It's time to raise the curtain... again.
Going Rate: Worth full price admission for Muppet fans
Starring: Jason Segel, Amy Adams, Chris Cooper plus oodles of cameos
Rated: PG (but really should be a G)
Red Flags: Two very mild adult jokes, one of which is referenced below
I don't think Muppet founder Jim Henson would've gone for Fozzie Bear showing off, to put it kindly, flatulent shoes. But he would have loved the rest of this heartfelt reunion and tribute film to his puppet empire starring Jason Segel, who co-wrote it for Muppet fans everywhere. It is a family film, not so much for the kids, but for the adults who invited the fuzzy-foamy characters to come into their living rooms on "The Muppet Show" every week and who begged to go see their first three movies.
Segal is Gary, a Muppet fan with a brother named Walter, who's an even bigger fan. Walter is also a Muppet himself, a fact conveniently overlooked until the proper plot point is achieved. I could make an interesting argument here that Walter is actually Gary's outward projection of his inner child, but family movies are not supposed to be that deep. Gary's in love with Mary (Adams), a school teacher who is still waiting for Gary to pop the question -- if Guy Smiley or Prince Charming doesn't come along and pop it first. All of them live in Smalltown, an idyllic community which should come with a disclaimer below the welcome sign: "Residents are prone to outbursts of song and dance."
Gary, Mary and Walter take a trip to Los Angeles, which includes a stop at the Muppet Studios. When they get there, the place is run down and shuttered. The Muppets themselves don't even work there anymore. Worse, Walter overhears corporate robber baron Tex Richman (Cooper) plotting to raze the studio and drill for oil beneath it unless the Muppets can raise $10 million to buy it back under a clause in their standard "Rich And Famous Contract," one of the film's several enlightened references to the original Muppet Movie.
Walter and his human pals track down Kermit the Frog to warn him and persuade the Muppet gang to do one more gig. In sequences reminiscent of The Blues Brothers, Kermit and company track down the gang who have split up and taken straight jobs, more or less. Fozzie is working a dead-end show at a Reno casino. Animal is in an anger management program (alongside Jack Black, to boot). Gonzo is a plumbing company executive. Dr. Teeth and the Electric Mayhem are playing in the subways. Only Miss Piggy has vaulted upward, to editor of Vogue. We're still not sure if Kermit and Piggy are married, separated or in one of those it's-complicated relationships, but they still have plenty of romantic tension between them as the old gang hastily puts together what could be their last show.
The Muppets overflows with love and respect for Kermit and company's fans. It does not try to upgrade its characters to the CGI age: we continue to see them mostly from the waist up, reminding us that there are still puppeteers below them, operating their hands and mouths and lending the voices. Several of those voices are more than a touch different due to changes in the cast of performers over the years, and sadly, the death of Jim Henson. After Henson's passing, Rowlf the Dog dropped out of sight; Henson provided his voice and part of his hand work. I was glad to see him back in this film, and he's still a whiz on the piano.
Many, many Muppet characters also return, if only for a couple of silent scenes, including Uncle Deadly. To my knowledge, he only appeared in one episode of the TV series, alongside Vincent Price. Speaking of guest star spots, The Muppets honors that tradition faithfully. In addition to Black, the film's cameos include Mickey Rooney, Whoopi Goldberg and... James Carville? Charles Grodin is a notable omission. His appearance was planned but omitted due to either schedule or production issues.
Young children aren't going to have the same admiration for this film as their parents. That's all right. It wasn't made for them. They may still appreciate it though, in all its fun, fuzzy innocence. Please, Disney, do us a favor. Find a way to bring "The Muppet Show" back to television and give us a show we can truly enjoy with the kids.
(The PG rating on this film is overstated. Save for two mildly crude jokes that are pretty tame in the universe of today's films, this film deserves to be a G.)
Friday, November 25, 2011
Friday, November 11, 2011
Reel To Reel: J. Edgar
Guns, guts, and Mommy Dearest.
Going Rate: Worth full price admission
Starring: Leonardo DiCaprio, Naomi Watts, Armie Hammer, Josh Lucas, Judi Dench
Rated: R (but really should be a PG-13)
Red Flags: One short scene of brief strong language, two mild homosexual kisses
J. Edgar Hoover built the Federal Bureau of Investigation into a powerfully innovative crime-fighting agency, one that would do his own personal bidding, and yet this film portrays him as cornered by a long-rumored homosexuality and his relationship with his mother. This irony is the heart of J. Edgar, a Clint Eastwood-directed period piece that's a shoo-in for at least a couple of Oscar nominations.
