Skip to main content

I meant what I said and I said what I meant. An elephant's faithful one hundred percent.


(Dr. Seuss’) Horton Hears a Who!
(2008)

Ironically, for a film released by the Murdoch-owned Twentieth Century Fox (an affiliate of Fox News), Horton Hears a Who! arrives on screen with its message of tolerance intact. I found it utterly charming, a breath of fresh air compared to the frenetic DreamWorks productions and overly focus-tested Pixar pieces. Ultimately, Horton works so well because it retains the original book at its core (although, obviously, expanding it considerably to reach feature length).

That may be a move certain to incur the wrath of aficionados of Theodor Geisel’s books but, while I admit to having been mostly deprived of Dr. Seuss as a child, this appears to bear much more fidelity to its creator’s core ideas than the sucrose-overdose horror show that was Ron Howard’s The Grinch. The screenplay, from Ken Daurio and Cinco Paul, keeps Geisel’s verse as a framing device, which lends the story a relaxed rhythm, even when there are frenetic set pieces, and so helps to distinguish it from its animated peers.

And, despite the stunt voice casting of Jim Carrey (whose Grinch duties rightly invite concern), Steve Carrell and assorted comedians, their presence never distracts (Seth Rogen is heard mercifully briefly, while Will Arnett’s Vlad the vulture is hilarious highlight). Directors Jimmy Hayward and Steve Martino (the former would come unstuck with live action Jonah Hex, the latter rode high on the titan that was Ice Age 4 last summer) ensure the designs are warm and clear, and evocative of the books.

Just as importantly, they resist cluttering up the frame and let the focus remain on the interaction between the macro-world of Horton the Elephant (Carrey) and the micro-world of the Mayor of Whoville (Carrell). It’s such a striking idea in itself, and so evocative, that all concerned wisely sit back and let it tell itself. There’s little in the way of pop culture referencing to take up slack and only one additional plot thread falls flat (the relationship between the Mayor and his son; he also has 90+ daughters, but they are irrelevant it seems). 

It appears that the theme of the tale has been interpreted in different ways by advocates of various viewpoints. Most notably, anti-abortionists appropriated the “A person’s a person, no matter how small”. Some have suggested the story is pro-faith (although Horton’s belief in Whoville is ultimately tangibly proved to all) and yet others have claimed it as anti-religious (anyone with a different view is caged and “burnt at the stake”). The film version is definitely engaged with promoting imagination (the Sour Kangaroo considers Horton such a threat because he is inspiring the children to think creatively) but its central message appears consistent with the original. And this is a general, message rather than one requiring application to a specific group; tolerance is good, unthinking conformity is bad; and keep your eyes and ears open to the world.

**** 

Comments

Popular posts from this blog

Why would I turn into a filing cabinet?

Captain Marvel (2019)
(SPOILERS) All superhero movies are formulaic to a greater or lesser degree. Mostly greater. The key to an actually great one – or just a pretty good one – is making that a virtue, rather than something you’re conscious of limiting the whole exercise. The irony of the last two stand-alone MCU pictures is that, while attempting to bring somewhat down-the-line progressive cachet to the series, they’ve delivered rather pedestrian results. Of course, that didn’t dim Black Panther’s cultural cachet (and what do I know, swathes of people also profess to loving it), and Captain Marvel has hit half a billion in its first few days – it seems that, unless you’re poor unloved Ant-Man, an easy $1bn is the new $700m for the MCU – but neither’s protagonist really made that all-important iconic impact.

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Can you float through the air when you smell a delicious pie?

Spider-Man: Into the Spider-Verse (2018)
(SPOILERS) Ironically, given the source material, think I probably fell into the category of many who weren't overly disposed to give this big screen Spider-Man a go on the grounds that it was an animation. After all, if it wasn’t "good enough" for live-action, why should I give it my time? Not even Phil Lord and Christopher Miller's pedigree wholly persuaded me; they'd had their stumble of late, although admittedly in that live-action arena. As such, it was only the near-unanimous critics' approval that swayed me, suggesting I'd have been missing out. They – not always the most reliable arbiters of such populist fare, which made the vote of confidence all the more notable – were right. Spider-Man: Into the Spider-Verse is not only a first-rate Spider-Man movie, it's a fresh, playful and (perhaps) surprisingly heartfelt origins story.

Sorry I’m late. I was taking a crap.

