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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How does one calculate the success of a director? Though not mutually exclusive, critical acclaim and box office returns are usually the measuring sticks when it comes to Hollywood filmmaking.
One film director who has become known for financial triumphs, but who has become a bit of a pariah with critics, is Michael Bay. His movies typify giant Hollywood blockbusters, but in terms of artistry and substance, he’s been found more-than-slightly lacking in a myriad of reviews over the years.
We are well aware of how most critics feel about Bay, whose latest Pain & Gain arrives in theaters this week, as a filmmaker. But where does he stand with the theater-going public? His movies continue to make serious coin, so obviously he still has an audience, but we decided to poll both fans and detractors alike to better understand where Bay’s reputation stands.
There were those who were rather effusive with their love for Bay. “Michael is a genius,” says Chris Todd of Austin, Texas. “He has a understanding of visuals that few directors do, I really believe he's top tier on that regard.” Todd acknowledges that the location in which Bay’s films are seen makes a tremendous difference. “What makes him great is that he's one of the few guys left today who makes films for the big screen. He has no interest in the home experience really. It's all about the theater. And that's why his work loses a lot of power once it's viewed at home.”
His visual prowess also proved a major draw for fan Jenni Lee. “I love his panorama shots,” she says, “hands down the bomb scene from Pearl Harbor is one of the most gut wrenching scenes in history, not only because you know what happens when it hits, but because if the way it was shot. He also knows how to film explosions in an epic way.” Lee went on to note that his visuals prove to be the ultimate mitigating factor when considering his faults. “At the end of the day I will always go to a theater to see his movies and at least give it a shot because at a minimum I know I will at least get to see something that is visually stunning.”
However, even those who counted themselves Bay fans could not deny his shortcomings. Biostatistician Ryan Machtmes suggests that maximizing enjoyment of Bay’s work means clearly defining one’s expectations. “Truthfully, I watch his movies because they're just that: [movies],” he says. “No, I don't go to his movies expecting art, but sometimes a movie is just a movie, an escape into the fantastic and a way to just watch something and be entertained by it for purposes of relaxation and unplugging my otherwise always-on brain.”
Still others maintain that Bay’s appeal is a function of his time. “He came to power as the resurgence of the indie film crowd began to wane,” says fan Craig Dougherty. “After the minimalist early 90's that birthed [Steven] Soderbergh, [Kevin] Smith, [Richard] Linklater, and [Quentin] Tarantino, I think the general audience was itching to return to the big budget action genre.” Dougherty further argues that Bay doesn’t ever aim “to neglect emotion or substance, he [just] chooses to focus on delivering that message through high octane action rather than story and character development. He's the purest definition of a movie director currently working in Hollywood, and I can respect that moniker.”
But again, Bay has cultivated a legion of hecklers over the years who are just as vocal, if not moreso. “Michael Bay is the most frustrating filmmaker,” asserts Anthony Donovan Stokes, “because he has an endless amount of resources, and completely squanders them on aesthetics instead of actually storytelling.” Mikus Duncis adds, “he has a lot of untapped potential and indulges himself way too much.” Duncis also echoed oft-heard criticisms of both the length and poor comedy of Bay’s films. “His films are way too long and have an absurdly large amount of unfunny, offensive supporting characters and the story is always somehow muddled. If he could learn how to make a straight up 90-minute action films with a bare-bones minimal plot and no comic relief, I think he would be known for making great, fun and fast paced action.”
Some have argued that Bay’s offenses run even deeper, and that he is in fact a detriment to film. “I think Michael Bay's biggest crime as a filmmaker is that he perpetuates cynicism in numerous aspects of the movie-going experience,” contends Patrick Girts, “his films are very well made products, but they rarely respect the audiences watching them.” Most damning of all, Girts points out, is that “despite that lack of respect, [Bay’s movies] make money hand over fist. More studios are adopting this model, and quality storytelling pays the price.”
Surprisingly, no matter the side of the fence polled people happened to fall, many of them had ready-made associations locked and loaded.
“The man is like your cheesy bachelor uncle. He's loud, curses and drinks a lot, always has some new skeeze he calls a girlfriend with him, and is definitely not someone you want to hang out with long term, but he brings over all the cool fireworks on the 4th of July and let you have some of his beer one time so he's alright,” says Tony Rex Bowler, Houston.
