Strange Brew Review

There are a couple of movies that are regularly brought up among friends of mine when talking about 1980's comedy movies. One is Strange Brew (1983). When I confess that I have not seen it, I'm told to "Take off, you hoser." Well, I finally got around to seeing it. It is wacky, silly, and at times surreal. Though early on, it prompted me to reflect on the subjective nature of comedy.

In their quest for free beer, bumbling Canadian brothers Bob (Rick Moranis) and Doug McKenzie (Dave Thomas) wind up working at the Elsinore Brewery. The hapless hosers uncover a sinister mind-control plot spearheaded by Brewmeister Smith (Max von Sydow) and must stop the scheme, which also involves Uncle Claude (Paul Dooley), a member of the Elsinore family. As Bob and Doug try to help the brewery founder's daughter Pam (Lynne Griffin) regain the brewery founded by her recently-deceased father, they also manage to drink plenty of their favorite sudsy beverage.

Bob and Doug McKenzie were popular characters on the SCTV (Second City Television), a Canadian television sketch comedy show offshoot from the Toronto's Second City troupe that ran between 1976 and 1984. The two dim-witted beer-swilling brothers, wearing heavy winter clothing and tuques, would comment on various elements of Canadian life and culture, frequently employing the interjection "Eh?" The sketch was conceived when SCTV moved to the CBC television network which had shorter commercial time which required the SCTV show to need a two-minute filler. The characters became remarkably popular and Strange Brew was formulated during the height of their popularity.

The challenge for Strange Brew was expanding an improvised two-minute comedy sketch about two guys talking about how hard it was to find parking spaces in donut shops into a full-length story. Strange Brew purports to be to be loosely based on Hamlet, though I saw more similarities between Hamlet and The Lion King than I did between Hamlet and Strange Brew. The movie starts out being remarkably loose and unstructured. It looks a lot like I imagine the SCTV's sketches looking like, the two McKenzie brother sitting around talking about beer and how they are in a movie. This went on longer than it should have and I was worried that I was in for 90 minutes of this sort of thing. When the story actually got underway, it was easier to watch. The story is decent for what it is; a silly adventure that serves as a vehicle to deliver some bizarre humor. That's about all the plot does and it does that well.

The humor here I felt was hit-or-miss. Sometimes it was funny, other times it took me a moment to realize the punch line had already been delivered. The two brothers still make commentary on things around them; one of my favorite moments of this is while they are driving, Bob begins to speculate and says, "Did you ever notice that, like, in movies when they're driving they don't look at the road for a long time?" Doug, who is driving turns to Bob and says, "Geez, no, I never noticed that, eh?" Doug continues to make eye contact while Bob explains, "Yeah, it's because they're being towed by a rig." The conversation is interrupted when Doug nearly front ends a truck. The humor makes constant jabs at Canadians and stereotypes about them. Reoccurring themes include hockey, beer, and donuts. The villain's henchmen all wear hockey gear and carry hockey sticks. The whole story centers around trying to get free beer from a brewing company. In one rather amusing scene, the McKenzie's get classified company information from a receptionist by offering her donuts; she cracks when presented with a jelly-filled donut.

Yes, there are plenty of funny moments, but there were a lot of gags I didn't find so funny. I found the aforementioned opening scenes pretty bland and even annoying, which is what prompted my reflection on the subjective nature of humor. Analyzing humor won't get anyone anywhere, though. Humor is very subjective and if I laugh at something and you don't, no amount of my logic is going to convince you that it was funny. Overall, I didn't think Strange Brew was nearly as funny as many of my friends had made it out to be, but it was alright for a few chuckles. Also, having lived in Canada myself, I can honestly say actual Canadians don't act the way the McKenzie brothers do.

Strange Brew is fairly lowbrow in its intent and outcome, though it effectively draws out a few laughs from its unique premise and weird characters. I thought other comedy titles from its time were funnier, such as Better Off Dead, UHF, or Bill and Ted's Excellent Adventure. Strange Brew isn't a bad way to spend an afternoon watching a movie, it's just not something I think I'd go out of my way to see again. It seems to have made a lasting impression culturally as Rick Moranis and Dave Thomas basically reprised their roles as the McKenzie brothers as the two moose in Disney's Brother Bear many years later. Strange Brew may be worth seeing once if you enjoy bizarre comedies or jokes about Canadians. Otherwise, you may be better off watching something else.

What are some other good television sketch comedies made into movies that you've enjoyed? Comment below and let me know!

