Disney’s new live-action rendition of Disney’s BEAUTY AND THE BEAST is a tale as old as time, a collection of songs as old as 1991, plus new ones created in 1993 for the Broadway musical. Unlike Jon Favreau’s excellent computer-animation-that-seems-like-live-action remake THE JUNGLE BOOK, which melded beloved elements of the 1967 animated classic with more serious drama from Rudyard Kipling’s book, this is a very faithful, at times scene-for-scene re-enactment of the 1991 best picture nominated hit. But that’s the idea: it’s the movie version of the stage version of the animated version of the traditional fairy tale. Director Bill Condon (CANDYMAN 2: FAREWELL TO THE FLESH) and adapters Stephen Chbosky (RENT) and Evan Spiliotopoulos (HERCULES with The Rock) seem to look at it much more as a restaging than a reinterpretation. (read the rest of this shit…)
Archive for the ‘Family’ Category
MONSTER TRUCKS is literally about monster trucks. This is a movie about an oil company drilling through a pocket of water deep beneath the earth, accidentally releasing a huge, squid-like creature who crawls into a junkyard and hides inside the chassis of a teen’s crappy pickup truck. Soon the teen discovers that the creature can wrap its tentacles around the axels and spin them, basically acting as its engine. Also it eats oil and it can not only drive and steer the truck but jump and bounce and climb up walls and shit.
So this teen, Tripp (Lucas Till, aka Havok in X-MEN and TV’s new MacGyver), names the monster “Creech” and drives around in him like extreme E.T. But he has to hide him from a private security team led by cruel Burke (Holt McCallany, CREEPSHOW 2, TYSON, BULLET TO THE HEAD, BLACKHAT, JACK REACHER: NEVER GO BACK) and, like Free Willy or the T-800 or somebody, get him back home. He does it with the help of his squeaky-voiced biology tutor Meredith (I had no idea that was Jane Levy, star of EVIL DEAD and DON’T BREATHE) and a conscience-stricken scientist from the oil company (Thomas Lennon, HERBIE FULLY LOADED). (read the rest of this shit…)
THE MARTIAL ARTS KID is about a young man who gets in trouble too much so he gets sent far away to live with his aunt and uncle. He meets a nice girl he likes, but she has an asshole sports car driving bully boyfriend who threatens him just for talking to her. And the boyfriend is part of a bad crowd and they end up in competition over the girl and in sports. And he has an older mentor that trains him.
Remind you of any other movie? Me too. THE FAST AND THE FURIOUS: TOKYO DRIFT. Or maybe you were thinking THE KARATE KID, but in that one he just moved because his mom moved, he wasn’t a troublemaker. Totally different. Also, that’s about a kid who specifically does karate. This is a kid who does martial arts in general. I don’t really see a comparison.
Okay, maybe I do. I just like to mention TOKYO DRIFT whenever I can. This is a weirdly transparent KARATE KID rehash, arguably closer to a straight up retelling than the official remake with Jaden Smith and Jackie Chan. There’s even a wax on/wax off reference like some remakes would want to do, and it plays with your expectations of him being given a nice car as a gift. Instead he gets a bike, which he rides around the suburbs, keeping him a Martial Arts Kid when he seems to be on the verge of Martial Arts Manhood. (read the rest of this shit…)
“So, will this little pink lunchness fulfill his destiny, nourishmentally speaking?”
“We shall see.”
With BABE, writer-producer George Miller (and director Chris Noonan) created a warm little perfectly-told tale of a pig and a farmer finding happiness by violating social norms. (If that sounds gross to you, that’s not what I meant.) For the bigger, darker, weirder sequel, BABE: PIG IN THE CITY, Miller dropped the pure-hearted little pig into that world’s version of a noisy, chaotic metropolis, knowing he’d face the challenge with his head held high and make it out with his spirit intact, brightening lives along the way.
The Hoggett farm in BABE looks straight out of a storybook, but you figure that’s an anomaly. When the family comes over for Christmas, bringing modern attitude and technology, they seem to be visiting from the real world.