“Michael Bay is like a student of the culinary arts,” says Jose Antonio Rivera of New York City. “He knows the ingredients, he knows the recipe, but when it comes to actually making the food, he pulls it out before it's fully cooked. He sprinkles his films with a dash of style to cover up the fact that it's undercooked and then proceeds to tell you how ‘good’ it is.”
Jordan Worth Cobb of Conway, Arkansas calls Bay “a painter,” but backhands him by suggesting that he “goes for what's easy and doesn't try.” Anthony Donovan Stokes, Manassas, Virginia is even less kind. “[Bay] is a ten-year-old boy in a fifty-year-old man’s body. A really dumb, impatient, perverted, hyperbolic, defensive 10 year old.”
Inversely, Ryan Timothy of Brace, Montreal compares Bay to his contemporaries and gives the Armageddondirector the advantage. “I know Zack Snyder has the image of a teenager with a camera, but Bay was, still and will probably always be that guy for me,’ Timothy says.
But for every fan, there’s a naysayer. “He seems to be a living example of what would happen if you gave a frat dude a very technical understanding of film and millions of dollars and told him to make a movie,” says Stephan Krosecz of Cypress, Texas. “The only difference is you'd find a lot more kegs of crappy beer, Gatorade, and Mountain Dew on set.”
It seems the relationship between Michael Bay and movie consumers is no less complicated now than it was when he first appeared on the scene in the mid-90s. Bay fan T.C. De Witt may have summed it up best when he said, “aficionados of film consider him a hack and a disease to the art of filmmaking, but he doesn't make art movies; he doesn't make intelligent movies. He makes the movies he loves with the stuff he loves. That passion, even if it's shallow to most, should be admired.” Further putting things in perspective, Angela Behm reminds us that “for all the hate [Bay] may garner, at least he's not Uwe Boll.”
More: Michael Bay: 'I Will Apologize For 'Armageddon'''Pain & Gain' And 9 Comedies Inspired By Horrific EventsSee Wahlberg & Johnson at the 'Pain & Gain' Premiere
From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
The former Desperate Housewives star, who is a co-chair of Obama's inauguration committee, will be joined by Spanish actor Antonio Banderas and his wife Melanie Griffith, as well as fellow Latino stars George Lopez and Mario Lopez for a special event in Washington, D.C. on 20 January (13), the day before the official inauguration ceremony.
The Latino Inaugural 2013: In Performance at the Kennedy Center is part of a three-day series of lectures and events focusing on Latin issues relating to last November's (12) presidential election which won Obama a second term.
Broadway actress Chita Rivera, singer Rita Moreno and guitarist Jose Feliciano will perform at the event alongside members of New York City's Ballet Hispanico and the San Juan Children's Choir.
Longoria tells the Associated Press, "Latinos played a critical role in (last year's) elections and helped tip the scales in President Obama's victory. But we are not waiting another four years to make an impact on our country's future. What better way to establish our presence at these inaugural celebrations than by showcasing the beauty and diversity of our culture at the nation's premier performing arts centre."
The news comes after it was announced that pop star Beyonce will sing America's national anthem at Obama's inauguration ceremony in Washington, D.C. on 21 January (13).
She previously sang Etta James' At Last at Obama's Inaugural Ball after he was first voted into office in 2009.
The new fall pilots haven't even premiered yet, but already the networks are looking forward to their next big task: finding the right pilots and scripts to order for the 2013-2014 season. Development season is well underway and has been for the past few weeks — although this season is marked by a declaration from some networks (namely ABC and NBC) that the typically order-happy suits would not be as quick to bulk up their pilot orders this year. In other words, less is more.
Most of the majors have already made their first-round choices for specific projects, and the trends that have emerged seem to be all about big-name attachments (e.g. Vince Vaughn, Jodie Foster, Ryan Reynolds), period dramas (e.g. Aztec empire, Cold War America, 1890s Europe), international transplants (from Israel, England and Scandinavia) and — in an interestingly-revived yet well-worn trend — book adaptations (including Dracula and two Sleepy Hollow reboots).
Here's what ABC, CBS, The CW, FOX, NBC and more have coming down the '13-'14 pipeline so far:
— Dumb F*ck: Single-camera comedy about an average Joe and his brilliant wife who move in with her intelligent yet emotionally stunted family of geniuses; written by Hank Nelken (Saving Silverman), executive produced by Vin Di Bona, Bruce Gersh, Susan Levison and Shaleen Desai.
