Ever wondered what would happen if stop motion master Ray Harryhausen and Japanese auteur Akira Kurosawa went to see “Benji” and then decided to make a movie? With the release of “Isle of Dogs” Wes Anderson, director of live action wonders like “Rushmore” and “Moonrise Kingdom” and the stop motion hit “Fantastic Mr. Fox,” offers up an idea of what that might have been like.
Once again working in stop motion, Anderson creates a fictional world, the Japanese city of Megasaki, twenty years from now. An epidemic of dog flu prompts the fear mongering Mayor Kobayashi (Kunichi Nomura) to forewarn that snout fever is about to spread to humans and order all dogs deported to a toxic wasteland called Trash Island.
Dog-zero is Spots (voiced by Liev Schreiber), the beloved pet of the mayor’s orphaned ward 12-year-old Atari (Koyu Rankin). When he is deported the boy makes the dangerous journey across the river in a prop plane to look for his dog. With the help of newfound mongrel pals, including the good-natured Rex (Edward Norton), former baseball mascot Boss (Bill Murray), King (Bob Balaban), the gossipy Duke (Jeff Goldblum), Chief (Bryan Cranston) and Nutmeg (Scarlett Johansson), Atari takes on the corrupt government.
“Isle of Dogs” is a fairy tale with a bite. Anderson, one of the most distinctive directors working today (or any day for that matter), brings a child-like wonder and unfettered imagination to bring this boy-and-his-dog story to vivid life. Gorgeous, soulful stop motion animation and Anderson’s trademarked banter combined with a timely story of deportation and exile makes for an unforgettable film.
The usual complaints about Anderson’s work, that it’s too detailed, too eccentric, will be levelled at this movie but I’d argue it is his obsessiveness that brings the creative magic. Subplots and flashbacks take the viewer on a wild journey but Anderson’s attention to every element, visual and narrative, guarantees the rambunctious story never loses itself in its own elaborate style.
There jokes throughout—even the title is a playful take on “I love dogs”—but just as important are the messages of tolerance. You will not see another film like “Isle of Dogs” this year. So effortlessly cinematic and inventive, it’s best in show.
Alfred Hitchcock made three of his greatest films with Grace Kelly and tried to lure her back to the big screen long after she retired. Martin Scorsese and Leonardo DiCaprio have a seemingly unbreakable cinematic bond and the world of movies would be far less interesting if Werner Herzog and Klaus Kinski had never met. John Ford and John Wayne inspired one another to do their best work and Tim Burton and Johnny Depp’s shared eccentricities gave us unforgettable nights at the multiplex.
Muses inspire their directors to aspire to new heights, to push the limits of their creativity.
Add another to the list: Melissa McCarthy.
Over the course of four films — including this weekend’s Ghostbusters — she has upped director Paul Feig’s game and in turn he gave her the roles that broke her out of the TV sidekick treadmill and turned her into a big screen star. “It’s not even like we go, ‘We’ve got to do the next movie together,’” Feig says.
“It’s just that suddenly the next movie will pop up and I’m like, ‘You know who would be great for this?’ So it’s funny that people think we have an agenda to keep doing this.”
Agenda or not, their creative chemistry is undeniable.
Feig describes McCarthy’s audition for the first film they made together, Bridesmaids, as a “religious moment.” She was less sure.
“The whole ride home from the audition,” she says, “I was thinking, ‘I got too weird. Should I turn the car around and do that cheesy actor thing of I can do it better! Give me another shot!’”
The director cast her in the scene-stealing role of Megan — imagine a feral, female Guy Fieri — and it was her flashpoint.
Her wonderfully weird performance, complete with sexual hijinks and an explosive bout of diarrhea —“It’s coming out of me like lava!” — stole the show out from under other, better-known stars like Kristen Wiig — and earned her an Oscar nomination.
Next up for the dynamic duo was The Heat, an odd couple, buddy cop movie set in Boston co-starring Sandra Bullock.