Maybe not, it turns out. Esme Hoggett (Magda Szubanski, who was only 37 at the time! Holy shit!) and “the wee pig” get stranded in a major city. They don’t say which one, but it’s whichever city that is where the skyline includes the Hollywood sign, the Sydney Opera House, the Golden Gate Bridge and the Eiffel Tower, among others. (No Space Needle, I’m afraid.) Garish billboards hang above picturesque canals and cobblestone roads. Most of the hotels don’t accept pigs, but they find one secretly housing a bunch of dogs, cats, chimps and an orangutan. (read the rest of this shit…)
TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS takes the world of photorealistic animated humanoid amphibian vigilantes established in part 1 off in more fantastical directions. “The Shadows” of the subtitle are the levels of secrecy they require, fighting New York City ninja crime from their secret sewer home, hiding their existence by giving credit for part 1’s heroics to local news cameraman Vern (no relation) (Will Arnett, announcer voice for the DON’T trailer in GRINDHOUSE). But they get alot of teenage mutant ninja angst about having to watch the Knicks game from inside the Jumbotron like a bunch of lepers.
(note: it actually looks like amazing seats)
The turtles’ armored ninja ringleader arch-nemesis Shredder (now played by Brian Tee from TOKYO DRIFT) gets busted out during a prison transfer in a cool vehicle stunt sequence that totally would’ve existed without DARK KNIGHT, it’s only a coincidence. But the beauty of it is that
1) It’s arranged by a scientist in goofy “nerd” glasses and bow tie played by Tyler Perry (ALEX CROSS)
2) Shredder accidentally gets teleported to another dimension and is assigned a mission by a talking brain monster with robot body (read the rest of this shit…)
THE BFG is the latest BFD from Steven Spielberg (E.T., A.I.) and it’s an LSM (Lesser Spielberg Movie), but still won me over PDQ. Based on the children’s book by Roald Dahl (Charlie and the CF, James and the GP, The Fantastic MF), it’s the story of a 24-foot tall individual (Mark Rylance, BLITZ, BRIDGE OF SPIES) whose thing is he comes into town at 3 a.m. with a trumpet that blows dreams into people. But this time he’s seen by Sophie (Ruby Barnhill), a little night owl girl at an orphanage, and he doesn’t want her to burn his whole operation so he reaches into her window, picks her up in his palm and absconds with her to Giant Country.
I love the way this giant sneaks into town. It’s not one of those things where he’s invisible to people who don’t believe in him or something. No, he just comes in late at night and knows how to hide when people are around. He wears a cloak that he wraps around himself and he’ll move into the shadows, curl up on the bed of a truck or stand in the shape of a tree. I like that it’s not all that convincing of a tree, because it shows that there could be crazy shit going on right under our noses that we just don’t notice because we’re not looking for it. Nobody expects giants. (read the rest of this shit…)
Maybe it doesn’t mean shit to you whippersnappers, but Alice was one of the favorite properties of many young geeks growing up in the late 19th century. And fave genre author Lewis Carroll would be happy to know that his content still exists today. Through the Looking-Glass, and What Alice Found There is Lewis Carroll’s 1871 young adult beach read sequel to the 1865 blockbuster franchise-starter Alice’s Adventures in Wonderland.
Part 2 is a similar nonsense adventure tale where half a year later Alice decides to step through a mirror into a fantasy world on the other side for one last mission. Instead of a government and military force based on playing cards, this time they’re based on chess pieces. TOTALLY DIFFERENT. It’s just a shame Carroll gave it that cumbersome title instead of something sleek like A2: DARK REFLECTION so it would’ve caught on better.
