26.5.11
Examiner.com -- Poynting out a great app
I'm writing for Examiner.com now -- please check me out! Here's my first article: Poynting out a great app
1.3.11
'Fiddler' shines on stage
Director William Pullinsi's rendition of the classic "Fiddler on the Roof" is a hit at Theatre at the Center in Munster. A tale of family, tradition and the struggle of Jewish people living in Russia as the revolution began, writer Joseph Stein's "Fiddler on the Roof" is as poignant and beautiful as when it premiered on Broadway in 1964.
As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."
Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.
According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.
Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.
For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."
Originally published in The Chronicle in February 2007 as JadeLee Culberson
As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."
Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.
According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.
Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.
For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Don't travel with 'Turistas'
The previews for "Turistas" make it look like a suspenseful film full of beautiful (and scantily clad) young women accompanied by toned (and muscled) young men who innocently fall victim to crazed killers who torture lost tourists. Instead, "Turistas" is a rather predictable film about stupid (albeit attractive) tourists who wander into bad situations and get what's coming to them.
A group of tourists - including American siblings Alex (Josh Duhamel) and Bea (Olivia Wilde), Australian loner Pru (Melissa George) and confused Brits Liam (Max Brown) and Finn (Desmond Askew) - are taking a bus through Brazil, which is driven by a man who seems to have learned to drive by playing American video games. When the bus crashes (like we couldn't see this coming a few seconds into the film), the group is told that another bus will be along in 10 hours.
With the promise of a bar on the beach a short hike away, the English-speaking tourists leave the larger group in search of alcohol and fun. Unfortunately, they soon find the bar has a "come for the drinks, stay for the organ harvesting" policy. Rather than doing anything logical or sensible, the group runs from bad situation to worse at every opportunity.
The bad guys, led by Dr. Zamora (Miguel Lunardi), are greedy, angry and disorganized but far smarter than the tourists. Whether you're hoping the tourists will live or just waiting for some gore, it doesn't take long before you're just looking forward to the end of the movie.
Unfortunately, there are extraordinarily long dark and murky scenes (presumably, in an attempt at either realism or suspense but succeeding at neither) badly designed by cinematographer Enrique Chediak. The underwater filming (including chase scenes) by Peter Zuccarini is beautiful the first time, and terribly boring after about five minutes - sadly, it goes on much longer.
Rated R for strong graphic violence and disturbing content, sexuality, nudity, drug use and language, "Turistas" is certainly gory despite failing as a horror film. Perhaps "Turistas" would have at least been shocking if premiered before "Hostel" and the "Saw" films but instead it does more of the same and with less intelligence and less successful social commentary.
Originally published in The Chronicle in December 2006 as JadeLee Culberson
A group of tourists - including American siblings Alex (Josh Duhamel) and Bea (Olivia Wilde), Australian loner Pru (Melissa George) and confused Brits Liam (Max Brown) and Finn (Desmond Askew) - are taking a bus through Brazil, which is driven by a man who seems to have learned to drive by playing American video games. When the bus crashes (like we couldn't see this coming a few seconds into the film), the group is told that another bus will be along in 10 hours.
With the promise of a bar on the beach a short hike away, the English-speaking tourists leave the larger group in search of alcohol and fun. Unfortunately, they soon find the bar has a "come for the drinks, stay for the organ harvesting" policy. Rather than doing anything logical or sensible, the group runs from bad situation to worse at every opportunity.
The bad guys, led by Dr. Zamora (Miguel Lunardi), are greedy, angry and disorganized but far smarter than the tourists. Whether you're hoping the tourists will live or just waiting for some gore, it doesn't take long before you're just looking forward to the end of the movie.
Unfortunately, there are extraordinarily long dark and murky scenes (presumably, in an attempt at either realism or suspense but succeeding at neither) badly designed by cinematographer Enrique Chediak. The underwater filming (including chase scenes) by Peter Zuccarini is beautiful the first time, and terribly boring after about five minutes - sadly, it goes on much longer.
Rated R for strong graphic violence and disturbing content, sexuality, nudity, drug use and language, "Turistas" is certainly gory despite failing as a horror film. Perhaps "Turistas" would have at least been shocking if premiered before "Hostel" and the "Saw" films but instead it does more of the same and with less intelligence and less successful social commentary.
Originally published in The Chronicle in December 2006 as JadeLee Culberson
This week's DVD review: Sherrybaby
Too sappy to be sexy and too flimsy to be dramatic, "Sherrybaby" isn't a bad film - it just isn't particularly good. Writer and director Laurie Collyer took a good idea and did nothing with it in a movie that should be left to collect dust on the shelves of video rental establishments.
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Show your intellegence; dress like an adult
It's winter, it's snowing and it seems that PUC needs a class on how to dress for the weather. During a moderate snowfall, I was standing in front of the Gyte building when I noticed a young man - I estimate around age 21 - wearing knee-length shorts as he entered the building. I'd guess either he'd missed the weather report or forgotten to do his laundry, but he is not alone - he's one of three separate guys I spotted in shorts within a week in January.
Though dressing inappropriately for the weather does not actually cause a cold or the flu, it does look ridiculous (and could lead to frostbite if your car broke down on the way to school, stranding you on the side of the road sans artificial heat). Oh, and for the guys who continue wearing your flip-flops despite the snow, you should be aware of how quickly cold, wet toes can develop frostbite if you have to spend much time in the elements (and let's face it, the parking situation here usually demands a fairly long outdoor walk before and after class).
