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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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.
Maybe it was the 3-D glasses that helped, but the game went into overtime this weekend for Spy Kids 3-D: Game Over.The third installment in the franchise about a family of super spies took the top spot with a healthy $32.5 million*, making it the highest opener of the three. The first Spy Kids opened 2001 with $26.5 million, while the second, Spy Kids: Island of Lost Dreams, opened 2002 with $18.7 million. The ghostly swashbuckler Pirates of the Caribbean: The Curse of the Black Pearl held on to second place with $22.4 million while the naughty actioner Bad Boys II dropped from the top of the heap last week to third with $22 million, barely slipping under Pirates .Not as many people, however, cared to see Angelina Jolie strut her stuff again. The outrageously stunt-laden sequel Lara Croft Tomb Raider: The Cradle of Life opened at No. 4 with $21.7 million, making less than half of what the original 2001 smash hit Lara Croft: Tomb Raider did when it opened at $47.7 million. The heart-tugging Depression drama Seabiscuit rounded out the top five's home stretch with $21.5 million, though it managed to take the highest per average screening award; opening in 1,989 theaters, its $10,809 per theater average was the highest of any film playing wide this weekend.Other notable indies opening this week included the Bob Dylan starrer Masked and Anonymous, which debuted at $32,167, and the controversial Buffalo Soldiers at $29,000.Overall, box office numbers were up this week, nearly 10 percent from the same weekend last year and nearly 6 percent from last weekend. THE TOP TENDimension Films' PG-rated Spy Kids 3-D: Game Over premiered at the top of the box office with an ESTIMATED $32.5 million in 3,344 theaters ($9,719 per theater).In this third installment, junior agents Juni and Carmen Cortez have to go into a video game and shut it down before it and its creator can take over the world.Written and directed by Robert Rodriguez, it stars Alexa Vega, Daryl Sabara, Sylvester Stallone, Salma Hayek and Ricardo Montalban.Buena Vista Pictures' PG-13 rated fantasy actioner Pirates of the Caribbean: The Curse of the Black Pearl held on to second in its third week with an ESTIMATED $22.4 million (-34%) at 3,416 theaters (+57 theaters; $6,557 per theater). Its cume is $176.1 million.Directed by Gore Verbinski and produced by Jerry Bruckheimer, it stars Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.Sony Picture's R rated buddy actioner Bad Boys II dropped from its first place perch to third with an ESTIMATED $22 million (-53%) at 3,202 theaters (+16 theaters; $6,871 per theater). This high-octane sequel, which follows narcotics detectives Mike Lowry and Marcus Burnett in another case, has made $88.4 million so far.Directed by Michael Bay, it stars Will Smith, Martin Lawrence, Jordi Molla, Gabrielle Union and Peter Stormare.Paramount Pictures' PG-13-rated action-packed Lara Croft Tomb Raider: The Cradle of Life debuted at a disappointing fourth place with an ESTIMATED $21.7 million in 3,222 theaters ($6,754 per theater).In her latest adventure pic, Lara Croft journeys to an underwater temple in search of lost treasures. During her expedition, she stumbles upon a sphere that contains the key to Pandora's box.Directed by Jan De Bont, it stars Angelina Jolie, Gerald Butler, Chris Barrie, Ciaran Hinds and Noah Taylor.Universal Pictures' PG-13-rated tear-jerker Seabiscuit opened with an ESTIMATED $21.5 million in 1,989 theaters. Its $10,809 per theater was the highest average of any film playing wide this week.Set in the 1930s, this is a true story about a down-and-out racehorse named Seabiscuit pulled out of obscurity by three men and turned into a national hero.Directed by Gary Ross, it stars Tobey Maguire, Jeff Bridges and Chris Cooper. *Box office estimates provided by Exhibitor Relations, Inc.As the box office numbers dropped off considerably, Warner Bros.' R rated sci-fi actioner