The Road to El Dorado Review

While browsing Tumblr and other social media outlets I'll occasionally see internet memes from Dreamworks' animated feature The Road to El Dorado (2000). I remember enjoying it when it hit theaters 16 years ago, so it put me in the mood to see it again. The animation has aged well, and it's still an amusing animated family film. The Road to El Dorado is not quite as good as I remember, but it certainly is fun.

Con-men Tulio (Kevin Kline) and Miguel (Kenneth Branagh) get hold of a map to the lost City of Gold, El Dorado. After stowing away onto one of the ships of the Spanish explorer Hernán Cortés (Jim Cummings), the pair escapes and eventually do find the city. There, a fanatically vicious high priest named Tzekel-Kan (Armand Assante) who has a religious fixation for human sacrifices, proclaims them to be gods in a scheme to win control of the city for himself. Meanwhile, they meet a beautiful woman named Chel (Rosie Perez) who helps them in their ruse to escape El Dorado with as much gold as possible.

I've got to give props to Kevin Kline and Kenneth Branagh for their roles as Miguel and Tulio. Both characters made the movie incredibly fun. The characters are experienced con artists who have well rehearsed "arguments" to distract people who catch on to their ruses, which get them out of trouble. They do this a couple of times in the movie, resulting in staged fist fights, slapping, and sword play which ultimately gives them a means of escaping. These moments are terrifically charming, and they make me wonder if Kline and Branagh were improvising these lines only to have them animated later on. I wouldn't put it past them, since both actors are very skilled and they seem to bounce off of each other magnificently; those scenes do have an improvised comedy quality to them. The characters felt a bit thin, but the actors did a remarkable job working with what they had to make them lovable.

The animation in The Road to El Dorado was pretty great. It's 2D cell animation, which was becoming a rarity then and is even more so now. The well- executed animation in this film gave it a classic feel that is a delight to watch. I remembered there being CGI monster toward the end that Tzekel-Kan had summoned, but as it turned out I was remembering it wrong; it's just a really well animated hand drawing. The animation does some creative things with the lighting and took some interesting creative liberties during some musical numbers. I can't say anything new or innovative was used in terms of the animation, but what it does is some solid, classic 2D cell animation.

It's quite annoying when an animated feature thinks it needs to include a musical number for every single bit of plot development. Yes, musical numbers can be great, but too much of them is overkill and can weaken the overall quality of the movie. The Road to El Dorado teeters on the edge of too much. The music was provided by Tim Rice, who did the musical numbers for Disney classics such as Aladdin and Beauty and the Beast, as well as Elton John, who provided the music for The Lion King. The music and songs in El Dorado are great, but their incorporation into the movie seemed awkward at times and unnecessary at other times. Most of the music was used to fill in a lack of dialogue during several montages. Few occasions had characters actually singing about something to move the plot forward, and when it did, it felt forced. The music was good, but the implementation didn't feel right, almost as if the producers felt an obligation to include songs for the sake of entertaining kids when the moment in the movie would have been fine without it.

The story in The Road to El Dorado wasn't exactly boring, but it was predictable. In other hands, the story might have centered more on Cortés, whose ship catches up to Tulio and Miguel in the New World. But this is a story of two pals who get caught up in events beyond their comprehension after being mistaken for gods. The story ultimately recycles a lot from The Man Who Would Be King; one likes being a god, the other doesn't. They intend to get away with as much gold as possible, but end up loving the people and try to defend them from harm from within and without the city of El Dorado. The story simply doesn't do a whole lot that you can't see coming from a ways off.

On the plus side the story doesn't suffer from one towering central figure who gets all the screen time (like many Disney animated feature films do). This liberates The Road to El Dorado for goofiness. There aren't any serious themes lurking about or uplifting lessons to learn. It's just a couple of con men in over their heads and their gal pal and a horse that sometimes is smarter than the other three put together. Since the horse doesn't speak, it's able to exploit the miming gifts of the animators. There is a moment where the two heroes and their horse are in a rowboat somewhere in the ocean off Central America. It looks like the end. Then a seabird appears, circles and lands on their boat. This is a good omen. Land must be near. Then the bird drops dead. Bad sign. Then a shark leaps out of the sea and snaps up the bird in one gulp. Piling gag on top of gag is the strategy of the film, not unlike The Emperor's New Groove. It's here for laughs, not to be profound. The movie doesn't take itself too seriously and we shouldn't either. That being said, the less you know about history, the better your chances of enjoying this movie.

