Showing posts with label Steve Carell. Show all posts
Showing posts with label Steve Carell. Show all posts
4/21/2014
Blu-ray Review - Anchorman 2: The Legend Continues (2013)
From announcing the follow-up film as Ron Burgundy on Conan to co-anchoring the news in North Dakota in character, Will Ferrell and company led a tireless advertising campaign to remind the legions of viewers that had been clamoring for a sequel to the cult favorite for years that they were back.
Undeniably creative yet at times just plain obnoxious, as it turned out the aggressive ad campaign was a sneak preview of the very film they were plugging as Anchorman 2: The Legend Continues proved it is possible to have too much of a good thing.
For despite the infinitely clever idea to make a tongue-in-cheek revisionist satire of the decline in journalism in the era of the 24 hour news cycle, Ferrell and the gang should have stopped after the first Ron.
Thankfully the Blu-ray release of director Adam McKay’s unfocused, bloated misfire boasts a “super-sized R-rated version with 763 new jokes,” (including several that actually work better than the final cut that was distributed to theaters in time for the film’s Christmas release) so at least super fans can pick and choose which version and scenes they want to watch.
Yet that’s an awful lot of work to expect from an average viewer who is most likely to be disappointed by the theatrical presentation.
Ultimately Anchorman 2 amounts to a comedic car wreck that rather ironically (or fittingly, depending on your point-of-view) truly begins to go off the rails during an onscreen car crash that occurs as the result of a gag you see coming a mile away when the recently reunited news team of ego-driven airheads realizes that nobody is driving their RV.
An all-out disappointment that’s a missed opportunity of epic proportions, Anchorman 2 tests your patience right from the start after relegating series MVP Christina Applegate to what amounts to a near walk-on role, McKay proves equally inept at handling new female cast members.
Whether it’s in the tonally awkward performance of Meagan Good as Ron’s new African-American boss and love interest at the CNN-like Global News Network we find them working at in the 1980s to wasting Kristen Wiig as a female version of Steve Carell’s intellectually challenged, nonsense spouting Brick via a series of increasingly unfunny encounters, we wind up just feeling embarrassed Anchorman’s newest additions.
Likewise, despite a potential comedic goldmine given the new environment, screenwriters McKay and Ferrell wind up falling back on their old tried and true formulas we’ve seen throughout their oeuvre – borrowing plot points that worked better in previous pictures such as the character-building turning point that came from a medical trauma in Talladega Nights.
Mixing the old with new takes on favorite moments from the first film like a supernatural tinged news network rumble in New York that runs out of gas by the time it’s done introducing all of its celebrity cameo players, everything in 2 is bigger except for the laughs. Likewise, it has that unmistakable Ocean's 12 and 13 like air about it that makes you think that it was infinitely more fun to make than it was to watch.
By filling it with too many on the nose extreme references and crass jokes, the filmmakers have misgauged precisely what was funny about the first film. And while it’s possible that at least 25 minutes could’ve been trimmed from the movie to help match the pace established by the original, all in all it’s hard to guess how much of the work would actually be salvageable since there’s not enough good material upon which to build.
As such, this multi-disc set might just inspire fans to remix their own cut and given the vastly improved first act on display in the R-rated edition vs. the original, there might be a passable Anchorman sequel buried in there beneath all of the bulk. Unfortunately and despite all of the incredible talent involved (that may have spent too much time improvising than refining an already solid script), the one currently calling itself Anchorman 2 isn’t it.
It’s too bad too given the satirical potential of our infotainment-based media and the messages contained in the film that roast the practices of various 24 hour news stations from Fox’s jingoism and speculative reporting to the rise of sensationalism of celebrity fueled stories and car chases in the fight for ratings.
While the intriguing call-backs of age-old scandals from O.J. to Lorena Bobbitt earn chuckles, in an era where The Daily Show and Colbert Report cover the very same terrain with much more sophistication on a nightly basis, the lack of a sharper edge to the writing makes Ferrell and McKay’s gags seem halfhearted and dated at best.
A true letdown that may have earned audience (and critical) goodwill due to how much we love those involved as well as the original film, while at least this multi-version Blu-ray, DVD and Ultraviolet combo pack offers up a more thorough presentation of what went wrong and what went right, I only wish that Anchorman 2 would’ve been filled with as much ingenuity as some of the stunts pulled to raise awareness of its theatrical release.
In comedy, they say you should always leave your audience wanting more and because Anchorman 2 made me want less, in the end it proves that less is more – from the beautiful simplicity of the original to a shorter running time to the thought that regardless of demand, not every hit movie needs a sequel.
Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act. FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.
