After being awakened by the echoing of scary sounds and discovering big footprints the gang--including Rabbit Tigger Piglet Eeyore and of course Pooh--decide to find and capture a Heffalump one of the most feared creatures in the Hundred Acre Wood. Little Roo is the only one not allowed to help in their endeavor because he is too small and too young to partake in such a dangerous expedition. But Roo is determined to convince everyone he is big enough to catch a Heffalump and sets out on his own. Luckily he is much more successful than the rest snaring a Heffalump named Lumpy. Roo soon finds out however that the scariest creature in the woods is not really scary at all but kind and gentle and just as scared as he or his friends ever were. Lumpy and Roo become fast friends. It is now up to Roo to get his friends and everyone else in the Hundred Acre Wood to throw away their fears and accept the Heffalumps as one of them.
All the actors portraying the Hundred Acre wood gang do a great job. They include Jim Cummings as friendly Winnie the Pooh and bounce-happy Tigger; Ken Sansom as the know-it-all Rabbit; Kath Soucie as Roo's loving mother Kanga; John Fiedler as little Piglet; Peter Cullen as the endearingly dreary Eeyore; Nikita Hopkins as the effervescent Roo. But it's the voice of Lumpy the Heffalump who steals the show. Eight-year-old Brit Kyle Stanger voices the soft-spoken but happy-go-lucky Lumpy melting your heart at every turn while two-time Oscar nominee Brenda Blethyn as his Mama Heffalump adds just the right touch.
Under the helm of veteran animation director Don MacKinnon and director Frank Nisson Pooh's Heffalump Movie uses the basic pen and ink animation but that suits the gang of the Hundred Acre Wood just fine. In classic Disney form music is also as much a part of the movie as anything else. Award-winning recording artist Carly Simon who also scored the delightful Piglet's Big Movie worked closely with DisneyToon Studios music department's Matt Walker and composer Joel McNeely to introduce several new songs that give the movie added spirit and bounce bringing the old and new characters together harmoniously.
Based on Chris Van Allsburg's enchanting award winning children's book the story begins on a snowy Christmas Eve where a doubting young boy lies in his bed waiting to hear the sound he doesn't know if he believes in anymore: the tinkle of Santa's sleigh bells. What he hears instead however is the thunderous roar of an approaching train where no train should be: it's the Polar Express. Rushing outside in only a robe and slippers the incredulous boy meets the train's conductor who urges him to come onboard. Suddenly the boy finds himself embarking on an extraordinary journey to the North Pole with a number of other children--including a girl who has the tools to be a good leader but lacks confidence; a know-it-all boy who lacks humility; and a lonely boy who just needs to have a little faith in other people to make his dreams come true. Together the children discover that the wonder of Christmas never fades for those who believe. As the conductor wisely advises "It doesn't matter where the train is going. What matters is deciding to get on." Gives ya goose bumps doesn't it?
Talk about a vanity project for Tom Hanks. He portrays several of the characters in the film--the conductor the hobo who mysteriously appears and disappears on the Polar Express the boy's father. Wait isn't that Hanks playing Santa Claus as well? But if anyone can pull off some cheesy dialogue about the spirit of Christmas this Oscar-winning actor can. Interestingly the film also incorporates adults to play the children (none of the characters have names actually) with Hanks as the Hero Boy; Hanks' Bosom Buddies pal Peter Scolari as the Lonely Boy; The Matrix Revolutions Nona Gaye as the Hero Girl; and veteran voice actor Eddie Deezen as the Know-It-All Boy. Everyone does a good job but trying to make CGI-created people seem real is a difficult undertaking. With
The Polar Express director Robert Zemeckis has created an entirely new way to do computer animation called "performance capture." "[It's a process that] offers a vivid rendering of the Van Allsburg world while infusing a sense of heightened realism into the performances. It's like putting the soul of a live person into a virtual character " visual effects wizard and longtime Zemeckis collaborator Ken Ralston explains. Oh is that all? Problem is no matter how hard they try it doesn't work--not completely. Similar to flaws in the 2001 Final Fantasy: The Spirits Within virtual characters just can't convey human emotion as well as real-life actors plain and simple. And with a touching story like Polar Express that real-life connection is missed at times.
Of course like the images in the book it's still an exceptionally beautiful film to watch. Zemeckis enjoys being a filmmaking innovator. He charmed audiences with a lively blend of live action and manic animation in the 1988 classic action comedy Who Framed
Roger Rabbit? and then wowed them with the 1994 Oscar-winning Forrest Gump blending authentic archival footage of historic figures with the actors. Now with The Polar Express it's this performance capture which gives Zemeckis unlimited freedom in creating the world he wants. And boy does he make use of it. True the story is a classic but the director knows he has to make The Polar Express exciting for the tykes-- simply riding around in a train to North Pole without any thrills certainly wouldn't be enough for the ADD world we live in. To accomplish this the film is padded with exhilarating scenes such as the train going on a giant roller coaster ride through the mountains and across frozen lakes (too bad Warner Bros. doesn't have a theme park) and the boy's race across the top of the snowy Polar Express. Even the North Pole is a booming magical Mecca filled with some pretty boisterous (and weird looking) elves who like to send Santa off in style Christmas Eve--watch out for Aerosmith's Steven Tyler making a cameo as a jammin' elf. Ho-ho-ho!
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.