The Road to El Dorado is a fun, light hearted romp of a movie that the whole family could enjoy. Most of the characters are flat, but they are in the hands of some fantastic actors who make their characters loveable. The story is hardly profound, deep, or innovative, but it isn't trying to be. It's just here to entertain and create a few laughs. It's a decent enough movie, but I would have thought it would have been forgotten eventually if not for the fact that humorous internet memes keep popping up here and there. It's a fun movie to look up and watch every once a blue moon or so, but unless you have kids that really love this sort of movie, it's probably not worth owning.

The Road to El Dorado took a number of creative liberties in their interpretation of historical events in order to tell a fun story. What are some other ridiculously misrepresented historical events depicted in movies in the effort to tell a fun story? There are good ones out there, right? Comment below and let me know!

The Good Dinosaur Review

I, for one, think it's highly interesting that Pixar has released two feature films in the same year. That's a gutsy move when you consider the fact that the two movies will therefore be in competition against each other for Best Animated Feature for the upcoming Oscars. This second Pixar movie, The Good Dinosaur (2015), ended up being above average. It hasn't quite lifted the movie studio out of their slump of mediocrity, but it is a step in the right direction.

Luckily for the young apatosaurus named Arlo, his parents (Jeffrey Wright & Frances McDormand) and his two siblings, the mighty dinosaurs were not wiped out 65 million years ago. When a rainstorm washes poor Arlo (Raymond Ochoa) downriver, he ends up bruised, battered and miles away from home. Good fortune shines on the frightened dino when he meets a Neanderthal boy whom Arlo names Spot (Jack Bright) who offers Arlo help and friendship. Together, the unlikely duo embark on an epic adventure to reunite Arlo with his beloved family.

I wasn't sure what I was getting into with The Good Dinosaur. The trailer mostly boasted Pixar's usual stellar animation, but didn't give us much of a hint at the story. This is usually a bad sign. The last thing I was expecting was a prehistoric western. The Good Dinosaur is structured like a western, but doesn't make it's character so human-acting that it's obviously a western. Arlo's family works on a farm growing crops to keep themselves fed during colder seasons, but they don't have farm equipment per say; they kind of work the fields tilling the ground with their nose, build a silo out of rocks and mud, and they live in a cave; it is still the stone age, after all. Arlo is a farm boy who gets lost after a storm and meets what is functionally a stray dog and the two help each other out as they face the wilderness together. They meet a psychotic cult of pterodactyls who worship bad weather and lead by Thunderclap (Steve Zahn). They also meet Butch (Sam Elliott) and his family of cowboy tyrannosaurus whose "ranch" is full of prehistoric longhorns. Arlo and Spot help fight off a pack of cattle rustling velociraptors. Along the way Arlo learns the meaning of courage on his way home. The story of The Good Dinosaur is a prehistoric frontier survival saga and something of a vision quest. That alone is a neat concept which was expertly executed.

Most kids movies are fast paced, but surprisingly The Good Dinosaur is slower, almost poky in its non-frantic pace. Many Pixar movies hold dearly the values of manic verbal humor and elaborate chase sequences, but The Good Dinosaur favors some very straightforward and classy storytelling which also heralds back to old western movies. There is a profound charm and beauty to the wordless stretches in the movie. Moments like these are when the humor is predominantly physical and the striking prehistoric scenery takes precedence. I could see some viewers (possibly even kids) being put off by this more relaxed pace and the simplicity of the direct story, but I found the straightforwardness and the more leisurely paced film to be refreshing. This isn't to say that The Good Dinosaur is boring or even slow; it just doesn't move at a manic pace nor is it a complex tale. It still boasts some emotional heft to it, even with simple characters like Arlo who is basically defined by little more than how he recoils from and then confronts his crippling fears. Like most Pixar films, it caused me to tear up on more than on occasion.

Pixar has always set an unprecedented high standard for their animation, and this one was no different. The prehistoric background - mountains, valleys, forests, and rivers - are animated with such realism it practically looks like it was shot with a video camera rather than animated on a computer. Yet the characters are given cartoonish proportions and movements which gives the movie an almost surreal quality. The characters are still highly detailed and beautifully animated. Everything from the gentle bob of an animal's breathing to the fluid shifts in Spot's facial expressions was clearly, lovingly rendered. There are even incredibly designed scenes (which I won't detail here for the sake of avoiding spoilers) that make the sky itself resemble shark-infested waters. The animation is positively amazing and is sure to impress and awe.