— Burns & Cooley: Medical procedural about two New York neurosurgeons who compete as they strive to be the top in all aspects of their lives; written by Meredith Philpott (Awkward), exec produced by Matt Gross (Body Of Proof).
— Founding Fathers: Drama about a war veteran whose Texas hometown is in the hands of a militia group led by his older brother; written by Rich D'Ovidio (Thir13en Ghosts), produced by Lorenzo Di Bonaventura and Dan McDermott.
— Untitled McG Project: Retelling of Romeo and Juliet, revolving around two rival families fighting for control over Venice, California; written by Byron Balasco (Detroit 1-8-7), produced by McG (The OC, Supernatural, Nikita).
— Untitled Kurtzman/Orci Project: Drama about a mysterious game; written by Noah Hawley (The Unusuals), produced by Heather Kadin, Alex Kurtzman and Bob Orci.
— Dracula: 1890s-set period piece about the iconic vampire; written by Cole Haddon, produced by Tony Krantz and Colin Callender; starring Jonathan Rhys Meyers (The Tudors).
— The Blacklist: Drama about an international criminal who surrenders himself and helps the government hunt down his former cohorts; written by Jon Bokenkamp, exec produced by John Davis, John Fox and John Eisendrath.
— Hench: Based on the comic about a man who becomes a temp for super villains; written by Alexandra Cunningham (Desperate Housewives), exec produced by Peter Berg and Sarah Aubrey (Prime Suspect).
— Cleopatra: Period drama about the Egyptian queen Cleopatra; written by Michael Seitzman (Americana), exec produced by Lorenzo Di Bonaventura and Dan McDermott.
— Pariah: Drama inspired by Freakonomics about a rogue academic who uses economic theory to police San Diego; written by Kevin Fox (The Negotiator), exec produced by Kelsey Grammer, Stella Stolper and Brian Sher.
— After Hours/The Last Stand: Medical drama about Army doctors who work the night shift at a San Antonio hospital; revisited from last season; written by Gabe Sachs and Jeff Judah.
— Untitled Parkes/MacDonald Project: Drama about an interpreter at the United Nations who works with diplomats and politicians from around the world; written by Tom Brady (Hell on Wheels), produced by Walter Parkes, Laurie MacDonald and Ted Gold.
— Untitled Charmelo/Snyder Project: New Orleans-set drama, described as a "sexy Southern Gothic thriller"; created by Eric Charmelo and Nicole Snyder (Ringer), exec produced by Peter Traugott and Rachel Kaplan.
— Untitled Rand Ravich Project: Drama-thriller following a secret service agent at the center of an international crisis in Washington, DC; created by Rand Ravich (Life), produced by Far Shariat.
— Island Practice: Based on the book Island Practice: Cobblestone Rash, Underground Tom, and Other Adventures Of A Nantucket Doctor, about an eccentric doctor with a controversial medical practice on an island off the coast of Washington; written by Amy Holden Jones (Mystic Pizza, Beethoven), produced by Brian Grazer, Francie Calfo and Oly Obst.
— The Brady Bunch: Reboot of the series, about a divorced Bobby Brady who re-marries a woman with children of her own; written by Mike Mariano (Raising Hope), co-developed and exec produced by Vince Vaughn (Sullivan & Son).
— A Welcome Grave: Based on the book series about a private investigator who comes under suspicion when a rival turns up dead.
— Backstrom: Based on the book series about a House-like detective who tries to change his self-destructive nature; written by Hart Hanson (Bones), produced by Leif G.W. Persson (novel) and Niclas Salomonsson.
— Ex-Men: Single-camera comedy about a young guy who moves into a short-term rental complex and befriends the other men who live there after being kicked out by their wives; written and directed by Rob Greenberg; starring Chris Smith and Kal Penn.
— Sleepy Hollow: Contemporary reinterpretation of the Sleepy Hollow short story; written by Patrick Macmanus and Grant Scharbo, produced by Scharbo and Gina Matthews.
— Gun Machine: Based on an upcoming novel (of the same name) about a New York detective whose chance discovery of a stash of guns leads back to a variety of unsolved murders; written by Dario Scardapane (Trauma), produced by Warren Ellis (book author), Scardapane, Peter Chernin and Katherine Pope.
