The Croods: Short and Sweet

After November’s disastrous Rise of the Guardians, DreamWorks Animation was hit with a financial sledgehammer, forced to write-down millions and to restructure the entire studio at the cost of hundreds of jobs, so needless to say, there was an awful lot riding on the success of The Croods.  Now in the hands of new distribution partner 20^th Century Fox, DreamWorks’ newest property was filled with colorful environments and bold personalities, but an aggressive marketing campaign was required to renew public faith in the animation studio.  I was worried when promotion materials refused to identify the talented voice cast that included Emma Stone, Nicolas Cage, and Ryan Reynolds, but regardless of that choice, mass awareness for the new feature was still through the roof.  Leading up to its release, the members of “The First Modern Family” were absolutely everywhere, offering young audiences an attractive choice with virtually no direct competition.  I was impressed with what I had seen of The Croods during my time at DreamWorks, and by all accounts, the finished product was brilliant, so I couldn’t wait to see the prehistoric family launch a lucrative new franchise.

Gorgeously rendered and filled to the brim with imagination, The Croods is a charming and humorous adventure that will thrill children and thoroughly entertain older audiences.  If you have ever laughed at a Wile E. Coyote and Road Runner cartoon, you will love the slapstick brand of humor that permeates this unconventional road film, reminding viewers that simple laughs can be just as effective as the more complicated attempts to be clever.  The individual members of the Crood family are so well-defined and engaging that you immediately become invested in their personalities, an undoubted testament to strong voice acting and writing.  And the visuals within the film are stunning, whether it involves the expansive environments and the starry night sky, or simpler elements like the fantastical animals and the roaring camp fires.   The Croods has earned its place among predecessors like Kung Fu Panda and How to Train Your Dragon, so don’t miss the opportunity to see DreamWorks Animation’s newest runaway hit.

     

Overall Recommendation: Very High

The Croods: Full Review

The Croods - (March 22^nd, 2013): PG

Distributor: 20^th Century Fox (DreamWorks)
    
Opening Weekend Box Office: #1 with $43,639,736

Domestic Box Office Gross to-date: $52,865,984

Gross Revenue: $122,519,132

Production Budget: $135 million

Director(s): Kirk De Micco and Chris Sanders

When members of older demographics hear of a prehistoric era family, one of the first associations has to involve The Flintstones, and while it was unlikely that The Croods would achieve the same level of success and recognition as Fred and Wilma, maybe there was some hidden genius in introducing a proven formula like Stone Age character framing to a new generation.  Unfortunately, when the first teaser trailer hit, the online community kept drawing associations to Disney/Pixar’s Brave, and in light of that summer release’s lukewarm reception and the overall failure of November’s Rise of the Guardians, that was the last perception that anyone at DreamWorks Animation wanted to encourage.  If there was one silver lining on the horizon, it was that the release schedule for The Croods had virtually perfect timing, in that, with the dawn of late March, theater audiences would be growing, and there were absolutely no competing family or animated comedies that would draw attention away from this lighthearted introduction to cavemen.  I was a little disappointed to see a lack of identification with the voice cast in marketing materials (as past releases like Shrek and Megamind made sure you KNEW the famous face behind the voice), but that didn’t change the fact that promotions, talk show appearances, posters, and billboards were absolutely everywhere…unlike Guardians, no one would be able to claim that they had never heard of The Croods.  Anyone who knows me understands that I will see absolutely anything featuring Emma Stone, but beyond that, between an imaginative premise, enough colorful creatures to make consumer products license marketers drool, and some genuinely funny jokes in trailers, I was looking forward to The Croods.

Introducing pre-historic family dynamics, The Croods introduces audiences to the titular family, who happen to be the last surviving group of Neanderthal Cavemen; led by the cautious and overprotective Grug (Nicolas Cage), The Croods live by a code that discourages exploration and anything “new,” instead favoring the protection of a cave shelter.  While most of the family abides by the rules, Grug’s eldest daughter Eep (Emma Stone) is rebellious and curious, so one night she ventures off from the cave and encounters an evolved and intelligent caveboy, Guy (Ryan Reynolds); he warns her that the world as they know it is coming to an end, and he intends to find “Tomorrow.”  Though Guy gives Eep a way to contact him if she ever requires help, she is soon found by Grug, who furiously leads her home, only to find that an earthquake has destroyed the family cave.  Suddenly without shelter, Grug takes the remainder of his family, which includes wife Ugga (Catherine Keener), son Thunk (Clark Duke), infant daughter Sandy (Randy Thom), and elderly mother-in law Gran (Cloris Leachman), to find a new cave…as one might expect, the family is woefully unprepared for the elements, but luckily, Guy reunites with Eep and agrees to help her family.  Venturing into a fantastic new world filled with fantastical creatures, expansive environments, and new experiences, the entire Crood family, especially the stubborn Grug, must rely on Guy and embrace their new adventure.

