It's Cool to be Blue

There's no plainer way to put it: 2012 was one of the best all-time years for animated films. It wasn't just the tremendous, unique contributions from the "Big Three" animated studios of Pixar (Brave), Disney (Wreck-It Ralph and Frankenweenie) and Dreamworks (Rise of the Guardians and Madagascar 3) that did it either, but also slew of third party and independent animators who put forth not just some of the best animated motion pictures in years, but also some of the best MOVIES of 2012, from Studio Gibli's The Secret World of Arrietty to LAIKA's ParaNorman. With this level of quality dominating last year's features, it's kind of disappointing to look at what 2013 has to offer. Monsters University? Epic? The Croods? Turbo? Frozen? The only animated flick I'm really looking forward to this year is Despicable Me 2, and to be fair that's just because I can't get enough of Gru's Minions (nor should anyone with a funny bone, as this trailer shows). Sure, any of these titles could turn out awesome and change my mind, but last year I was both eagerly anticipating and pleasantly surprised by most of the animated film released, and I just don't get the same feeling from this year's batch of entries, and they're going to have to earn my appreciation.

Scorch Supernova in repose...

That was certainly true for first entry Escape from Planet Earth, the freshman feature release from Canadian animation studio Rainmaker Entertainment. In it, we're introduced to Scorch Supernova (Brendan Fraser) and his brother Gary (Rob Corddry). Scorch is a widely-respected intergalactic hero, as well known for his magnetic charisma as his is for his reckless manner and ability to succeed where nobody else can. Gary, meanwhile, is his brother's brainy overseer at Mission Control, often trying to mitigate the trouble Scorch's methods always seem to attract. When Scorch accepts a mission to "The Dark Planet", from where no mission has never returned, he does so against the wishes of Gary, who quits in disgust at the lack of respect he has received from Scorch and others. But when Scorch is captured on the mission, it is up to Gary to become the hero and rescue his brother from the evil planet known as Earth.

Gary learns the evils of the Big Gulp.

Escape from Planet Earth succeeds in more places than you might expect from a fledgling animation studio. Despite perhaps not crafting their animation with the same level of quality as the big boys, the whole of the artwork - and especially the 3D - are very, VERY good. There were a few moments that didn't quite match up to the rest of the picture, but they happened so infrequently and at the very beginning, so that you'd barely remember them when all is said and done. And despite their relative cliches, the characters are fun enough and with motivations that are easy for kids to comprehend. Gary Supernova especially is nicely voiced by Corddry, who puts forth his second good performance this month (though not nearly as good as Warm Bodies) as a blue-collar (pun intended?) guy pushed to perform the extraordinary. Playing opposite him is the highly effective Fraser, who might have discovered a potential for career resurgence in voice acting with the macho, confident swagger he brings to the screen. Other strong (or at least amusing) performances belong to Craig Robinson, Sarah Jessica Parker, Ricky Gervais and Jane Lynch (although nothing she ever does will top Lynch's Wreck-It Ralph role), but it's William Shatner hamming it up as an evil military leader that steals the show. Director/screenwriter Cal Brunker shows a real connection with his actors, unexpected from the rookie (he's typically been an art department guy), and he also has a talent for the wry quip and a propensity for the in-joke. For instance, one of my favorite bits featured human guards attempting to wrangle one of the story's aliens. One character's exclamation? "James! Cameron! Get the Alien!"

Okay... it's just like driving an interspace car...

But while Escape From Planet Earth manages to outstrip its meager origins, it doesn't necessarily make it an animated flick worth your time. Those dialogue gags don't happen often enough to be anything more than clever moments in a script practically bereft of them. The story is also an amalgam of cliched story and characters, from rambunctious kids to sibling rivalry to the rake gag, suitable perhaps for kids but not really all that engaging for their parents. There's also not really any one scene-stealer like Madagascar's Penguins to whom you could really see yourself getting attached... I mean, there IS Scorch, but his antics aren't nearly so inspired as to be entertaining on their own. And while most of the cast is quite good, the lone low score goes to Jessica Alba, whose lack of personality is on full display in a role that really shouldn't have been all that difficult to handle.

I think they actually stuck Fraser's eyes in there...