12/07/2008
DVD Review: Dr. Seuss' Horton Hears a Who (2008)
Coming Soon,
Available to All,
On DVD & Blu-ray,
You'll Have a Ball!
(12/9/08)
Available to All,
On DVD & Blu-ray,
You'll Have a Ball!
(12/9/08)
In 2008 with the release of-- what could very well be the most wholly satisfying animated feature of the year-- Dr. Suess' Horton Hears a Who!, Fox's CGI divisional company Blue Sky Studios proudly announced to Pixar and DreamWorks Animation, "WE ARE HERE!"
Having already burst onto the scene with Ice Age as well as providing some truly spectacular bits of CGI for our pop culture landscape such as augmenting David Fincher's incredible Fight Club and the memorable "talking fish" episode of The Sopranos, Blue Sky has always been one of the best kept secrets in effects work and computer animation.

However, with this tremendous new release of Horton, which-- typical for computer animated works-- stuns in a visually eye-catching transfer to DVD and Blu-ray and in doing so we're actually let behind-the-scenes of the company to see the talented and impossibly young inventors at work. But before I delve into the extra features, here's a reprint of my original theatrical review of Horton.
Dr. Suess' Horton Hears a Who!
Alternate Title: Horton Hears a Who!
Directors: Jimmy Hayward & Steve Martino
Original Publication Date: 3/29/08
Alternate Title: Horton Hears a Who!
Directors: Jimmy Hayward & Steve Martino
Original Publication Date: 3/29/08
“I meant what I said, and I said what I meant. An elephant’s faithful one hundred percent,” so goes the famous quote from Dr. Seuss’ Horton Hatches the Egg that seems to be even more poignant when scripted for actor Jim Carrey as he lends his vocal talents to bring children’s literature’s best loved elephant to life in Dr. Seuss’ Horton Hears a Who! From the same studio that created the family films Ice Age and Robots, Blue Sky Studios of 20th Century Fox, directors Jimmy Hayward and Steve Martino craft not only the best adaptation of Dr. Seuss brought to screen thus far but also the best family film of 2008 as of this review.
For years, I’ve been wondering if I was simply growing too impatient with animated features, having found myself bored by critical smashes such as the overly long Pixar hits The Incredibles and Cars and struggling to stay awake during films such as Curious George and Bee Movie and although there’s been a few notable exceptions (Surf’s Up, Over the Hedge), I’ve found myself steering clear of animation. However, it wasn’t until I saw Horton Hears a Who that I fell back in love with the concept of bright, magical animated family films that manage to blend positive messages with high flying entertainment and quality humor that gave at least this viewer the same kind of amazing theatrical experience that I had while seeing Finding Nemo or the Toy Story films years earlier.
While on one hand, the film, like several animated works filled with A list stars for better or worse (which take jobs away from voice-over actors), has a boast worthy roster that comprise a comedic dream team in the form of not only Carrey but also Steve Carell, the legendary Carol Burnett, Seth Rogen, Will Arnett, Amy Poehler and Isla Fisher, I found myself forgetting the magnitude of the stars after only a few lines by each were uttered as admirably they began to ham less and instead preferably stick with telling the terrific tale.

For those who, like myself, barely remember the book, I’ll bring you up to speed—moments into the film we meet our unlikely elephant hero Horton who hears a noise coming from a tiny speck on a clover flower, only to discover that he’s listening to residents of the tiny universe Whoville or more accurately, the mayor of Whoville (Steve Carell). Eventually concluding that “a person’s a person, no matter how small,” Horton tries to save Whoville by bringing the flower to a place where it will be protected from outside forces such as the disbelieving kangaroo (Carol Burnett) who feels Horton is becoming a dangerous agitator that must be stopped and hires the Russian vulture Vlad (Will Arnett) to do just that.
Touching, beautifully animated, fast-paced (refreshingly just 88 minutes) and undeniably heroic, Horton Hears a Who is the type of film that will entertain adults just as much, if not more than children as I found myself laughing frequently throughout by the increasingly wild situations and characterizations by the cast.
Note: The book, which was published in 1954 sent some readers and journalists looking at Seuss’ work as a political allegory and in a fascinating sidebar “Who are the Whos?” by Entertainment Weekly’s Adam Markovitz (3/21/08, p. 42) he chronicles three takes on the work, including the two likeliest which saw it as first a look at postwar Japan (which Seuss has admitted) and secondly as yet another 1950’s artistic offering that echoed the political climate of America during the devastating McCarthy hearings.