With its combination of impressive animation, engaging characters, and imaginative environment, all of which paves the way for considerable humor, The Croods stands as a remarkable family film that will charm viewers of all ages.  Early reviews labeled DreamWorks Animation’s newest entry as an “animated Avatar,” and based on the scope of the visual effects presented, such a classification is very appropriate; the individual character models of the cavemen may not be anything to write home about, but once they are placed in a lush new world, your jaw will hit the floor.   The 3D effects aren’t used to throw objects at the viewers, but rather add depth to the aspect ratio and help immerse the audience into the diegetic world; it may not be a painfully obvious trick throughout the running time, but scenes like the destruction of the family cave and Guy’s introduction of star constellations are truly stunning.  And aside from the visuals, the characters that inhabit the narrative are all entertaining, whether that involves the main characters brought to life by the distinct personalities of the voice cast, or the fantastic creatures that bring back a sense of childhood wonder and generate big laughs…absolutely everyone will love Guy’s pet/clothing accessory, “Belt.”  In fact, the distinct and engaging characters so inherently likable that they help overshadow some of the weaker elements within The Croods which other critics have gone out of their way to nitpick.

In choosing to focus solely on what essentially is another variation of the somewhat tired road movie genre, The Croods doesn’t take any true risks in storytelling, but when the individual personalities are so entertaining and creative that they remain the focal point of your attention, it is hard to criticize the film for not being “deep” enough.  Admittedly, the introductory “breakfast hunt” scene felt a little misplaced and drawn-out, but it still did its job in terms of introducing the personality quirks of the individual family members.  In terms of the voice acting, Emma Stone and Ryan Reynolds venture into familiar territory and deliver performances that match their familiar personalities, but I would have liked to have seen more from Clark Duke and Catherine Keener…they weren’t bad by any means, I just loved Thunk and Ugga so much that I wish they had gotten a little more attention.  And as for the humor, aside from some clever mother-law jokes to generate snickering laughs from spouses in the audience, the narrative heavily relies on slapstick physical humor…some might see a choice like that a little low-brow and too Looney Tune-ish, but I’ve been laughing at Wile E. Coyote’s chase of The Roadrunner for years, so I could care less.  In the end, with the overall combination of laughs and an ending that places a well-aimed sucker punch to the heart, the family dynamics featured in The Croods are so strong that everyone will undoubtedly want to see more of this “Modern Family.”

Generous forecasts for The Croods opening weekend placed DreamWorks Animation’s newest property just under the $40 million mark, so a first place opening well over $43 million is a definite cause for celebration and a vast improvement over the performance of Rise of the Guardians.  Add-in some beefy foreign receipts and this animated family adventure is well on its way to recovering the $135 million production budget and actually turning a considerable profit for the formerly beleaguered studio.  And while it might represent some wishful thinking to think that The Croods will undoubtedly top G.I. Joe: Retaliation’s debut over the Easter Holiday Weekend, the lack of direct competition over the next few weeks ensures a continuous impact at theaters.  The true challenge for DreamWorks Animation will come this summer with upcoming release Turbo, which will have to compete against juggernauts like Disney’s Monster’s University and  Universal’s Despicable Me 2…let’s hope that the studio’s next property is strong enough to hold its own against more established characters.  As it currently stands though, The Croods remains a shining success that should not be missed, and I cannot wait to see more from these wonderful characters in the future.