The Sting (1973)
(SPOILERS) In any given list of the best things – not just movies – ever, Mark Kermode would include The Exorcist, so it wasn’t a surprise when William Friedkin’s film made an appearance in his Nine films that should have won Best Picture at the Oscars list last month. Of the nominees that year, I suspect he’s correct in his assessment (I don’t think I’ve seen A Touch of Class, so it would be unfair of me to dismiss it outright; if we’re simply talking best film of that year, though, The Exorcist isn’t even 1973’s best horror, that would be Don’t Look Now). He’s certainly not wrong that The Exorcistremains a superior work” to The Sting; the latter’s one of those films, like The Return of the King and The Departed, where the Academy rewarded the cast and crew too late. Butch Cassidy and the Sundance Kid is the masterpiece from George Roy Hill, Paul Newman and Robert Redford, not this flaccid trifle.

I don’t think you will see President Pierce again.

The Ballad of Buster Scruggs (2018)
(SPOILERS) The Ballad of Buster Scruggs and other tall tales of the American frontier is the title of "the book" from which the Coen brothers' latest derives, and so announces itself as fiction up front as heavily as Fargo purported to be based on a true story. In the world of the portmanteau western – has there even been one before? – theme and content aren't really all that distinct from the more familiar horror collection, and as such, these six tales rely on sudden twists or reveals, most of them revolving around death. And inevitably with the anthology, some tall tales are stronger than other tall tales, the former dutifully taking up the slack.

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

You had to grab every single dollar you could get your hands on, didn't you?

Triple Frontier (2019)
(SPOILERS) Triple Frontier must have seemed like a no-brainer for Netflix, even by their standards of indiscriminately greenlighting projects whenever anyone who can’t get a job at a proper studio asks. It had, after all, been a hot property – nearly a decade ago now – with Kathryn Bigelow attached as director (she retains a producing credit) and subsequently JC Chandor, who has seen it through to completion. Netflix may not have attracted quite the same level of prospective stars – Johnny Depp, Tom Hanks, Will Smith, Tom Hardy and Channing Tatum were all involved at various points – but as ever, they haven’t stinted on the production. To what end, though? Well, Bigelow’s involvement is a reliable indicator; this is a movie about very male men doing very masculine things and suffering stoically for it.

What lit the fire that set off our Mr Reaper?

Death Wish (2018)
(SPOILERS) I haven’t seen the original Death Wish, the odd clip aside, and I don’t especially plan to remedy that, owing to an aversion to Charles Bronson when he isn’t in Once Upon a Time in the West and an aversion to Michael Winner when he wasn’t making ‘60s comedies or Peter Ustinov Hercule Poirots. I also have an aversion to Eli Roth, though (this is the first of his oeuvre I’ve seen, again the odd clip aside, as I have a general distaste for his oeuvre), and mildly to Bruce when he’s on autopilot (most of the last twenty years), so really, I probably shouldn’t have checked this one out. It was duly slated as a fascistic, right-wing rallying cry, even though the same slaters consider such behaviour mostly okay if the protagonist is super-powered and wearing a mask when taking justice into his (or her) own hands, but the truth is this remake is a quite serviceable, occasionally amusing little revenger, one that even has sufficient courage in its skewed convictions …

Whoever comes, I'll kill them. I'll kill them all.

John Wick: Chapter 2 (2017)
(SPOILERS) There’s no guessing he’s back. John Wick’s return is most definite and demonstrable, in a sequel that does what sequels ought in all the right ways, upping the ante while never losing sight of the ingredients that made the original so formidable. John Wick: Chapter 2 finds the minimalist, stripped-back vehicle and character of the first instalment furnished with an elaborate colour palette and even more idiosyncrasies around the fringes, rather like Mad Max in that sense, and director Chad Stahleski (this time without the collaboration of David Leitch, but to no discernible deficit) ensures the action is filled to overflowing, but with an even stronger narrative drive that makes the most of changes of gear, scenery and motivation.

The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…

Our "Bullshit!" team has unearthed spectacular new evidence, which suggests, that Jack the Ripper was, in fact, the Loch Ness Monster.

Amazon Women on the Moon (1987)
Cheeseburger Film Sandwich. Apparently, that’s what the French call Amazon Women on the Moon. Except that it probably sounds a little more elegant, since they’d be saying it in French (I hope so, anyway). Given the title, it should be no surprise that it is regarded as a sequel to Kentucky Fried Movie. Which, in some respects, it is. John Landis originally planned to direct the whole of Amazon Women himself, but brought in other directors due to scheduling issues. The finished film is as much of a mess as Kentucky Fried Movie, arrayed with more miss sketches than hit ones, although it’s decidedly less crude and haphazard than the earlier picture. Some have attempted to reclaim Amazon Women as a dazzling satire on TV’s takeover of our lives, but that’s stretching it. There is a fair bit of satire in there, but the filmmakers were just trying to be funny; there’s no polemic or express commentary. But even on such moderate terms, it only sporadically fulfils…