Having seemed to been sent a combination of both the Single Disc and Two-Disc Special Edition of the film all included on one critical screener copy, I'm unable to dissect exactly which version I'm reviewing but wanted to deliver you the inside scoop on the bonuses included throughout. Containing an entertaining director's audio commentary with the filmmakers Jimmy Hayward and Steve Martino-- both the single and two-disc versions also boast an all-new animated Ice Age short featuring the memorable characters Sid and Scrat, which is aptly dubbed Surviving Sid.
Reminiscent of vintage Warner Brothers cartoons, Surviving Sid is filled with misadventure and comical peril as little animals try to endure camp counselor Sid and while cute-- it's instantly outdone by two more memorable shorts included with animated features-- the brilliant BURN-E available on the WALL-E DVD as well as the bonus DVD Secrets of the Furious Five which came along with Kung Fu Panda.

Yet, the most fascinating extras for me all surrounded the making of the film. While sometimes we're overwhelmed by insistent and phony Electronic Press Kit styled interviews filled with pompous narration and interviews that nearly seem scripted, what's apparent right from the start of these extras is just how passionately everyone involved felt about the making of Horton. Also containing deleted footage and animation screen tests (with optional introductions and commentaries), it's an amazingly inspiring all-access pass to the dedication and tireless energy of the young animators who tried to stay true to Suess' trademark drawings filled with curves, wrinkles, swirls, and the struggle they had to make the short classic book into a compelling feature that still captured the same heart and spirit of the tale.

Ensuring they had the blessing of Dr. Suess' widow-- the filmmakers note that Suess had never been adapted as a feature length animated work and they discussed the trials and joys of translating the author's 2-D designs into a 3-D world, right down to certain shadings and even making their first version of the screenplay a book-like treatment with the original animation in tact when they made their presentation to the Suess family. Once they received the go-ahead to make the film, Blue Sky developed a critical style guide and complete set of rules for everyone involved to follow as they point out the various Suess qualities that animators had to reproduce faithfully.
And while it's a riot to watch the all-star cast record their scenes, which then sends the animators back to the storyboard panels to re-imagine and invent the animation yet again-- going as far as to literally act out the scenes themselves in front of computer cameras, just lip-syncing to the actors to get their movements, it's even more intriguing to watch the brainy, young animators themselves. Agonizing over different reads and styles of relaying a thought or action with varying body language by bringing in other colleagues to do an alternate "read" of their scene, one reveals they shoot twenty minutes of live video, then edit it until they have a usable tiny amount they animate to fit the right emotional core of the scene and stay faithful to the actor's voice work. And thankfully, they note that some of the actors allowed themselves to be filmed while they were in-house doing their voice-work, and the artists noted that they'd take some strange visual cues or movements possessed by cast-mates such as Steve Carrell, Will Arnett, and Amy Poehler and incorporate it directly into the drawings.
Horton also offers a treasure trove of features from elephant fun facts, interviewing kids about how the smallest of actions can help promote a more peaceful existence, to the importance of being open-minded and without judgment in others with "A Person is a Person: A Universal Message," along with games and cast interviews. Additionally, saving the best for last-- there is some terrific footage of Jim Carrey as he relishes in completing his first CG cartoon and what drew him to the part of Horton-- the innocent elephant and it's humbling and admirable to witness his own anxieties and perfectionism in wanting it to be a success. Moreover, it's a wonderful addition to an already superior year of animated DVDs and Blu-rays, along with the recent releases of Panda, WALL-E, Tinker Bell, Sleeping Beauty, and others.
Also available as a special gift set with a Horton plush toy available this coming Tuesday right in time for holiday shopping-- no matter which version of Horton you pick up, the result is anything but "small" as it's sure to become a modern, childhood favorite. Moreover, it's a highly recommended, life-affirming, positive, and inspiring film. And it's truly exciting to anticipate what Blue Sky and the other first-rate animation studios will release next to a world that desperately needs to be reminded right now that we're more alike than one thinks and in this time of conflict (as opposed to the brilliant yet bleak last forty-five minutes of WALL-E) that there's always hope if we band together. So clean out those ears, pick up a flower, and get ready to listen to some Whos.