Overall Recommendation: Very High  

The Incredible Burt Wonderstone: Short and Sweet

I may have never been a devoted follower of The Office, but regardless, I am a huge fan of Steve Carell, so when I first caught wind of The Incredible Burt Wonderstone, I was excited, and the inclusion of Jim Carrey was just icing on the cake.  Carell and Carrey haven’t been on screen together since 2003’s Bruce Almighty, and framing their reunion in a dueling magician comedy set everyone’s expectations into the upper atmosphere.  The inclusion of Steve Buscemi wasn’t exactly noteworthy, but Alan Arkin was hysterical in the trailers and Olivia Wilde looked just as gorgeous as ever, so I was prepared for some big laughs and genuine entertainment in this newest comedy.  Early reviews were less encouraging, but everyone was praising Jim Carrey’s return to physical comedy, and I couldn’t wait to see what he would do as a character that was essentially a mocking merger of Criss Angel and David Blaine.  At its best, The Incredible Burt Wonderstone would introduce a beloved new cinematic funnyman in the vein of Ron Burgundy or Derek Zoolander, and at its worst audiences would be treated to some simple slapstick…for fans of Carell and Carrey, that was nothing short of a win-win situation.

In its entirety, The Incredible Burt Wonderstone largely misses the mark, but thanks to a considerably stronger second-half of the narrative and some truly classic physical comedy, I still found myself laughing.  As hard as it may be to believe, in a cast that includes Jim Carrey, Steve Carell is actually the individual guilty of hammy overacting, and the persona he created is so unlikable that the quality of the firm’s first half absolutely tanks.  Thankfully, a significant upturn occurs once Alan Arkin shows up, but even then, only fans of simplistic slapstick will find consistent laughs.  Don’t bet me wrong, there are some good gags and the final “illusion” is hysterical, but it cannot overshadow the misuse of the cast; James Gandolfini and Jay Mohr were utterly useless, and I would have loved to seen more from Olivia Wilde.  It may not be perfect, but if you are a fan of the top-billed talent and can appreciate the inherent comedy in stage magic, you will find some laughs in The Incredible Burt Wonderstone.

    

Overall Recommendation: Medium

The Incredible Burt Wonderstone: Full Review

The Incredible Burt Wonderstone - (March 15, 2013): PG-13

Distributor: Warner Bros. Pictures
    
Opening Weekend Box Office: #3 with $10,177,257

Domestic Box Office Gross to-date: $11,815,724

Gross Revenue: $11,815,724

Production Budget: $30 million

Director: Don Scardino

 

Though his glory days are long gone, between classics like Dumb and Dumber, Ace Ventura: Pet Detective, and The Mask, I will always be a fan of Jim Carrey and his fearless physical humor; sadly, the talented actor hasn’t headlined a successful blockbuster in years, as 2011’s Mr. Popper’s Penguins was considered by many to be significant financial let-down.  And even though he may not have as impressive a filmography as his co-star, Steve Carell has been a reliable source of laughs at the box office for years (despite crashing and burning with Seeking a Friend for the End of the World), so pairing these two comedic savants together again was an absolute no-brainer for a film about feuding Las Vegas magicians.  With a cast rounded out by the always-funny Alan Arkin and the effortlessly-sexy Olivia Wilde, anticipation for The Incredible Burt Wonderstone was very high, but despite a few small laughs, the trailer didn’t show anything too groundbreaking.  The decidedly lukewarm early critical reviews may have praised Jim Carrey’s return to classic form, but I was getting pretty sick of watching his character sleep on a bed of hot coals within the promotions…there had to be a better hook for the first comedy of the improving March movie season.  The offbeat premise was going to have some trouble trying to take down a juggernaut like Oz the Great and Powerful, but being a fan of a majority of the casts, I still had some pretty high hopes for The Incredible Burt Wonderstone.

Set in the bizarre world of Las Vegas Entertainers, The Incredible Burt Wonderstone first introduces audiences to partner magicians and childhood friends Burt Wonderstone (Steve Carell) and Anton Marvelton (Steve Buscemi), headline performers at an elite Vegas resort owned by billionaire Doug Munny (James Gandolfini).  Reveling in his popularity, Wonderstone has transformed into an absolute egomaniac over the years, verbally abusing all those who work for him, including Anton and the duo’s newest assistant, aspiring-magician Jane (Olivia Wilde).  All delusions of grandeur shatter when Wonderstone is overshadowed by the dangerous new street magician, Steve Gray (Jim Carrey); as a result, ticket sales plummet and Wonderstone is not only abandoned by his partners, but also happens to lose his performance contract.  Struggling to adapt to normal life outside the Vegas Strip, Wonderstone catches wind of an upcoming showcase competition where the winner will be awarded a lucrative contract at Doug Munny’s newest hotel and casino, but the humbled performer realizes he will only be able to win by returning to the basics of magic.  Happening across his childhood hero, legendary magician Rance Holloway (Alan Arkin), Burt begins to train for the most important performance of his career, along the way making peace with both Anton and Jane, as he will not be able to defeat the unconventional Steve Gray alone.