In the tradition of the BOURNE or FRIDAY THE 13TH series, many of the elements associated with the Alice in Wonderland intellectual propertyverse are actually from part 2. The singing flowers, the weird, rotund twin manbabies Tweedle Dee and Tweedle Dum and the poem that they recite (“The Walrus and the Carpenter”) were all included in Disney’s 1951 animated classic ALICE IN WONDERLAND, which continues to be the best known version of the story. Alice finds the poem “Jabberwocky” in a book, but unfortunately it made no sense, audiences couldn’t relate. Luckily we got his backstory in ALICE IN WONDERLAND ORIGINS: JABBERWOCKY (1977) by Terry Gilliam. (read the rest of this shit…)
Disney’s 1967 animated version of THE JUNGLE BOOK was pretty much a hangout movie. A bunch of animal dudes kickin it in the jungle, occasionally singing songs. Like HOUSE PARTY but with snakes and shit. The tiger Shere Khan plays the part of Full Force.
Now modern Disney and director Jon Favreau (executive producer, GREEN STREET HOOLIGANS) have brought in more of the world and narrative of Rudyard Kipling’s stories for an excellent live action(ish) version that captures plenty of the spirit of the old one while also being totally different. It uses versions of the original songs and even evokes Disney animation with a painted version of the castle logo, but never feels redundant. It’s like putting on glasses and seeing that version in more detail, from the visuals to the story.
I have to admit, after COWBOYS & ALIENS I kinda thought maybe we got too excited about Favreau as a director because of IRON MAN. Clearly I was wrong. This is a movie I can’t imagine many directors pulling off. Like with IRON MAN he finds a perfect balance between nerdy love for the source material and clear vision of how to tell the story in a dramatic way we haven’t quite seen on screen before.
And it can’t be easy competing with the memory of Stephen Sommers’ 1994 version.
(That might be unfair. I haven’t seen it.)
The most-likely-last George Lucas production – released after selling Lucasfilm, but made mostly before – is also one of the most mysterious. When the trailer was released a few months before the movie, most of us had no idea that a George Lucas animated film had been in the works. There had been rumors reported about a fairy related project, but I don’t think I’d heard them. For once Lucas was able to avoid the pitfalls of anticipation and expectations.
Unfortunately, he did it for a pretty lousy film. I’d have to say this is my least favorite Lucasfilm.
Somewhat inspired by A MIDSUMMER NIGHT’S DREAM, this is a story about fairies, elves, and I want to say goblins. Princess Marianne (Evan Rachel Wood, THE WRESTLER) calls off her big wedding when she sees her hunky fiancee Roland (Sam Palladio) messing around with some other ho, then she gives herself a makeover and acts tough and swings a sword around, because of empowerment. “Good Girl Gone Rad,” says a poster they made of her. Meanwhile the displeasingly designed Sunny the Elf (Elijah Kelley, who played Joker in RED TAILS) wanders into the spooky part of the forest to steal a monster called King Bog (Alan Cumming, EYES WIDE SHUT)’s magic love potion and use it on the other princess, Dawn (Meredith Anne Bull), which causes Bog to retaliate by kidnapping Dawn, and then everybody else goes to try to rescue her. (read the rest of this shit…)
THE LAND BEFORE TIME is a good example of a movie legacy destroyed by a “franchise.” Throughout the ’90s the name was synonymous with candy-colored sing-along babysitters in clamshells thanks to thirteen straight to video sequels (THE LAND BEFORE TIME XIV: JOURNEY OF THE BRAVE starring Damon Wayans Jr. and Reba McEntire drops February 2nd – not a joke), and 26 episodes of a TV series. So I was surprised to watch the original – executive produced by George Lucas and Steven Spielberg and directed by Don Bluth (THE SECRET OF NIMH, AN AMERICAN TAIL), none of whom had anything to do with the sequels – and find out it’s a pretty solid animated feature in the mold of early Disney.
Apparently Spielberg conceived it as BAMBI with dinosaurs, and that’s pretty much what they made. It’s an admiring depiction of the world of dinosaurs, with children being born into a scary world, making friends, experiencing danger and death. It is not a musical, the comic relief is minor, any cuteness is juxtaposed with an overall tone of melancholy. I mean, it’s about plant-eating dinosaurs in a world with almost no plants left. (read the rest of this shit…)