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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Reality star Kim Kardashian almost missed out on her surprise engagement after falling ill with a bout of stomach flu. Rapper Kanye West popped the question to the mother of his baby daughter with a 15-carat Lorraine Schwartz ring on her 33rd birthday on 21 October (13), taking over the San Francisco Giants' baseball stadium for the grand gesture.
Kardashian had no idea about the proposal and assumed West was taking her to the sports arena for a birthday dinner, and now her sister Khloe reveals Kim actually wanted to stay home that night after feeling sick.
Khloe Kardashian says, ''She was talking to me earlier that day because she wasn't feeling well. 'She was like, 'I'm so sick, I don't want to go anywhere. I just wish I could lay in bed,' and I thought, 'If she doesn't get on that plane (to San Francisco) we're all screwed'."
However, the plan went off without a hitch and the couple will reportedly tie the knot next summer (14).
R&B superstar Usher almost parted company with $80,000 (£53,300) at a charity auction earlier this week (begs28Oct13) but was outbid at the last minute. The Yeah hitmaker was determined to become the owner of a Richard Avedon photograph which was put under the hammer at the Angel Ball in New York City on Tuesday (29Oct13).
He furiously bid up to $80,000 but was beaten to the lot by jeweller designer Lorraine Schwartz, the woman behind Kim Kardashian's huge diamond engagement ring from Kanye West, who laid down $85,000 (£56,600) .
The event went on to raise $3 million (£2 million) for cancer charities.
The teenage fans Ringo Starr photographed during The Beatles' first U.S. tour in 1964 have come forward and revealed they were suspended from school for skipping class in a bid to meet the Fab Four. The drummer featured a never-seen-before black and white shot he took of five teens in a car in Florida in his new coffee table book, titled Photography, and urged readers to help him track down the kids.
He wrote, "It's just a great shot. They're looking at us, and I'm photographing them."
Now the stars of the snap - Bob Toth, Gary Van Deursen, Suzanne Rayot, Arlene Norbe Ressler, Charlie Schwartz and Matt Blender - have come forward to reveal that the day in question has stayed with them for 50 years.
Toth tells the MailOnline, "The principal certainly suspended me for three days as soon as we got back to school.
"The story didn't even make it into the yearbook because he didn't want to look like he was encouraging kids to cut school... It's kind of nice to have something legitimise the story we've all told on and off over the years."
20th Century Fox
There is an obvious standout scene in The Counselor, one you'll recognize as soon as you reach it: without giving too much away, it involves a wild-eyed Javier Bardem recounting, to his pal and fledgling criminal Michael Fassbender, a sexually-charged memory involving himself, his beloved and bewildering Cameron Diaz, and the windshield of his flashy yellow convertible. Flashing back between lines of Bardem's trembling narration to haunting snapshots of the event in question, we witness the film peak in electricity — we see the cast having a rare bit of fun on this slow crawl through the crevices of human desperation, and we see Ridley Scott's stronghold on the direction of the film loosen just a bit to give the script's weirdest material a venue worthy of its character.
It's a unique moment in the movie when it doesn't feel like the grisly, earthy realism of Scott's vision and the savory heightened reality pulsing through Cormac McCarthy's script are at odds. More often than not, the The Counselor's desert backdrop and dispirited denizens dry out the movie to the point where what we're watching, no matter how attractive, feels like it's forcing its way down. But it's the brief snippets into the otherworldly imagination of McCarthy, who writes this script as if it were a novel, that keeps us drinking up The Counselor.
We enjoy festive gulps of the characters who speak almost entirely in maxims, and the bizarre world that seems to operate in accordance with these bubbles of nihilistic wisdom. While Fassbender's male lead is scrubbed clean of any role beyond the courier of Scott's occasionally barren A-story thriller, and his fleeting accomplice Brad Pitt offers little more than a head of hair from which to shield your eyes, some of The Counselor's more inviting participants manage to really make McCarthy's poetry work. Bardem, as a criminal world fixture terrified and undone by his powerhouse lover — bouncing between our sympathies and alien fascination — lays claim to some of the movie's most engrossing scenes, the aforementioned topping the list. But the only performer who truly embodies the fantastical genus of McCarthy's writing is Diaz, offering not so much a character from a peculiar story but a creature from a bizarre planet.