It's clever on occasion, the acting is pretty good and the artwork is VERY fun to look at. Those are the essential bullet points for what to expect from Escape From Planet Earth. It's a good first feature effort from Rainmaker, whose biggest success to this point was arguably the TV show Beast Wars: Transformers, and this successful release certainly sets the stage for them to form a lucrative movie business for the future. But what might make this movie the MOST appealing is that there is NOTHING else to take your kids to in the theaters right now. If you have the hankering to go to the movies, this isn't a bad family pick, even if the coming months will offer a few more (and hopefully better) options. Still, Escape From Planet Earth manages to top out as the #6 movie of 2013, not a bad start for the animated genre this year. I don't expect anything in the same vein of Wreck-It Ralph or ParaNorman when it comes to this year's titles, but hopefully this won't be the best thing the animated genre has to offer us for the near future.

Open Letters Monthly: Wreck-It Ralph

Sorry about the late posting this week, folks; this was supposed to go up Monday as per usual, but some unforseen delays got in the way. Still, I'm more than happy to inform you that Wreck-It Ralph is just the kind of uplifting, absolutely wonderful experience you hoped it would be.

In the after-hours of Litwak's Arcade, video game characters don't just get powered down. They converge on their own little universe in which good guys are good, bad guys are bad, and those who go against the program ultimately end up unplugged. Ralph is the villain of the popular game Fix-It Felix, Jr., but after thirty years of being the bad guy, he wants to change. Tired of being evil, Ralph embarks on a quest to become a hero, a difficult thing to achieve with his programming. Making friends along the way, Ralph learns a lot about himself and what it takes to be a hero, but will that realization come too late to help the friends he has come to care about?

Wreck-It Ralph is directed by Rich Moore and stars John C. Reilly, Sarah Silverman, Jack McBrayer, Alan Tudyk and Jane Lynch.

Click here for the full review at Open Letters Monthly.

The Three Amigos

If the trailer for The Three Stooges caught your attention in the past few months, you were probably in one of two groups. In one, you lambasted the very idea of bringing the antics of Moe, Larry and Curly to the big screen and a modern-day audience. The people on this side are generally those who never liked or in some cases have even seen any of the 220 short films the comedy troupe made between 1922 and 1975. Those on the other side of the line might not have been very excited about the new movie, but at least thought that some of the humor in the trailer was funny, and marveled at the apparent melding of the main actors into seamless copies of the three iconic characters. My parents (most notably my father) is of the former camp. Never a fan of the Stooges, dear old dad raised me on a steady diet of Marx Brothers and W.C. Fields, comedians who succeeded not due to abrasive physical shenanigans, but clever dialogue and rapier wit. They were definitely the epitome of brilliant comedy. And yet I can't help but feel some admiration for the Three Stooges, whose shorts I sometimes caught on afternoon television when I was a kid. Their physical comedy was unlike anything I had ever seen, save perhaps for Wile E Coyote's numerous failed attempts to catch that pesky Road Runner, or Miss Piggy's backhand. In the end, that's why I decided to see the Farrelly Brothers' take on The Three Stooges; not because it would necessarily be good, but because it would be interesting to see how you would take an old-school property like the Stooges and turn them into something fans of modern comedy can appreciate.

No, they're not quite the same, but they ARE close...

After being raised in an orphanage for the entirety of their lives, Moe (Chris Diamantopolous) Larry (Sean Hayes) and Curly (Will Sasso) live their lives with the nuns of the Sisters of Mercy, helping keep things maintained on the property. When a lack of funds means that the orphanage will be closed down, the trio strike out on their own, determined to make the $830,000 they need to save their home before the bank can foreclose on the land. But these three know nothing of the outside world, and their interaction with modern-day Los Angeles and each other make the already-arduous task far more difficult than it was to start.

Some of the many familiar faces of our youth...

After a painful (but necessary, thanks to the script) origin story that shows Moe, Larry and Curly as young boys, the film finally gets underway when it graduates to actually using the adult actors in the lead roles. The tale itself is reminiscent of many of the troupe's old sketches, in which the trio have a clear goal in mind and they are hampered in reaching that end by both normal obstacles and one another. Of course, this also illustrates the fact that those stories worked so well in short films because they were, well, short. Stretched out over the course of an hour and a half, the flaws with this storytelling method become more readily visible, with long stretches occurring in which nothing at all good or bad happens, and the film simply waits for the next plot point to rear its head. By the finale, it's obvious there was little for the Farrellys to work with, and it was up to the actors to make it all work.

"And THAT was for Shemp!"