McCarthy plays a tough-talking street cop who forms an unlikely alliance with the uptight Sandra Bullock to bring down a murderous drug dealer.
The role riffed on McCarthy’s signature character, the aggressive but damaged comedic persona. “I’ve played a lot of characters who are very vocal, very aggressive,” she told me in 2014.
“For the women I’ve played there is a reason why they are so ballsy and it is nice when you see the crack in the veneer and you realize, ‘It’s part of their insecurity. They stay loud so nobody yells at them.’”
Feig knows when to let McCarthy off the leash — there are some wild slapstick scenes here — but he also knows when to pull her back and let the script do the work.
This week McCarthy headlines Feig’s all-female Ghostbusters reboot alongside Bridesmaids co-star Kristen Wiig.
Will that be their final collaboration? Don’t count on it.
Feig is reportedly writing a Spy sequel as we speak.
“She’s so good,” he says, “and we just really have the same sense of humour.”
Director Paul Fieg and Company are not the Ruiners of Your Childhood. Your youthful “Ghostbusters” memories are alive and well, in your head, in your DVD drawer or digital download file folder. Ghostbros, upset their 1984 favourite is being rebooted with an all female cast, flooded the internet with low-to-no star reviews. As it turns out, the time they spent trying to torpedo a movie they had not yet seen, might have been better spent making room on their basement shelves for the new “Ghostbusters” figurines. Feig hasn’t desecrated a classic, he has added a new chapter, creating a light and fluffy concoction that moves the franchise into the future while paying homage to the past.
When we first meet Erin Gilbert (Kristen Wiig) she’s a professor at Columbia trying to hide her past as a paranormal investigator. When a ghost-hunting book she co-wrote with Abby Yates (Melissa McCarthy) comes to light she is let go. Like Peter Venkman, Ray Stantz and Egon Spengler before her, she leaves academia and becomes a professional New York City ghostbuster alongside Abby, proton pack engineer Jillian Holtzmann (Kate McKinnon) and former subway worker Patty Tolan (Leslie Jones).
After making a name for themselves they uncover a major plot hatched by hotel janitor Rowan North (Neil Casey). Upset his genius has been ignored by the world, he plans on unleashing an army of undead to come back and “pester the world” in an event he calls the Fourth Cataclysm. He has created a vortex that will allow whatever it is on that plane to come crashing down on this plane and flood New York City with ghosts. By the climax the movie dissolves into regular summertime C.G.I. tomfoolery as the Ghostbusters battle spirits in Times Square.
There is a sense of déjà vu hanging heavy over “Ghostbusters.” The new film doesn’t continue the original story, it reboots it, taking us back to the origins of the group. In other words, it’s a lot like the 1984 movie. From class four semi-anchored entities and proton streams to cameos from Slimer, Dan Aykroyd, Bill Murray, Ernie Hudson, Sigourney Weaver, Annie “Ghostbusters, whaddaya want?” Potts plus a glimpse of a Harold Ramis statue, the movie feels familiar but has been freshened up.
The cast doesn’t try to imitate Murray, Aykroyd, Ramis and Hudson. The new characters are just that, new creations plunked down into an existing world.
McCarthy and Wiig, reteamed for the first time since “Bridesmaids,” are solid and Jones is a formidable presence but most interesting is McKinnon as engineering nerd Holtzmann. She is unapologetically weird, as strange as her unruly asymmetrical haircut and a glorious addition to the “Ghostbusters” family.
Also welcome is Chris Hemsworth as the dippy receptionist who doesn’t have glass in his eyeglasses and says things like, “An aquarium is a submarine for fish.” He’s a walking non sequitur and very funny.
Like the old Abbott and Costello horror comedies, “Ghostbusters” doesn’t have any real scares but it will make you laugh. The script, co-written by Feig and “Parks and Recreation” writer Katie Dippold, is funny, if not exactly in a slap the knee kind of way, then in a slow boil constant giggle respect. Is it an out-of-this-world hit like Feig’s “Bridesmaids” or “Spy”? No. It occasionally suffers from a weird rhythm where scenes end suddenly and at least one of the cameos feels wedged in, but the overall effect is one of a respectful resurrection of a beloved franchise.