But it's not just the guys that seem oblivious to the weather. Ladies - if you see snow and ice on the ground, leave the high heels at home. The scrapes, bruises, and sprains you receive when you slip and fall on the ice won't be sexy - or comfortable. There are plenty of cute but practical shoes that provide some traction on slippery walkways (not to mention warmth).
Of course, most of the girls in the spiky high heels are also the ones in short skirts - which provide no protection against the weather, or shoe-induced falls. This is college. Just because there is no dress code demanding you dress with decency doesn't mean you no longer should - have some self-respect. If you want to impress your classmates and professors, do it with your mind and not your wardrobe.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Though dressing inappropriately for the weather does not actually cause a cold or the flu, it does look ridiculous (and could lead to frostbite if your car broke down on the way to school, stranding you on the side of the road sans artificial heat). Oh, and for the guys who continue wearing your flip-flops despite the snow, you should be aware of how quickly cold, wet toes can develop frostbite if you have to spend much time in the elements (and let's face it, the parking situation here usually demands a fairly long outdoor walk before and after class).
But it's not just the guys that seem oblivious to the weather. Ladies - if you see snow and ice on the ground, leave the high heels at home. The scrapes, bruises, and sprains you receive when you slip and fall on the ice won't be sexy - or comfortable. There are plenty of cute but practical shoes that provide some traction on slippery walkways (not to mention warmth).
Of course, most of the girls in the spiky high heels are also the ones in short skirts - which provide no protection against the weather, or shoe-induced falls. This is college. Just because there is no dress code demanding you dress with decency doesn't mean you no longer should - have some self-respect. If you want to impress your classmates and professors, do it with your mind and not your wardrobe.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
The Messengers
There's nothing outstanding about directors' Danny Pang and Oxide Pang's "The Messengers," but it succeeds as an inoffensive horror film heavy on the scares while being light on the blood and gore.
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Even Bullock can't save "Premonition"
My intuition tells me those who see director Mennan Yapo's "Premonition" will be disappointed. Of course, I don't have ESP - but I know I left the theatre dissatisfied.
Sandra Bullock is the highlight of this film with an intense performance as Linda, a stay-at-home mom who is horrified to learn of her husband Jim's (Julian McMahon) death - and even more disturbed to realize he's alive again when she wakes up the next day.
Reality begins quickly unraveling around Linda as she spends each out-of-order day (because apparently Friday does not always directly follow Thursday, at least in this film) trying to figure out if her husband is dead or alive, if she is crazy or sane, and why she's constantly interacting with people who claim to know her even though she doesn't remember meeting them.
Her mother, Joanne (played dryly by Kate Nelligan), comes to stay and help take care of Linda's absolutely adorable and sugary-sweet daughters (Shyann McClure and Courtney Taylor Burness) - either because Linda's grieving or going insane, we can never be sure. But, in true meddling-mother form, Joanne seeks "help" for her daughter in the form of creepy psychiatrist Dr. Norman Roth (Peter Stormare) and his prescription pad.
Linda tries to seek comfort from her flighty friend, Annie (Nia Long), whose real purpose in the film seems to be the token minority. Linda also seeks answers from a priest (Matt Moore) who tells her "nature abhors a vacuum" and her lack of belief is the root of her troubles.
Reminiscent of a more depressing "Groundhog Day," "Premonition" offers nothing new or innovative. It's too sappy, too predictable and - despite a decent premise - fails to do any of the interesting things writer Bill Kelly could have done with the script.
McMahon seems ridiculously miscast after his roles in "Fantastic Four" and the television series "Nip/Tuck" and "Charmed." He's not believable as a distant husband climbing the corporate ladder. Perhaps he's too accustomed to playing complicated characters to realize sometimes less is more when playing a fairly basic, straightforward character.
The musical effects by Klaus Badelt, meant to heighten suspense, are so over-the-top they're nearly comical. The ending is hokey at best - I groaned out loud and heard several others in the audience do the same.
Skip "Premonition" - you'll avoid spending time and money on an inferior film.
Originally published in The Chronicle in March 2007 as JadeLee Culberson.
28.2.11
'Employee of the Month' wins with laughs
"Employee of the Month" wants to be "Office Space" for the new generation and doesn't quite make it. It is, however, a hilarious, if unbelievable, screwball comedy for anyone who has ever worked retail. Zack (Dane Cook) is a box-boy who has turned slacking into an art form.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Hunting for a fun family film? Shoot for "Open Season"
"Open Season" is a heartwarming and adorable film. It is not, however, original or thought-provoking. "Open Season" is the tale of a domesticated bear named Boog (Martin Lawrence) led astray by a high-strung, one-antlered deer named Elliot (Ashton Kutcher).
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
'Flushed Away' not just for kids
"Flushed Away" is a refreshing joyride of fun for everyone. Roddy St. James (voiced by Hugh Jackman) is a pampered pet mouse living in London's upscale Kensington neighborhood. When the humans go on vacation, they leave him with plenty of food and has no problem amusing himself with the abounding toys and electronics - that is, until street-rat Sid (Shane Richie) crashes the party. While trying to coerce Sid into taking a "whirlpool bath" in the toilet, Sid gives him a push instead and sends him on a whirlwind adventure.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
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