Like I mentioned in the “Short and Sweet” review, the first half of The Incredible Burt Wonderstone is shamefully weak, but luckily, things take a significant upturn in the latter part of the narrative, thanks in large part to Jim Carrey and Alan Arkin.  Reawakening echoes from the prime of his career, Carrey is absolutely hysterical with his physical gags, and when you stop to think about it, no one else in Hollywood could have successfully tackled a character parody of David Blaine and Criss Angel; the two magicians are already walking parodies, and once you realize that, the character of Steve Gray becomes all the more brilliant.  And then there is Alan Arkin…as the aged and embittered mentor to the headline character, Arkin is hysterical, easily delivering the best lines while preventing the narrative from taking itself too seriously; his reactions to “street magic” and his unconventional hospital visit are both priceless.  In all fairness to the man with the top billing, Steve Carell becomes much more entertaining once he calms down a bit, so you have to respect his ability to turn the audience’s opinion of his character; by the time the uproarious final illusion is executed, you genuinely want to see Wonderstone succeed.  Yet, in spite of all the laughs that I ended up enjoying, I cannot overlook the bigger shortcomings of this film, which squandered the potential of a large portion of its cast while relying far too heavily on the forgiving nature of fans.

If I was not already such a big fan of Steve Carrel, I would have likely written-off The Incredible Burt Wonderstone within its first hour, because between the protagonist’s vile and thoroughly unlikable personality and some truly questionable supporting cast decisions, there weren’t many laughs present.  Transforming an arrogant buffoon into a hero that has learned a lesson is nothing new in a character-driven comedy, but pre-epiphany, there has always been some level of charm to the jerk who is the focus of the narrative; the same cannot be said of Wonderstone, and because of that, only true fans of Carell will find humor in the early banter and slapstick.  My lack of expectations related to James Gandolfini makes his questionable performance a little bit more forgivable, but I have never seen momentum outright stall like it did when Jay Mohr appeared; I used to enjoy the comedian’s work, but his part in this film simply mirrored his recent stand-up…stupid, weird, and devoid of laughs.  And for the love of god, Olivia Wilde has proven talent beyond her looks, so I cannot understand why this script didn’t give her more to do…watching her perform sleight of hand was genuinely entertaining, but beyond a few small scenes, she acts as eye-candy who inexplicably falls for our “hero.”  In the end, the biggest disappointment with The Incredible Burt Wonderstone lays in the glimpses of brilliance that hinted at this film’s true potential; a potential that was largely ignored in favor of spitting-out a clichéd and sub-par comedy.

No one expected The Incredible Burt Wonderstone to overshadow Oz the Great and Powerful, but in its opening weekend, it was disappointing to see this high-profile comedy lose rank to Halle Berry’s suspense thriller, The Call.  A Carell and Carrey helmed comedy shouldn’t have broken a sweat over recovering a modest $30 million production budget, but a third place, $10.2 million opening represents one of the worst box office performances ever for the A-listers.  If anything, one of the bigger marketing mistakes lies in the fact that promotions didn’t do enough to highlight the feud between Carell and Carrey, instead choosing to focus on physical gags that got old very quickly…in light of all the new releases coming down the pipe, refocused trailers have to be released ASAP.  Critical reaction certainly isn’t going to help fill theaters, so hopefully word of mouth can help Warner Bros.’ newest film gain a better reputation and end up with a more balanced return than Jack the Giant Slayer.  So, even though it may not be the strongest comedy in recent memory, fans of the names associated with The Incredible Burt Wonderstone might still find some laughs, even if they decide to forego the theater and wait for the home media release.

         

Overall Recommendation: Medium