Best of all, it is self-aware. Reading on-line comments Erin comes across one that reads, “Ain’t no bitches going to hunt no ghosts.” Later Abby says, “Don’t read what crazy people write in the middle of the night online.” Are you listening Ghostbros?
In 2009 I hosted an on-stage event with Disney legend Richard Sherman.
The co-writer (with his brother Robert) of classic songs like It’s a Small World (After All), Supercalifragilisticexpialidocious and the Oscar winning Chim Chim Cher-ee, was seated behind a piano and after regaling us with stories from his career, asked if anyone had any song requests.
I took advantage of my position as host and butted in, asking if he’d sing the hippest children’s song ever written, I Wan’na Be like You (The Monkey Song) from The Jungle Book.
As his fingers danced across the keyboard, he began, “Now, I’m the King of the Swinger’s Ball, a Jungle V.I.P…” and I was transported back to being a kid, wearing the grooves off the soundtrack record, playing it over and over. I was reminded of that memorable moment earlier this week as I watched the new, updated version of The Jungle Book. The song gets a remake, this time sung by Christopher Walken, but the magic is still there.
In the animated 1967 original, Louis Prima — playing the raucous orangutan King Louie — sang the upbeat tune but Richard Sherman says when they wrote the song they didn’t have Prima in mind.
Walt Disney hired them to help “Disnify” Rudyard Kipling’s original stories about a feral child raised in the jungle by wolves.
“Our assignment was to find crazy ways of having fun with it,” says Sherman.
For King Louie’s big moment the brothers went with a New Orleans inspired musical arrangement, complete with scat-singing.
They played the swingin’ song at a story conference and it was decided the singer should be the most swingin’ jazz act in the country. “When we first got an idea for I Wan’na Be Like You, we said an ape swings from a tree, and he’s the king of apes. We’ll make him ‘the king of the swingers.’ That’s the idea, we’ll make him a jazz man.”
The brothers presented the song to Prima who reportedly said, “You want to make a monkey out of me? You got me!”
It was a perfect marriage of performer to character, so much so that Disney animators filmed Prima live on a soundstage as a guide to animate his movements in the movie.
The I Wan’na Be like You (The Monkey Song) sequence is a standout in a film filled with great songs and has made a lasting impression on a generation or two of musicians.
Everyone from Phish and Voodoo Glow Skulls to Los Lobos and Fall Out Boy have covered the song. There’s a Hungarian version called Egy ilyen majom embernek való by Gyula Bodrogi & László Csákányi. And O Rei do Iê-Iê-Iê was a hit in Brazil for Márcio Simões & Mauro Ramos.
Of all the covers, Sherman says he likes the version by Smash Mouth featured in The Jungle Book 2. Almost 50 years after he originally co-wrote the song Richard Sherman revisited the tune. On the red carpet at The Jungle Book’s premier last week Sherman said he wrote new lyrics, “because it’s not the King Louie you saw in the first movie. This is a gigantopithecus, the greatest ape there ever was.”
Louis Prima’s version will always be the classic, at least for me, but Sherman says, “Chris Walken does a great job (on the song).”
The Disney animated classic “The Jungle Book” has been given a high tech makeover. The colourful characters are gone, as are most of the songs, but what the new version lacks in nostalgic kitsch it makes up for in eye-popping action adventure that’s part Rudyard Kipling, part “Apocalypse Now.”
A mix-and-match of Kipling’s stories and the 1967 Disney film, the new movie opens with Mowgli (Neel Sethi) racing through the jungle, running, climbing and jumping as a pack of animals chases. Turns out it’s a family outing. You see, Mowgli is a man-cub raised by wolf mother Raksha’s (voice of Lupita Nyong’o) and father Akela (voice of Giancarlo Esposito) who treat him as one of their own. The only animal who doesn’t welcome the young boy is human hating tiger Shere Khan (voice of Idris Elba).