Make-up should be one of them, as we see alternating images of Leonardo DiCaprio playing Hoover as a young Justice Department agent while the older, grizzled Hoover dictates his glory days for a book. As he did in The Aviator and Shutter Island, DiCaprio handles period roles and historical heavyweights with precision and ease. His Hoover obsesses over radicals and communist threats to America underneath every rock, and he laments that his Justice colleagues don't seem to understand it. He says people forget "the bombs," what we would call terrorist attacks by Bolsheviks in the early 1900's, before the word "terrorist" entered our lexicon. He finds evidence of subversion in the White House and the civil rights movement. One subplot involves Hoover wiretapping the hotel room of Martin Luther King Junior.
Information is Hoover's weapon of choice, as he ruthlessly compiles secret files on opponents and dissidents to gather information for leverage while pushing the FBI to develop groundbreaking techniques in forensic analysis. It is hard to imagine a time when police didn't check for fingerprints, let alone DNA, but it's even harder to imagine how sloppily authorities would treat a crime scene. Hoover uses the kidnapping of the Lindbergh baby as his proving grounds, the crime of the century that became the trial of the century, to show how criminals couldn't beat science.
Hoover's personal life is less than triumphant. He hires underqualified agent Clyde Tolson (Hammer), who turns into his chief deputy and lover, a relationship he conducts with strategic secrecy to keep it from ruining him. His secretary Helen Gandy is his right-hand woman, keeping his schedule running and his personal files hidden. And then there's Mother: Annie Hoover (Dench) is not an overbearing figure, but she is the only woman Hoover can relate to. No doubt about it, J. Edgar is a mama's boy.
J. Edgar can drag at points, but overall, Clint Eastwood keeps the story moving while understanding we need additional insight in order to appreciate the complexities and ironies surrounding a man who served six presidents. Dustin Lance Black, who also wrote the biopic Milk, handles Hoover's suspected homosexuality in a discreet manner that one could argue, as former FBI man W. Mark Felt did, that they simply were engaging in brotherly love.
The film does not break new ground as much as it lets us see the world from Hoover's perspective, that of a dedicated public servant who lives and breathes crimefighting and will stop at nothing to keep Americans safe.
Going Rate: Worth full price admission
Starring: Leonardo DiCaprio, Naomi Watts, Armie Hammer, Josh Lucas, Judi Dench
Rated: R (but really should be a PG-13)
Red Flags: One short scene of brief strong language, two mild homosexual kisses
J. Edgar Hoover built the Federal Bureau of Investigation into a powerfully innovative crime-fighting agency, one that would do his own personal bidding, and yet this film portrays him as cornered by a long-rumored homosexuality and his relationship with his mother. This irony is the heart of J. Edgar, a Clint Eastwood-directed period piece that's a shoo-in for at least a couple of Oscar nominations.
Make-up should be one of them, as we see alternating images of Leonardo DiCaprio playing Hoover as a young Justice Department agent while the older, grizzled Hoover dictates his glory days for a book. As he did in The Aviator and Shutter Island, DiCaprio handles period roles and historical heavyweights with precision and ease. His Hoover obsesses over radicals and communist threats to America underneath every rock, and he laments that his Justice colleagues don't seem to understand it. He says people forget "the bombs," what we would call terrorist attacks by Bolsheviks in the early 1900's, before the word "terrorist" entered our lexicon. He finds evidence of subversion in the White House and the civil rights movement. One subplot involves Hoover wiretapping the hotel room of Martin Luther King Junior.
Information is Hoover's weapon of choice, as he ruthlessly compiles secret files on opponents and dissidents to gather information for leverage while pushing the FBI to develop groundbreaking techniques in forensic analysis. It is hard to imagine a time when police didn't check for fingerprints, let alone DNA, but it's even harder to imagine how sloppily authorities would treat a crime scene. Hoover uses the kidnapping of the Lindbergh baby as his proving grounds, the crime of the century that became the trial of the century, to show how criminals couldn't beat science.
Hoover's personal life is less than triumphant. He hires underqualified agent Clyde Tolson (Hammer), who turns into his chief deputy and lover, a relationship he conducts with strategic secrecy to keep it from ruining him. His secretary Helen Gandy is his right-hand woman, keeping his schedule running and his personal files hidden. And then there's Mother: Annie Hoover (Dench) is not an overbearing figure, but she is the only woman Hoover can relate to. No doubt about it, J. Edgar is a mama's boy.
J. Edgar can drag at points, but overall, Clint Eastwood keeps the story moving while understanding we need additional insight in order to appreciate the complexities and ironies surrounding a man who served six presidents. Dustin Lance Black, who also wrote the biopic Milk, handles Hoover's suspected homosexuality in a discreet manner that one could argue, as former FBI man W. Mark Felt did, that they simply were engaging in brotherly love.
The film does not break new ground as much as it lets us see the world from Hoover's perspective, that of a dedicated public servant who lives and breathes crimefighting and will stop at nothing to keep Americans safe.
Reel To Reel: Tower Heist
When you don't have Ocean's 11, four or five might work.