As the sun around which McCarthy's solar system revolves, Diaz institutes herself as the beacon of the weird wilderness with which this script is filled. Covered in cheetah spots, sporting a gold tooth, and never wavering from her flawlessly delivered tenets of sociopathy, Diaz gives us the height of The Counselor's capabilities, the pinnacle of what would — in more generous hands — emancipate it entirely from the gritty crime thriller identity it winds up inhabiting.
Although Scott is a director with penache, he gets in the way of McCarthys' strengths on this outing. Having imbued so many science-fiction stories with the reality and humanity they needed, Scott seems to miss the point on this one: The Counselor is a real world thriller that needs more of the feel of McCarthy's fantasy.
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Kanye West acknowledged his engagement to Kim Kardashian for the first time publicly at a concert in California on Tuesday (22Oct13) by dedicating a song to his "fiancee". The Jesus Walks hitmaker popped the question to the reality star with a 15-carat Lorraine Schwartz bauble on her 33rd birthday on Monday (21Oct13), after taking over the San Francisco Giants' baseball stadium for the grand gesture.
And, while performing in nearby San Jose, California on Tuesday (22Oct13), the rapper dedicated Bound 2, a song he wrote about his relationship with Kardashian, to the mother of his daughter.
He told the crowd, "You know what song this is, right? I want to sing this song to the birthday girl that's back there right now, my fiancee.
"If you came with somebody that you love tonight, hold on so tight."
Rapper Kanye West proposed to his girlfriend Kim Kardashian with a 15-carat square diamond ring crafted by jewellery designer Lorraine Schwartz. He popped the question to the mother of his baby daughter North in front of family and friends at baseball stadium AT&T Park in San Francisco, California on Monday (21Oct13), as the reality TV star celebrated her 33rd birthday.
In a move that surprises absolutely no one, Kanye West proposed to Kim Kardashian, and she said yes. He popped the question on the evening of Kim's 33rd birthday (Oct. 21), according to USA Today.
In perfect Kimye fashion, Kanye rented out AT&T Park in San Francisco and asked for Kim's hand in marriage in front of friends and family. He got down on one knee and presented her with a 15-carat diamond ring made by celebrity jeweler Lorraine Schwartz while a 50-piece orchestra played Lana Del Rey's "Young and Beautiful," followed by Keri Hilson, Ne-Yo, and Kanye's "Knock You Down." Fireworks and Roman candles set off in the background while the field's jumbo screen flashed the words "PLEEEASE MARRY MEEE!!!", reports E!. Talk about a spectacular birthday surprise.
The proposal might be way over the top, but you've got to give Kanye credit where credit is due: He definitely knows what Kim likes. All we can say is that we can't wait to see what their wedding is going to be like. (If doves aren't involved, we'd be shocked.)
This will be the first marriage for Kanye and the third marriage for Kim, who recently finalized her divorce from basketball star Kris Humphries.
Actress Sofia Vergara was dripping in $7 million (£4.7 million)-worth of jewels at the Primetime Emmy Awards on Sunday (22Sep13). The Latin stunner wore ruby, sapphire and emerald earrings, a 21-carat diamond ring and a 40-carat emerald and rose-cut diamond sparkler, all designed by Lorraine Schwartz.
It was this very same night that I was harping on one of Breaking Bad's only shortcomings: its theme song. Reflecting in the brief, dark ditty after hearing it played at the Emmys ceremony, I thought about how flimsy it sounded in comparison to the booming, personable harmonies of its dramatic brethren: ominously upbeat contemporaries attached to Mad Men and our dear departed Dexter, the gigantic opus that is the opening number from The Sopranos. The semi-song that introduces every episode of Vince Gilligan's masterpiece has always done little to invigorate, in my musically uneducated opinion. But in the very final moments — chilling, counterintuitively satisfying moments — the series' penultimate episode gave its theme a new purpose: next week, and in every Breaking Bad rewatch, I will approach this melody with a new reverence. It is the song that marked Walt's (probably regrettable but oh-so-enlivening) return to action.