The Good Dinosaur delivers some incredibly beautiful animation and worthy story. Even if it doesn't quite live up to Pixar's lofty standards, it still ends up being a charming, family-friendly movie. There are echoes of The Lion King, Bambi, and many other timeless Disney classics in this simple coming-of-age story. It is a good movie, but pitted against the previous Pixar movie from this year I'd place my bet on Inside Out for Best Animated Feature. The Good Dinosaur is worth seeing in theaters, and probably worth owning on Blu-Ray eventually. Dinosaur-loving kids will likely love this movie to pieces.

Can you think of another "metaphorical western?" Something that isn't literally a western sort of genre, but has a lot of similarities to it? Comment below and let me know!

Brother Bear Movie Review

Disney produces a new animated feature just about every year.  Many of these become cinema classics that withstand the test of time. Beauty and the Beast, for example, is still a well known classic that you can still find merchandise for decades after its initial 1991 release. Brother Bear (2003) was released only about ten years ago, and it’s been about ten years since I heard anyone talk about it.

Set in a post-ice age North America, three Inuit brothers return from a hunting trip. The youngest, Kenai (Joaquin Phoenix), is to receive his sacred totem which will make him a man in the eyes of his tribe. In the ceremony Kenai receives the bear of love to guide him through his life. Kenai hates bears and considers the attribute of love to be pretty far down the totem pole, so to speak. Kenai finds his fishing catch stolen by a bear after the ceremony and decides to hunt down the beast. While attempting to save his brother from the bear, the oldest brother, Sitka (D.B. Swenney), is killed. With a renewed sense of vengeance, Kenai later kills the bear. Following this, Sitka appear as an eagle spirit and transforms Kenai into a bear. The middle brother, Danahi (Jason Raize), believes that bear-Kenai is responsible for the death of both his brothers and begins hunting down Kenai out of a strong sense of hate. As he tries to seek the spirits who can restore him to his human form, Kenai tries to stay ahead of Danahi while learning how to be a bear from a young bear cub named Kota (Jeremy Suarez).

Possibly the best thing I can say about Brother Bear is the animation and art direction is impressive. The art direction was heavily influenced by ancient cave paintings. The film’s aspect ratio was used as a storytelling device. It begins in a standard widescreen aspect ratio of 1.75:1, which is common in U.S. movies and on HDTVs these days. After Kenai turns into a bear, the aspect ratio changes to an anamorphic aspect ratio of 2.35:1, accompanied by a much brighter and fanciful color pallet with slightly more caricatured art direction. This is done to illustrate how Kenai’s perception of the world changes and broadens.

During the character introductions early in the film, the script seemed forced; everyone goes out of their way to address other characters by name so that we know exactly what everyone’s name is. We’re also repeatedly told about Kenai’s desire to receive his spirit totem and become a man. The writing wasn’t very good for the first ten minutes of the movie because it didn’t feel very natural. After the characters were established, the script flowed much smoother.

Of course where would an animated Disney movie be without its token comic relief characters? In Brother Bear there is a pair of moose named Rutt and Tuke that periodically tag along with Kenai and Kota as they travel. They are played by Rick Moranis and Dave Thomas and are essentially the same characters they played in Strange Brew, except they look like moose. They really add a humorous tone to the movie.

Remembering that Brother Bear came out in the years following the 9/11 attacks sheds some light on its cultural impact. After September 11, 2001 the United State was still reeling from the terrorist attack which was fueled by hatred and anger. Many people were resentful, angry, hurt, and some were even vengeful. I think we needed a film like Brother Bear to remind us of the value of forgiveness and love. The themes in Brother Bear included seeing things from another’s perspective, admitting fault, and forgiving hurtful, irreversible offenses. These are key components to conflict resolution that are important in the healing process. Disney isn’t responsible for the US recovering from the attack, but I think they may have influenced some level of spiritual healing that I believe many people were still needing.

I think that what made Brother Bear not withstand the test of time is that is wasn’t very bold. The Disney films that have achieved the status of “classic” did things in terms of character, setting, and animation that their predecessors did not. Brother Bear was good, but seemed to strive to be sweet and cute rather than bold and exciting. And it really did achieve that, which is why it’s been overshadowed by bolder and more exciting classics like The Lion King or Finding Nemo. Brother Bear is worth seeing at least once. Kids will enjoy it and adults will relate to the spiritual healing in the story. It’s also got plenty of material to help you teach younger viewers about forgiveness, love, and healing.