As for those men who portray the historic comedy players... wow. Going in, I wasn't convinced that Diamantopolous, Hayes and Sasso would be able to emulate their characters in the same fashion as their mid-twentieth century counterparts, but before too long I was more than happy with what they were contributing to the tale. In preparing for these roles, the three mastered their predecessors' every vocalization, gesture and nuance in creating perfect copies of the Stooges. With their perfectly precise actions, their interactions (both physical and verbal) become flawless, a thing of beauty, and its obvious they had as much love if not more for the Stooges than their supervising directors. Sure the supporting cast might be clogged with mid-card mismatched talents as Sofia Vergara as the film's main antagonist, Jane Lynch, Jennifer Hudson and Larry David as nuns, and Old Spice pitchman Isaiah Mustafa as a Hollywood agent, but it is those three who are the heart and soul of the film. Sure, this could be argued as mere imitation and not acting per se, but it's a good thing these three were up to the task, as anybody else would likely have gotten it wrong.

And THAT'S why we don't eat scorpions.

Anyone will tell you that the Three Stooges were an inspiration for whole generations of comedic actors, and it's easy to see why. Still, when compared to many today, the Stooges will still come out on top when it comes to physical humor. Remember, they never hit one another in the balls, like so many comedies these days do for cheap laughs (granted, There's Something About Mary's "We've got a bleeder" bit was classic). Nor did they use flatulence as a continual prop for lowbrow humor. Still, it's a shame that outside the physical department, The Three Stooges doesn't inspire a whole lot of laughs, especially when other characters in the film get in on the act. This shouldn't be all that surprising; the Farrelly Brothers haven't actually made a funny movie since 1998 (I only have fond memories of Fever Pitch because it centered on my beloved Red Sox), and there was no reason to think this would be any different. Still, the film has its moments, and the funniest moments have an unlikely source, as Moe takes his abuse out on the cast members of Jersey Shore. I admit, I am conflicted: do I love that the Jersey Shore brats get what's coming to them, or do I actually congratulate them on playing along? Regardless, the film relies far too much on its physical jokes to get by, and the entire thing feels more stupid than it should. It's only the obvious reverence the Farrellys carry for the Stooges that allows the film to rise above its limits and actually keep the audience engaged throughout.

Most... awkward hug... ever.

The Three Stooges is about what you might have expected were you fan of the original short films: a mediocre effort helmed by poor comedic directors that is surprisingly raised by the sheer personality and talent of its lead performers. It won't crack my Top 10, but neither will it suffer embarrassment in among the year's worst which, with Nicolas Cage and Julia Roberts, looks to already sport some poor company. If you aren't already a fan of the Stooges, you can be assured that this film won't change your mind as to your discontent. However, if you genuinely loved the works of Moe, Larry, Curly and the other assorted comedians who filled in during their extensive run, you'll definitely have reason to visit the movie theater and see this on the big screen. It might not be the best Stooges film, but Diamantopolous, Hayes and Sasso do their best to remind you exactly why you loved the misbegotten adventures of yesteryear. And you'll love them for it.

My Friend Paul

I think I realize now why I didn't love Shaun of the Dead when I first saw it. When the zombie-comedy film, co-starring English comedians Simon Pegg and Nick Frost first reached our shores back in 2004, I wasn't in the theaters to see it. I honestly don't remember what I was up to about that time, but despite so many around me raging about how great it was, I safely managed to completely avoid the film release. A year or so later, I finally rented the DVD and despite (or perhaps because of) the tons of positive hype I'd received from friends and acquaintances that this was one of the funniest movies they'd ever seen, I found myself unenthused by some of the obscure jokes and inane plot threads. That's not to say I didn't LIKE Shaun; not at all, I liked it very much. I just didn't LOVE it like so many around me seemed to. So underwhelmed was I by this that I skipped the duo's next collaboration, 2007's Hot Fuzz, altogether, and only in 2009's Star Trek reboot did I see either of the actors (Pegg) perform in another film. So it wasn't with a ton of excitement that led me to seeing science fiction comedy Paul last night. Instead, I decided that the trailers looked good enough, the buzz was big enough, and enough time had passed that I would be willing to give another Pegg/Frost film a shot, even knowing the lackluster Seth Rogen had a role to play. My low expectations then made it that much sweeter when the film proved to be much more than I could have imagined.

The Battle of Helm's Deep re-enactment hit a few snags: nerds

Starting at the last place you would ever expect a film to begin (San Diego's famous Comic-Con), we meet Graeme and Clive (Pegg and Frost), a writer/illustrator duo enamored with all things science fiction. Visiting the United States for the first time, the duo follow up the San Diego stint with a road trip of the US's most famous UFO sites, including Area 51 and the Black Mailbox. They expected to have a fun time. What they DIDN'T expect was to accidentally meet Paul (voice of Rogen), a big-headed "gray" alien who need their help. Paul just escaped from Area 51's lock-down facility in which he'd been held for decades, and must escape to a rendezvous point before the government agents led by Special Agent Zoil (Jason Bateman) can catch up with him and bring the little guy back for dissection.