The majestic tiger was once badly injured by a human and firmly believes that men have no place in the jungle. He threatens violence if Mowgli isn’t handed over. “Ask yourselves,” he purrs, “how many lives is a man-cub worth?”
To save his kin Mowgli sets off into the jungle with his mentor Bagheera (voice of Ben Kingsley) at his side and Shere Khan in hot pursuit. Bagheera’s wants deliver the boy to a human village where he’ll be safe, but first they must navigate jungle and its denizens, like the hypnotic python Kaa (voice of Scarlett Johansson), ape King Louie (voice of Christopher Walken) and loyal Baloo (voice of Bill Murray), the brown bear who becomes Mowgli’s friend and ally.
The end of the journey brings Mowgli a resolution to the Shere Khan problem but also a new understanding of his place in the jungle.
Director Jon Favreau uses state-of-the-art technology to bring the story to life but never allows the computer-generated imagery to get in the way of the story. He’s crafted a beautifully cinematic film, with exciting action scenes—and, it should be noted some circle-of-life stuff that young animal lovers might find upsetting—and wonderful animation but the stars of the show are the characters.
Sethi is the only flesh-and-blood on display, all others are artfully arranged photorealistic pixels. Fan favourite Baloo looks as if he just lumbered off the set of “The Revenant,” but is rendered charming and harmless by Bill Murray’s voice work. When he threatens a small animal for stealing his honey with the words, “You have never been a more endangered species,” it’s pure Murray and pure fun.
The stand out character is Shere Khan, the best feline villain since “The Lion King’s” Scar. Muscular and menacing, he’s expertly voiced by Idris Elba, who, like the rest of the cast, avoids doing cartoon voices. It’s naturalism in a natural setting and it works wonderfully.
“The Jungle Book” is a worthy and entertaining remake of a classic that gives us much of what we want—the songs “The Bare Necessities” and “I Wanna Be Like You” both make appearance—and more.
Richard and the “Canada AM” hosts Marci Ien, Beverly Thomson and Jeff Hutcheson play King Louie, Kaa, Shere Khan, Bagheera and Baloo as they lend their voices to “The Jungle Book” trailer!
There haven’t been many laughs coming out of Afghanistan lately and I’m sad to report the new Bill Murray comedy, “Rock the Kasbah,” doesn’t rectify that situation.
Murray plays Richie Lanz, a rock ‘n’ roll manager who’s been around so long he worked with Eddie Money back when he was still known as Eddie Mahoney. Based out of a dowdy home office in Van Nuys, California, he only has one real client, cover band singer Ronnie (Zooey Deschanel). When the offer of a USO tour of Afghanistan pops up he jumps at the chance but almost as soon as they land Ronnie splits, taking Richie’s cash and passport.
Stranded, he parties with American gun runners, the self titled Ammo Kings of Kabul (Scott Caan & Danny McBride), hangs out with a hooker-with-a-heart-of-gold (Kate Hudson) and before finally hiring a mercenary named Bombay Brian (Bruce Willis) to smuggle him out of the country.
To raise Bombay’s fee he agrees to smuggle ammunition into the rural Paktia province. When things go wrong he winds up in a small village where he hears the beautiful voice of Salima (Leem Lubany), an Afghan girl who sings Cat Stevens’ songs in secret. Always a hustler, Richie isn’t going to let the lack of credentials stop him from plying his trade. Sensing her talent he takes her on, guiding her through to the top of Afghan Star, an American Idol knock-off.
Everybody loves Bill Murray. That is a fact. Unarguable. He has woven himself into the fabric of popular culture both on screen and off. If he’s not opening a movie he’s going viral, getting videoed at some random dude’s bachelor party providing marital advice. He’s everywhere and is usually a welcome presence but lately I’ve begun to feel that his career is in a bit of a “Groundhog Day” loop. Time after time he has returned to a familiar formula: crabby guy alienates everyone around him only to have a warm and cuddly epiphany by the time the credits role. Frank Cross, Phil Connors, Vincent MacKenna or Richie Lanz, the character names change but their journeys are essentially the same.