— Sleepy Hollow: Modern-day thriller based on the Sleepy Hollow short story, following Ichabod Crane and a female sheriff who solve supernatural mysteries; written by Alex Kurtzman and Roberto Orci (Fringe, Hawaii Five-0) and Phillip Iscove, produced by Heather Kadin and Len Wiseman.
— The Beach: Based on the 1996 novel and 2000 movie about a group of youths who try to start society over on a remote paradise; written by Andrew Miller (The Secret Circle).
— Hard Up: Single-camera comedy based on Israeli series about four twentysomething guys who are strapped for cash; written by Etan Frankel (Shameless), produced by John Wells.
— Lowe Rollers: Animated comedy about a struggling Titanic-themed casino in Las Vegas; written by Mark Torgove and Paul Kaplan (Outsourced) and Ash Brannon, produced by Ryan Reynolds, Jonathon Komack Martin, Steven Pearl and Allan Loeb.
— Untitled Chris Levinson Project: Cop drama about a detective who puts his life under surveillance when he begins to lose his memory; written by Chris Levinson (Touch), produced by Peter Chernin and Katherine Pope.
— Untitled Friend/Lerner Project: Drama set on an aircraft carrier following young naval officers and a female fighter pilot who tries to solve an onboard murder; written and produced by Russel Friend and Garrett Lerner (House).
— Untitled Ryan Reynolds Project: Half-hour comedy about a disgraced hotelier forced to manage a rundown airport hotel; written by Matt Manfredi and Phil Hay (Clash of the Titans), produced by Ryan Reynolds, Allan Loeb, Jonathon Komack Martin and Steven Pearl.
— Untitled Jason Katims Project: Romantic comedy about a single female attorney; written by Jason Katims (Parenthood, Friday Night Lights) and Sarah Watson.
— Getting On: U.S. adaptation of a British comedy about a group of nurses and doctors working in a women's geriatric wing of a run-down hospital; Big Love creators Mark V. Olsen and Will Scheffer to exec produce with Jane Tranter, Julie Gardner and Geoff Atkinson.
— Buda Bridge: Belgian-set crime drama about a woman who is found dead on a famous bridge in Brussels; written and directed by Michael R. Roskam (Bullhead), produced by Michael Mann (Luck) and Mark Johnson (Breaking Bad).
— Hello Ladies: Comedy about an oddball Englishman who chases women in Los Angeles; written, directed by and starring Stephen Merchant (The Office), produced by Lee Eisenberg and Gene Stupnitsky (The Office).
— Angie's Body: Drama about a powerful woman at the head of a crime family; written by Rob Fresco (Heroes, Jericho), directed and executive produced by Jodie Foster, Fresco and Russ Krasnoff.
— Conquest: Period drama about Spanish conquistador Hernan Cortes, who clashes with the Aztec ruler Moctezuma II; written by Jose Rivera (The Motorcycle Diaries), produced by Ron Howard, Brian Grazer and Francie Calfo.
— Low Winter Sun: Based on 2006 British miniseries about the aftermath that follows the murder of a cop by a fellow detective; written by Chris Mundy; James Ransone, Ruben Santiago Hudson and Athena Karkanis to star.
— Those Who Kill: Based on Danish series about a detective and forensics scientist who track down serial killers; written by Glen Morgan, produced by Brian Grazer, Francie Calfo, Peter Bose and Jonas Allen, directed by Joe Carnahan.
— Untitled LaGravenese/Goldwyn Project: Legal thriller about an attorney who discovers new evidence that re-opens a sensational murder case; written by Richard LaGravenese, directed by Tony Goldwyn, exec produced by David Manson; Marin Ireland to star as female lead.
— The Americans: Period drama about two KGB spies posing as Americans in Washington, DC; created by Joe Weisberg, exec produced by Weisberg, Graham Yost, Darryl Frank and Justin Falvey; directed by Gavin O'Connor; Keri Russell, Matthew Rhys and Noah Emmerich to star.
— The Bridge: Based on the Scandinavian series, about a murder investigation opened up after a dead body is discovered on a bridge connecting the United States and Mexico; written by Meredith Stiehm and Elwood Reid (Cold Case), produced by Carolyn Bernstein, Lars Blomgren and Jane Featherstone.
— Untitled Dr. Dre Project: One-hour drama about music and crime in Los Angeles; written by Sidney Quashie, exec produced by Dr. Dre.
Follow Marc on Twitter @MarcSnetiker
[Photo Credit: ABC, CBS, Fox, NBC, The CW]
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.