Headlamps for under $10? I've got to call this in!

The film does a lot of stuff right, and the main reason for that can be attributed to the amazing script written by the film's stars. While the film drags a little bit in the opening, it does make for a nice enough opener and allows those who might not be familiar with the Comic-Con experience to catch a glimpse of what they're missing. Once the duo get on the road and meet their extraterrestrial wingman, however, the film manages to take off and the excitement is perfectly paced throughout. The film doesn't fall in the trap of being too serious, however, as the comedy is solid throughout, with only repeated jokes as to the duo's questioned sexuality failing to inspire much mirth. Director Greg Mottola did his share of work, and while his penchant for potty humor and sight gags is still here, so is his ability to make fun characters connect a-la Superbad. In all, he makes the perfect companion to Pegg and Frost, with all three seemingly on the same page for most of the film.

Obviously though the sign said "No PANTS, No Shoes, No Service"

The best however is the film's unabashed nerdism. There are obvious scenes that are easy to pick out, from Steven Spielberg's cameo and a redneck bar whose band is playing the famous "Cantina Theme" from Star Wars, but the film truly draws from the lesser-known geekery every chance it gets. When you see Graeme wearing a tee-shirt with the comic character Invincible on it or when Clive mutters in his sleep "Boomer, it's forbidden," the true comic and sci-fi nerd can't help but smile at the references. The film doesn't treat these fans as jokes, either; fans of sci-fi and fantasy comics, shows and films have never been shown so much respect from a big-budget Hollywood film, at least not since 1999's Galaxy Quest. Pegg and Frost are as large fans as could be conceived, but neither are portrayed as simple or one-note characters. They're complex creatures with wants, needs and flaws, as far from comic nerd cliches as you can get.

Things were so simple on Arrested Development...

Speaking of Pegg and Frost, their hard work and respect for the subject matter really shows in their performances here. Pegg's acting isn't notably special, but he comes off believably as an artistic nerd who finds himself in a situation he would have thought impossible only days ago. Frost I had expected to dislike, as his sluggish character in Shaun was one of the main reasons I didn't come away a believer. However, he's much more sympathetic here, and in fact manages to steal the spotlight on several occasions. He's simply more fleshed out (no pun intended) and more likely someone you'd want to hang out with. The fraternity between the two stars is obvious, and they work together so charmingly that I'm not sure I want to see them in anything else if the other wasn't present. Some of the film's best bits can safely be attributed to the arrival of Kristen Wiig on the scene as a long-suffering creationist Christian who's mind is blown upon meeting the little grey man. Wiig might be close to graduating from the house at 30 Rockefeller Plaza to become a legitimate Hollywood star, and she's got the comedic timing and talent to make it work. I was worried Bateman would play the straight guy too well, but he puts in a solid performance as Agent Zoil, strong and unpredictable to the end. The weakest parts of the cast were probably the film's sub-villains, most notable Bill Heder and Joe Lo Trugilo as Zoil's subordinates, who don't even come off as half-competent as government agents. Blythe Danner and Jane Lynch even make for nice scenes as colorful characters on the path the film takes. But it's Seth Rogen as the titular hero who's the true surprise. Rogen, who I pretty much dislike in everything I've seen, manages to be the PERFECT voice for the foul-mouthed alien, and I was genuinely pleased with the character's range and Rogen's ability to carry the load.

E.T. phone HOME! Big time.

The reason I didn't love Shaun of the Dead became clear to me as I watched Paul's closing credits: for all the good Shaun presented, I just wasn't really a fan of zombie movies at the time, and so much of of what was so innovative about the film went over my head. With Paul's much more appealing medium, I now realize that Pegg and Frost are, like me and so many others, just fans who make films about what they love. While I didn't connect with Shaun's zombie comedy (and with my respect for Zombieland, I wonder if that would change should I try again?), Paul's love letter to fandom was much better received.. With the slow opening going against it's otherwise perfect narrative, it comes in trailing only The Adjustment Bureau at #2 for 2011. A well-written, funny as hell celebration of Sci-fi and fantasy, I would recommend it to anyone out there, though it'll be the real, unashamed nerds who get the best experience out of it.