What's most impressive about "Granite State" is that it makes this return feel like a long time coming; it's as though we've spent episodes upon episodes holed up in that New Hampshire cabin with Walt, dwelling on remorse, prying lifelessly at deliberations on how to get his barrel of cash to Skyler, Walter Jr., and Holly, and waiting to die. It helps that we've had precedent for the Northeastern purgatory in the Season 5 premiere, but the masterful conduct of this latest episode — which sees Walt reach his secret destination by way of Saul's guy (Robert Forster in a performance that is both wonderfully earthy yet enigmatic), determined upon arrival to transfer his funds but immediately struck by the limitations put upon him by, among other elements, the law, his location, and his physical health — has us enduring these months of internal decay with just a handful of scenes.
And then, finally, a second wind. After hitting rock bottom in his loneliness and desperation (he actually pays Forster's character $10,000 just to spend another hour with him — this from someone who has never been a particularly big "people person"), Walt trudges to town with a small box of cash to send to the family, heading into a dimly lit tavern and phoning Walt Jr.'s — excuse me, Flynn's — school and directing his son to pick up the package, which he will address to his friend Louis. (There was something particularly off-putting about the line "He's a good kid. He's like you.") But Walt is beaten nearly to death by Jr.'s assertions that he doesn't want Walt's dirty money, that he blames Walt for the death of Hank and that Walt should just "die already." Harsh words that rattle the man so ferociously as to prompt him to call in his location to the Albuquerque police. But before the local law enforcement arrive, Walt treats himself to one last drink at the bar... catching, in a fortune of timing that only the best of dramatic television can pull off without feeling hokey, a broadcast of old pals Elliott and Gretchen Schwartz denigrating his newly publicized life of crime and diminishing his contributions to Grey Matter to little more than just "the name."
And then, finally (well, it's only been a few minutes, but still), a third wind. See, the only thing more prominent than Walt's love for his son: his obsession with his image. Ever since he watched his father succumb to disease, Walt has been a man obsessed with leaving memories of strength and power. There is no way that he will fade from this Earth a failure. And so, as the theme song reverberates with a new life force, we see Walt disappear from his bar stool, ready to gain back the kingship he once knew and has always craved.
Meanwhile, our hearts break for everything this king has ever touched:
1. Skyler suffers at the strangling hands of the law (even with Walt's absolving phone call, she's still a target for the legal system until she can give up some info on her husband) and comes face to face with a home invading Todd, who threatens her and baby Holly. Somehow, her word that she's not going to spill the beans on him or Lydia is good enough for the same psychopath who murdered an innocent child. What's his angle there?
2. Jesse somehow loses even more than he has already lost. Tortured in the nazis' pit after they discover the revealing tape he recorded with Hank and Gomey (oh Gomey... we miss you), Jesse manages a brief flee for the fences, only to be caught, bound, and made to watch his beloved Andrea shot dead as a punishment (and a warning, as Brock is kept alive to tempt Jesse to continue his servitude for Todd and company). Seeing Jesse slip even further down toward the inescapable black hole of despair and self-loathing is so damn agonizing that it's a wonder this show has any returning viewers. But the dark, bleak turn does offer new hope for the big-hearted fool. Now, the show has a reason to keep him alive. Someone (Brock) needs him. There is a palpable victory in store for young Jesse: he can get out of this mess forever, perhaps raising, or otherwise caring for, young Brock. At the very least, we hope he can die in a successful plight to free Brock from this menacing world. Give him some kind of win, Vince. Something. We need the strength to go on, here!
All this torture adds up to a frightfully strong second-to-last episode, meaning more excitement than we can bear for the finale. As always, we wonder: how the hell are they going to wrap everything up? And as always, we trust: perfectly.
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