bill Lawrence; Touchstone Television Productions; NBC
"Plus One is the Loneliest Number" (Sex and the City), Written by Cindy Chupack; Darren Star Productions in association with HBO Original Programming; HBO
"Rooms With a View" (Frasier), Written by Dan O' Shannon & Lori Kirkland & Bob Daily; Grub Street Productions in association with Paramount Pictures; NBC
"The Wedding" (Ed), Written by Rob Burnett & Jon Beckerman; Viacom Productions in association with Worldwide Pants, Inc. and NBC Studios; NBC
Comedy/Variety---Music, Awards, Tributes--Specials--any length
The Kennedy Center Honors Written by Don Baer and George Stevens, Jr., Film Sequences Written by Sara Lukinson; A George Stevens Jr. Presentation - Kennedy Center Television Productions, Inc.; CBS
NBC 75th Anniversary Special, Written by Doug Abeles, James Anderson, Robert Carlock, Tina Fey, Charlie Grandy, Steve Higgins, Lorne Michaels, Paula Pell, Herb Sargent, Michael Schur, Michael Shoemaker; Broadway Video in association with NBC Studios; NBC
Comedy/Variety--(including talk) Series
Dennis Miller Live, Written by Eddie Feldmann, Jose Arroyo, Richard Dahm, David Feldman, Jim Hanna, Rob Z. Kutner, Kirsten McFarland, Dennis Miller, Jacob Sager Weinstein; Happy Family Productions; HBO
Late Night With Conan O'Brien, Written by Mike Sweeney, Chris Albers, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; Broadway Video; NBC
Mad TV, Writing Supervised by Scott King, Written by Dick Blasucci, Garry Campbell, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, Devon Shepard, Rich Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos; QDE/Girl Group; FOX
Saturday Night Live, Written by Tina Fey, Doug Abeles, Leo Allen, James Anderson, Max Brooks, James Downey, James Eagan, Hugh Fink, Charlie Grandy, Jack Handey, Steve Higgins, Erik Kenward, Dennis McNicholas, Lorne Michaels, Corwin Moore, Matt Murray, Paula Pell, Matt Piedmont, Ken Scarborough, Michael Schur, Frank Sebastiano, T. Sean Shannon, Eric Slovin, Robert Smigel, Emily Spivey, Andrew Steele, Scott Wainio, Jerry Collins, Tom David; Broadway Video in association with SNL Studios; NBC
Guiding Light, Written by Millee Taggart, Lucky Gold, Christopher Dunn, Tita Bell, Jill Lorie Hurst, Penelope Koechl, David Kreizman, Eleanor Labine, Alan Madison, Danielle Paige, A.J. Pierce, Janet Reed Ahearn, Susan Rice, David Rupel, Melissa Salmons, Eddie Sanchez, Lisa Seidman, David Smilow; Procter & Gamble; CBS
The Young and the Restless, Written by Kay Alden, Trent Jones, John F. Smith, Jerry Birn, Jim Houghton, Natalie Minardi, Janice Ferri, Eric Freiwald, Joshua McCaffrey, Michael Minnis, Rex M. Best; Columbia TriStar; CBS
Elmo's World: Happy Holidays!, Written by Christine Ferraro; Sesame Workshop; PBS
Off Season, Written by Glenn Gers; Showtime Networks, Inc.; Showtime
Our America, Teleplay by Gordon Rayfield, Based on the book "Our America: Life and Death on the South Side of Chicago" by Lealan Jones, Lloyd Newman and David Isay; Joseph Stern Productions; All Media, Inc.; Showtime
The Red Sneakers, Teleplay by Mark Saltzman, Story by Jeffrey Rubin; Lynch Entertainment, Tom Lynch Company, RS Productions, Ltd., Showtime Networks, Inc.; Showtime
Bioterror (Nova), Written by Matthew Collins; A Nova Production by the New York Times/ Granada Factuals USA and Lone Wolf Pictures, Inc., for WGBH/ Boston in association with Channel 4 Television; PBS
The Man Who Knew (Frontline), Written by Michael J. Kirk, Kirk Documentary Group; PBS
9/11, Written by Tom Forman & Greg Kandra; Goldfish Pictures, Inc.; CBS
Rollover: The Hidden Story of the SUV (Frontline), Written by Marc Shaffer & Barak Goodman; 10/20 Productions; PBS
Documentary--Other Than Current Events
