Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.
The inspirational real-life story of Seabiscuit is a history lesson worth being taught. During the height of the Depression this too-small unruly glue factory-bound racehorse triumphed over great odds to win races--and the heart of a nation. He eventually beat the Triple Crown winner of the day War Admiral in a 1938 match race heard by millions nationwide on the radio. Yet in addition to the horse itself Seabiscuit revolves around the three men who groom train and care for the animal--three men who are each wounded souls in their own right. There's owner Charles Howard (Jeff Bridges) a born salesman with a kind heart who makes a fortune selling Buicks in Northern Calif. but it means nothing after he loses his son in a tragic accident; there's trainer Tom Smith (Chris Cooper) an obsolete cowboy whose world of wide open plains is slowly vanishing under barbed wire train tracks and roads; and jockey John "Red" Pollard (Tobey Maguire) a young man who is torn from his impoverished family at the beginning of the Depression and lives a hard life as a part-time jockey part-time boxer. They're all beaten but somehow when the four come together--it's magic. Even though the film suffers from the you-know-how-this-is-going-to-turn-out syndrome as well as venturing a bit much into the melodramatic Seabiscuit still lifts your spirit and shows how despite a time of great suffering the underdogs gave hope that the American Dream could be possible again.
The talented trio handles their tasks admirably. Bridges harkens back to his performance as the idealistic car inventor Preston Tucker in the 1988 film Tucker; Howard like Tucker is a dreamer successful in his endeavors great at public relations but perhaps a little too trusting of others. Bridges fits comfortably into this role but digs deeper this time showing Howard's pain--and his ultimate salvation in his winning horse. Maguire is also well suited as the lanky Red but the poor guy sure takes a beating playing the role. It's gut-wrenching watching the downtrodden Red starve himself so he can still be considered for jockey jobs or getting the snot kicked out of him in a boxing match which ultimately results in him losing sight in one eye. Then to top it off Red shatters his leg in a riding accident weeks away from the big race against War Admiral. It's tough being Red but Maguire doesn't shy away. As for Cooper he shines once again. After winning an Oscar for his turn in Adaptation the underrated actor shows how good he really is by giving another exquisite performance as the horse whisperer-like trainer. It's the quiet moments that work best; when Smith is sitting whittling outside Seabiscuit's stall letting the horse get some rest--with barely a trace of a smile on his lips as he ignores the swarm of reporters around the stable. And in wonderful moments of hilarity William H. Macy gives a great performance as "Tick-Tock" McGlaughlin a conglomerate of those colorful radio announcers who gave the craving public blow-by-blow accounts of the horse races during the Depression. Macy gets out-loud laughs every time he shows up.
Seabiscuit is a labor of love--a love for anything to do with horses and horse racing which may not necessarily be exciting to all although the movie's message will speak to everyone. Based on Lauren Hillenbrand's best-selling novel of the same name writer/director Gary Ross (Pleasantville) plunges headlong into the story of this inspirational horse carefully setting up the history surrounding his rise to stardom. The cinematography is extraordinary. Ross expertly blends archive footage within in the movie where at times you feel like you are watching another well-made documentary á la Ken Burns. One particular moment where this works best is when at the start of the race between War Admiral and Seabiscuit Ross switches to archive images of real folk listening to the race on the radio as you hear the real-life commentators giving the details. Of course showing the final stretch of the race is the payoff and though you know who is going to win you're on the edge of your seat anyway. It's after this however where the film begins to lose its momentum and lapses into clichéd sap. Seabiscuit hurts his leg too and is deemed never to race again. He convalesces with Red on Howard's farm until they both miraculously heal well enough to race one more time. It's almost too much to believe even though it is still a true story. Seriously how much can one man and his horse take?