Read the Books
11/03/2008
New on DVD for the Week of 11/2/08
DVD Pick of the Week:
Transsiberian
Transsiberian
Click on the Title to Read the Review:
Browse All of This Week's
New Releases Below:
Available to Own from Amazon.Com
New Releases Below:
Available to Own from Amazon.Com
6/24/2008
Get Smart
Director: Peter Segal
When the first Get Smart poster hit the multiplex, it looked like Nick at Nite by way of Neutrogena with a jaw-droppingly gorgeous glamour shot of Anne Hathaway given a perfect salon blowout coupled with flawlessly air-brushed skin all but drowning out her film’s costar and lead actor, Steve Carell. Needless to say, this image went off like a fanboy bat signal in cyberspace signaling panic in those who cherished the clever humor and inventive James Bond inspired 1960’s television spoof created by Mel Brooks and Buck Henry and immediately cried foul, bracing themselves for the worst as they nervously anticipated every new detail of the big screen version of Smart. The poster and reaction reminded me of the quintessential cinematically captured moment of advertising letdown in Cameron Crowe’s great Almost Famous wherein lead singer Jason Lee discovers that his band-mate, the impossibly pretty “Golden God” Billy Crudup has been featured in the foreground of the tour t-shirts, relegating Lee-- much like Smart’s Steve Carell-- as decorative background or as Almost’s Lee quipped, to his position as "just one of the out of focus guys.”
Granted, it seemed like an odd marketing strategy indeed in hoping to lure in ticket buyers to a comedy with a built in Baby Boomer and Generation X audience with Generation Y sex appeal and seemed like it would've been as out of place as if the poster for Charlie’s Angels had only featured Bill Murray’s face or Will Ferrell had been the only one on the DVD box for Bewitched, yet honestly, after seeing what the filmmakers did with the update of the classic series Get Smart, they may have made the right choice, given the fact that in a quiet, unintentional way, the twenty-five year old Anne Hathaway manages to steal the entire movie from her forty-five year old veteran comedic costar. And while her character’s Agent 99 was always the loyal, brainy, loving woman tirelessly “standing by her Max" in the original series, given Carell’s terrific talent and excellent source material, it really shouldn’t have been this way.
As a stark contrast to the suave, highly unbelievable James Bond, part of the show’s charm and in fact-- no doubt its very inception-- was to have a bumbling, klutzy secret agent who can never manage to work his high tech equipment including the running gags of the cone-of-silence and shoe-phones supplied for him in his work within the American spy agency Control. Yet in the update, Maxwell Smart a.k.a. Agent 86 (Carell) has been inexcusably transformed into a formerly obese and still emotionally scarred highly valuable pencil pusher, who-- as his chief and fellow Little Miss Sunshine costar Alan Arkin explains-- is Control’s best analyst with raw human data, deciphering a counter-agent’s productivity based on the number of carbs they eat or if they’ve spent the past few nights in marital discord sleeping on the couch.
The updated version of Max is still as accident prone as ever but now his eccentricities are dismissed as minor negatives overshadowed by the ultimate positive that he’s a man so good at his job in crafting reports that the chief can’t bear to think of promoting him to field agent. As a Get Smart purist, this is unacceptable on so many levels, but more than that, it literally destroys the film’s main source of comedy. And when the cone-of- silence, shoe phone gags or his memorable “Would you believe?” lines are inserted, they feel like they’re puzzle pieces that have been forced into weird alignment by over-eager children at a birthday party waiting for cake or worse, like they've been tossing those of us who enjoyed the show a few retro bones to play fetch with on a Nick at Nite styled scavenger hunt whereby the end of the running time, our checklist is mostly blank and what's more, all the cake has been eaten.
I’m all for reinvention and re-imagination rather than forgoing creativity for stale reproduction, but by not offering us anything intriguing about Max, it’s easy to get distracted by the supporting players including a hilarious, under-used, tongue-in-cheek Dwayne Johnson as the ultra hot Agent 23 who nonetheless manages to walk into a wall when checking out a perky receptionist but especially, the pitch perfect Hathaway as the film’s saving grace of 99—the gifted field agent grudgingly assigned to working alongside Max after Control is attacked by KAOS madmen led by a Beethoven obsessed Terence Stamp.
Perhaps predicting the audience’s discomfort in the twenty year age difference between the stars, the screenwriters work out a plastic surgery excuse to explain that they’re chronologically closer than one would think. However, it’s a wasted reason as once the two are together, the chemistry just clicks into high energy flirtation and fascination where age is a forgotten number allowing each one a chance to step back and let the other one shine, although in the case of Smart, diplomatically it seems like it’s Hathaway who’s trying to underplay and make her partner funnier but try as he might, Carell just isn’t given the benefit of quality material, making 99 the one for whom we’re continually rooting.
As an escape from the over-abundance of superhero films slated for release this summer and a surprising lack of good family comedies, no doubt Get Smart will reach its targeted generations of built in fans plus kids and grandkids and as it stands on its own, it’s passable but not worthy of a recommendation for those who know and love the show. Although the best result would be if it inspired unfamiliar audience members to track down old episodes of the series. Therefore, even if it took a manipulative air-brushed, magazine quality poster to get them to do that, then kudos to the publicity department at Warner Brothers for helping people learn how hip it is to Get Smart.