America's First River, Part One, Written by Tom Spain; WNET/Educational Broadcasting Corp.; Public Affairs Television; PBS
Empire State Building Ironworker (A Day in their Lives), Written by Peter Hankoff; Termite Art Productions; History Channel; History Channel
Evolution of a Revolution (Founding Brothers), Written by Kelly McPherson and Melissa Jo Peltier & Allison MacEwan; MPH Entertainment Inc.; History Channel; History Channel
Monkey Trial (American Experience), Written by Christine Lesiak; WGBH Educational Foundation; PBS
News--Regularly Scheduled, Bulletin or Breaking Report
Attack on America Written by Jerry Cipriano, Paul Fischer, Thomas Harris, Hugh Heckman, Bruce Meyer; CBS Evening News; CBS
September 11th Controllers, Written by Jonathan W. Kaplan; CBS
A truck carrying hazardous materials accidentally drops one of its containers into a small lake contaminating it and its delicate ecosystem. Trouble arises when the wacky town entomologist feeds his collection of exotic spiders contaminated crickets which act as a sort of spider "steroid." The result is a horde of giant hairy spiders that prey on the town's unsuspecting inhabitants. Sheriff Sam Parker (Kari Wuhrer) doesn't believe her son Mike (Scott Terra) when he tries to warn her about what's going on but blames his "media-induced paranoid delusional nightmare" on too much boob-tube watching. Then when mining engineer Chris McCormick's (David Arquette) aunt gets spun--literally--into one of the spider's webs he enlists the help of Sheriff Parker and paranoid radio announcer Harlan Griffin (Doug E. Doug) to fight off the eight-legged freaks. Armed only with rakes ski poles and chainsaws the townspeople fight off the spiders in a losing battle before Chris comes up with a master plan that will blow the arachnids to smithereens.
Prankster Arquette (See Spot Run) tones down his funnyman routine in Eight Legged Freaks and takes on the role of the humble hero. It's refreshing to see Arquette playing a more subdued character with less of a slapstick edge although I half expected him to start yelling at people to "dial straight down the center." As the sheriff Wuhrer (Berserker) plays her dual role well as a headstrong single mother of two and the town leader. Sure she looks a little too hot to be a chief law enforcement officer but maybe some sheriffs really do look like that in small-town America. While the laughs may not have been coming from Arquette there were enough to be had thanks to Doug whose most memorable role to date has to be Sanka Coffie from the 1993 comedy Cool Runnings. His radio announcer in this film believes the government is conspiratorial and that the spiders are the alien invasion he has been warning people about for decades. Doug delivers some of the movie's funniest lines.
New Zealander Ellory Elkayem (Larger Than Life) wrote and directed Eight Legged Freaks a sort of homage to mid-1950s B-movie sci-fi thrillers like Tarantula or Earth vs. the Spider. But while these cult films were funny merely by accident--Tarantula director Jack Arnold probably wasn't being intentionally campy--Eight Legged Freaks at times seems to try too hard. Packing in one joke after another takes away from the spiders' scariness making them seem more like a practical joke than a potentially annihilating threat. The special effects are extremely slick however and the spiders are well done with techniques approaching those in the 1997 sci-fi actioner Starship Troopers (but none of the gigantic CGI spiders are as scary as the real-life tarantulas caged up in terrariums at the start of the movie). Although at 99 minutes the film moves quickly the final scene in which the townspeople are being chased through a labyrinth of mining tunnels drags on a bit too long.