Terminator 3: Rise of the Machines fell two places to No. 6 in its fourth week with an ESTIMATED $5 million (-46%) at 2,689 theaters (-744; $1,895 per theater). Its cume is approximately $137.4 million.Directed by Jonathan Mostow, it stars Arnold Schwarzenegger, Nick Stahl, Claire Danes and Kristanna Loken.Twentieth Century Fox's PG-13 rated period thriller The League of Extraordinary Gentlemen crashed four places to come in seventh place in its third week with an ESTIMATED $4.8 million (-52%) at 2,532 theaters (-470; $1,919 per theater). Its cume is approximately $52.7 million.Directed by Stephen Norrington, it stars Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran, Stuart Townsend, Shane West and Jason Flemyng.Universal Pictures' PG rated spy spoof Johnny English slipped three places to No. 8 in its second week with an ESTIMATED $4.3 million (53%) at 2,236 theaters ($1,923 per theater). Its cume is 18.4 million.In the film, the British Secret Service calls upon bumbling secret agent Johnny English when a plan to filch the monarchy's Crown Jewels comes to their attention.Directed by Peter Howitt, it stars Rowan Atkinson, Natalie Imbruglia, Ben Miller and John Malkovich.Buena Vista/Disney and Pixar Animation Studios' G rated computer-animated feature Finding Nemo fell three spots in its ninth week to No. 9 with an ESTIMATED $4 million (-45%) at 2,025 theaters (-455 theaters; $1,975 per theater). Its cume is approximately $312.6 million.Directed and co-written by Pixar veteran Andrew Stanton, it features the voices of Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe and Brad Garrett.MGM's PG-13 rated Legally Blonde 2: Red, White & Blonde rounded out the top ten in its fourth week with an ESTIMATED $2.6 million (-57%) at 2,120 theaters (-1,085 theaters; $1,250 per theater). Its cume is approximately $82.1 million. Directed by Charles Herman-Wurmfeld, it stars Reese Witherspoon, Sally Field, Regina King, Bob Newhart and Jennifer Coolidge. OTHER OPENINGSSony Pictures Classics' PG-13-rated Masked and Anonymous debuted with an ESTIMATED $32,167 in 4 theaters ($8,042 per theater). Set somewhere, sometime in an unnamed country torn by civil war, concert promoter Uncle Sweetheart is scheming to find a headliner for a benefit show--benefitting himself, that is. Veteran TV producer Nina Veronica is put on the job to make sure the concert is an international spectacle. The clincher? Uncle Sweetheart manages to get the iconic cult star Jack Fate, just released from prison, to perform.Directed by Larry Charles, it stars John Goodman, Jessica Lange, Luke Wilson, Jeff Bridges, Angela Bassett and Bob Dylan, in his screen debut.Miramax Film's R-rated Buffalo Soldiers opened with an ESTIMATED $29,000 in 6 theaters ($4,833 per theater).In Stuttgart, West Germany in 1989, just as the Berlin Wall is about to fall, Ray Elwood of the 317th Supply Battalion has turned his military servitude into a blossoming network of black market deals--more out of boredom than ambition. When a new top sergeant arrives with the avowed intention of cleaning up the base, Elwood thinks can handle the new blood. If he could only find out what to do with the $5 million in stolen arms that just landed in his lap…Directed by Gregor Jordan, it stars Joaquin Phoenix, Scott Glenn, Anna Paquin and Ed Harris.WEEKEND COMPARISONThe Top 12 films this weekend grossed an ESTIMATED $145.5 million, up 9.91 percent from last year's take of $132.4 million. The Top 12 films were also up 5.20 percent from last weekend when they grossed $138.3 million.Last year's top three included: New Line Cinema's PG-13-rated Austin Powers in Goldmember debuted on top with $73 million in 3,613 theaters ($20,225 per theater); DreamWorks' R rated drama Road to Perdition came in second in its third week of release with $11.1 million at 2,250 theaters (+91 theaters; $4,936 per theater average), Sony's G rated Stuart Little 2 dropped to third in its second week with $10.6 million at 3,282 theaters (+ 27; $3,233 per theater).
Go to our Box Office section for recent weekend movie analysis.