3/29/2008
Dr. Seuss’ Horton Hears a Who!
Alternate Title: Horton Hears a Who!
Directors: Jimmy Hayward & Steve Martino
“I meant what I said, and I said what I meant. An elephant’s faithful one hundred percent,” so goes the famous quote from Dr. Seuss’ Horton Hatches the Egg that seems to be even more poignant when scripted for actor Jim Carrey as he lends his vocal talents to bring children’s literature’s best loved elephant to life in Dr. Seuss’ Horton Hears a Who! From the same studio who created the family films Ice Age and Robots, Blue Sky Studios of 20th Century Fox, directors Jimmy Hayward and Steve Martino craft not only the best adaptation of Dr. Seuss brought to screen thus far but also the best family film of 2008 as of this review.
For years, I’ve been wondering if I was simply growing too impatient with animated features, having found myself bored by critical smashes such as the overly long Pixar hits The Incredibles and Cars and struggling to stay awake during films such as Curious George and Bee Movie and although there’s been a few notable exceptions (Surf’s Up, Over the Hedge), I’ve found myself steering clear of animation. However, it wasn’t until I saw Horton Hears a Who that I fell back in love with the concept of bright, magical animated family films that manage to blend positive messages with high flying entertainment and quality humor that gave at least this viewer the same kind of amazing theatrical experience that I had while seeing Finding Nemo or the Toy Story films years earlier.
While on one hand, the film, like several animated works filled with A list stars for better or worse (which take jobs away from voice-over actors), has a boast worthy roster that comprise a comedic dream team in the form of not only Carrey but also Steve Carell, the legendary Carol Burnett, Seth Rogen, Will Arnett, Amy Poehler and Isla Fisher, I found myself forgetting the magnitude of the stars after only a few lines by each were uttered as admirably they began to ham less and instead preferably stick with telling the terrific tale.
For those who, like myself, barely remember the book, I’ll bring you up to speed—moments into the film we meet our unlikely elephant hero Horton who hears a noise coming from a tiny speck on a clover flower, only to discover that he’s listening to residents of the tiny universe Whoville or more accurately, the mayor of Whoville (Steve Carell). Eventually concluding that “a person’s a person, no matter how small,” Horton tries to save Whoville by bringing the flower to a place where it will be protected from outside forces such as the disbelieving kangaroo (Carol Burnett) who feels Horton is becoming a dangerous agitator that must be stopped and hires the Russian vulture Vlad (Will Arnett) to do just that.
Touching, beautifully animated, fast-paced (refreshingly just 88 minutes) and undeniably heroic, Horton Hears a Who is the type of film that will entertain adults just as much, if not more than children as I found myself laughing frequently throughout by the increasingly wild situations and characterizations by the cast.
Note: The book, which was published in 1954 sent some readers and journalists looking at Seuss’ work as a political allegory and in a fascinating sidebar “Who are the Whos?” by Entertainment Weekly’s Adam Markovitz (3/21/08, p42) chronicles three takes on the work, including the two likeliest which saw it as first a look at postwar Japan (which Seuss has admitted) and secondly as yet another 1950’s artistic offering that echoed the political climate of America during the devastating McCarthy hearings.
Read the Books
1/07/2007
Little Miss Sunshine (2006)
In this Sundance sleeper that delighted and attracted audiences with its ingenuity and the fact that they just don’t make enough intelligent comedic films for adults, the popular topics of familial dysfunction and the American road trip are explored to great effect. Caring mother Toni Collete and motivational speaker Greg Kinnear play two New Mexico parents who pack up their family in an old yellow VW bus and head to California in order to make a girl’s beauty pageant aptly titled Little Miss Sunshine. Coming along for the ride are Colette’s brother, the recently depressed gay Proust scholar, who tried to commit suicide after losing his love, job and genius grant; a heroin snorting grandfather recently kicked out of his retirement community where he was the bachelor of the ball; a young girl with beauty queen dreams, and her brother who, in reverence to Frederic Nietzsche, has taken a vow of silence until he becomes an air force pilot. Darkly hilarious and heartfelt, it starts off with eccentric quirks for quirk sake and foul language guaranteed to shock and awe but breaks out from the pack of typical suburban dysfunction tales as the family gets further away from their home. Alan Arkin as the grandfather and Steve Carell, playing against type as the sad-faced melancholic uncle, steal the show-- the jokes are smart, work well, and the film makes you squirm and giggle at the same time. At its heart the film is a family comedy comprised of feel good fun with an underdog “never give up” message hiding in a rated R package.
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