Have you ever seen a movie that helped you “heal” in some way? What movie was it? Comment below and tell me about it!

MouseHunt Movie Review

Dreamworks Studios was started in 1994 by Steven Spielberg, Jeffery Katzenberg, and David Geffen to create a new Hollywood studio of which they would own 72%. Dreamworks has gone on to make movies, video games, and television programming. In 1997, they released  their first family film, MouseHunt directed by Gore Verbinski.

 After the death of their father, Rudolph Smuntz (William Hickey), Ernie (Nathan Lane) and Lars Smuntz (Lee Evans) inherit the family business, an old string factory. Ernie wants to sell it immediately in hopes they can get any kind of profit from it. Lars wants to keep the business running in honor of their deceased father’s wishes. The brothers also inherit an old mansion their father never mentioned before. Upon getting the house apprised they learn that is the last house built by Charles Lyle LaRue, which was until then thought to be a rumor. The house dubbed “The Missing LaRue” draws the attention of architectural enthusiasts and LaRue collectors. The Brothers agree to restore the house and put it up for auction in hopes of earning millions of dollars. But the house is inhabited by a very intelligent and mischievous mouse. Fearing another vermin-related incident that caused Ernie to lose his restaurant job, the two set out to get rid of the mouse. This proves to be an insurmountable challenge, pushing the Smuntz brothers to more and more extreme tactics as the auction draws ever nearer.

MouseHunt is unquestionably a comedy; it’s full of physical humor and slapstick. Part of the appeal of MouseHunt is that it uses common physical gags that you would normally find in an old cat-and-mouse cartoon in a live action movie. It’s like Home Alone (1990) meets the Tom and Jerry cartoons with a dash of The Money Pit (1986) thrown in. A cat the Smuntz brothers purchase chases the mouse into a piano, playing musical notes as they run around inside it. Lars gets a mousetrap caught on his lips.  Ernie is fired out of the chimney like a cannonball due to a gas leak. Various characters are hit with frying pans. There are also explosions involving a septic tank; what family comedy is complete without potty humor?

The characters in MouseHunt are amusing, but simple. Normally simple characters are a weakness in a film, but not in this one. MouseHunt really is going for a simple Saturday morning cartoon quality. Having deep, dynamic characters that end up falling downstairs, out the front door, and sledding down a snowy hill in a Jacuzzi tub would just be stupid. While the characters are simple, they are not annoying or pointless. Often times child characters are thrown into films in an attempt to appeal to child audiences. There aren’t any major child character in this movie, and there doesn’t need to be. Kid characters are always depicted as being more intelligent than the adults and manage to avoid any pratfalls. That would have weakened MouseHunt considerably. The characters are all adults, but they are expressive and interesting enough to keep child viewers interested.

Kids may recognize Nathan Lane’s voice as Timon from The Lion King (1994). MouseHunt makes a couple of subtle references to this role. Ernie Smuntz bows to a sheik who is attending the auction of the house. In doing so, he greets him with “Hakuna Matata,” referencing a song he sings in The Lion King. The actor Ernie Sabella, the voice of Pumbaa, makes a cameo appearance as the pound owner where the Smuntz’ purchase “catzilla” to help rid them of the mouse. Young viewers probably won’t catch these details, but it’s worth noting.

The only weakness in MouseHunt is a lack of a villain. You’re never quite sure who to be rooting for; The cute little mischievous mouse or the down on their luck Smuntz brothers. There is plenty of conflict, but who do we want to win? The movie itself doesn’t seem to know, and by extension, neither do we. This is a fairly trivial detail, the movie doesn’t take itself any more seriously than a Tom and Jerry cartoon, and neither should we.

MouseHunt is a fun movie. It has funny characters, wacky comedy, slapstick, and some amazing visual effects. Kids will want to watch it again and again. It is directed by the same director who did Rango (2011) and the first three Pirates of the Caribbean movies, if that is any indicator of MouseHunt’s quality. There are a couple of scenes that might be a bit scary for younger viewers; the cat is pretty funny, but might scare some youngsters. It’s probably good for about ages six and up. If you have kids, this is worth purchasing. If not, it’s still a fun movie to watch sometime.

Did you see MouseHunt? Did you like it? Was it too “cartoony” for your tastes? Comment below and tell me why!