Going Rate: Worth matinee price
Starring: Ben Stiller, Eddie Murphy, Casey Affleck, Alan Alda, Matthew Broderick
Rated: PG-13
Red Flags: Language (mainly Murphy's dirty mouth), some sexual references
Tower Heist wants to be the Ocean's 11 of the Occupy Wall Street age, seizing upon our low opinions of banks, securities firms, and anybody stinking rich. It's also designed to be a comeback vehicle for Eddie Murphy, who has seen his career circle the drain ever since he taking up family-friendly movies like Haunted Mansion, Daddy Day Care, and space gobbler The Adventures of Pluto Nash. Neither concept works entirely, but director Brett Ratner at least holds the film together.
Josh Kovacs (Stiller) is the manager for one of New York's most upscale condo-plexes, a place where people aren't merely paying for living space but for the luxury of having a staff that knows them, knows their name, knows their birthdays, their quirks, their dirty little secrets and will unflinchingly deliver service with a smile. Kovacs' chief task is catering to the needs of penthouse resident Arthur Shaw (Alda), a Wall Street titan who is suddenly arrested for Bernie Madoff-style securities fraud. In headline-ripping style, Shaw is put under house arrest at the top of the tower, and it just so happens he was managing the pension funds of all the tower's employees.
Seeing that Shaw might beat the rap and not refund a dime to the tower workers, Kovacs devises a scheme to steal back the money by using his concierge smarts to devise a foolproof burglary and getaway plan. He pulls in several employees and a geeky ex-resident (Broderick) for help, but they need a criminal mind. So Kovacs turns to his profane street-crook neighbor Slide (Murphy), who is supposed to school Kovacs' gang in how to rob.
It's nice to see Eddie Murphy go back to his slick fast-talking persona that vaulted him to success on Saturday Night Live and a slew of hit movies including his best, Beverly Hills Cop. The only problem is, Murphy's more dirty than funny. His earlier films were crude, yes, but they didn't stretch him into some gansta-wannabe. Maybe Murphy is making up for all those family films by overdoing it here.
Stiller's performance is more believable, although I still have a hard time buying into his leap from personal assistant to aspiring thief. For that matter, I also have a hard time believing Alda -- one of Hollywood's most likeable actors -- as a heartless moneyed cretin, but doggone it if he doesn't try.
Tower Heist probably should have gone more of the con-job route like The Sting, relying more on the wits and problem-solving skills of its characters rather than trying to pull off the heist of the decade.
Going Rate: Worth matinee price
Starring: Ben Stiller, Eddie Murphy, Casey Affleck, Alan Alda, Matthew Broderick
Rated: PG-13
Red Flags: Language (mainly Murphy's dirty mouth), some sexual references
Tower Heist wants to be the Ocean's 11 of the Occupy Wall Street age, seizing upon our low opinions of banks, securities firms, and anybody stinking rich. It's also designed to be a comeback vehicle for Eddie Murphy, who has seen his career circle the drain ever since he taking up family-friendly movies like Haunted Mansion, Daddy Day Care, and space gobbler The Adventures of Pluto Nash. Neither concept works entirely, but director Brett Ratner at least holds the film together.
Josh Kovacs (Stiller) is the manager for one of New York's most upscale condo-plexes, a place where people aren't merely paying for living space but for the luxury of having a staff that knows them, knows their name, knows their birthdays, their quirks, their dirty little secrets and will unflinchingly deliver service with a smile. Kovacs' chief task is catering to the needs of penthouse resident Arthur Shaw (Alda), a Wall Street titan who is suddenly arrested for Bernie Madoff-style securities fraud. In headline-ripping style, Shaw is put under house arrest at the top of the tower, and it just so happens he was managing the pension funds of all the tower's employees.
Seeing that Shaw might beat the rap and not refund a dime to the tower workers, Kovacs devises a scheme to steal back the money by using his concierge smarts to devise a foolproof burglary and getaway plan. He pulls in several employees and a geeky ex-resident (Broderick) for help, but they need a criminal mind. So Kovacs turns to his profane street-crook neighbor Slide (Murphy), who is supposed to school Kovacs' gang in how to rob.
It's nice to see Eddie Murphy go back to his slick fast-talking persona that vaulted him to success on Saturday Night Live and a slew of hit movies including his best, Beverly Hills Cop. The only problem is, Murphy's more dirty than funny. His earlier films were crude, yes, but they didn't stretch him into some gansta-wannabe. Maybe Murphy is making up for all those family films by overdoing it here.
Stiller's performance is more believable, although I still have a hard time buying into his leap from personal assistant to aspiring thief. For that matter, I also have a hard time believing Alda -- one of Hollywood's most likeable actors -- as a heartless moneyed cretin, but doggone it if he doesn't try.
Tower Heist probably should have gone more of the con-job route like The Sting, relying more on the wits and problem-solving skills of its characters rather than trying to pull off the heist of the decade.
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