Normally audiences don’t care, Murray is such an icon it’s enough for him to simply show up and snark his way through a few funny lines and VIOLA! instant classic. It’s a crowd-pleasing recipe but it runs dry in “Rock the Kasbah.” Strapped with an improbable and occasionally insulting premise (although it is VERY loosely based on the true story of Setara Hussainzada) and a third act twist into misplaced social commentary Murray’s charm falls flat. With his message of tolerance director Barry Levinson certainly has his heart in the right place but the movie is off key and unfunny.
In the 1950s, author Robert Schnakenberg’s father was the letter carrier who delivered jazz legend Louis Armstrong’s mail. “Louis would say, ‘Hi Mr. Mailman’ and sometimes Louis and his wife would invite my dad in for coffee. That is sort of my claim to fame.”
It also began a career Schnakenberg says involves “lurking around the edges of famous people.” The author of more than a dozen books, including The Encyclopedia Shatnerica and Christopher Walken A-to-Z, Schnakenberg’s latest is The Big Bad Book of Bill Murray, a weighty tome analyzing the life and career of everybody’s favourite Ghostbuster.
“They’re more history books than puff pieces about celebrities,” he says on the line from his Brooklyn home. “I wanted to approach them from a quasi or mock academic perspective and treat them as if they were historic artifacts rather than just pop culture icons.”
Murray was a perfect subject for the pop historian. “I had done two previous A-to-Zs and was looking around for a third person to round out the trilogy. I had visions of a three volume slip case edition in my head.”
Murray fit the criteria. “Who has a long career? Who has left a paper trail of interviews and profiles? Who has an off-camera persona that is just as interesting as what they do onscreen? It just clicked last year. He reached a point of saturation with all these viral videos going around that (the publisher) said, ‘Let’s do the book now.’”
The volume provides an overview of Murray’s long and varied time in the public eye. From critical appreciations of his films, to interesting trivia, The Big Bad Book of Bill Murray spans decades of fascinating behaviour.
“His career provides a lot of entry points for people who want to get into him,” says Schnakenberg. “If you came of age in the ’70s, the way that I did, you remember the Saturday Night Live version of Bill Murray. If you were 13 in 1984 you probably think of him as Ghostbusters Bill Murray. If you were a proto-hipster in the ’90s your image is probably the guy in all the Wes Anderson movies. Now people know him as the dishevelled guy who crashes people’s parties.”
The point is, for almost forty years Bill Murray has been a constant in our lives. “Bill Murray never had to come back because he never went away,” says the author. “He was always cool; just cool in different forms over the years.”
For years Cameron Crowe could do no wrong. As the screenwriter of Fast Times at Ridgemont High (based on his book of the same name) and director of Say Anything and Singles, he became what The New York Times called, “a cinematic spokesman for the post-baby boom generation.”
His biggest hit, Jerry Maguire was a romantic comedy that gave Renée Zellweger a career, Cuba Gooding Jr an Oscar and us the catchphrase, “Show me the money!”
Then came his acknowledged masterpiece Almost Famous. The semi-autobiographical story of a young music journalist on the road with a band at an age when most kids still had a curfew.
He was a critical darling with box office clout but then came a string of films that failed to connect with audiences.
This weekend he’s back with Aloha, an “action romance” starring Bradley Cooper as a military contractor stationed with the US Space program in Honolulu who reconnects with a past love (Rachel McAdams) while developing feelings for a stern Air Force watchdog (Emma Stone).
Pre-release the film may be best known as the subject of a brutal Amy Pascal e-mail. In the Sony hack leaked correspondence from the former SPE co-chairman suggested she was not happy with the movie. “I don’t care how much I love the director and the actors,” she said, “it never, not even once, ever works.”
Variety recently reported that the film has been recut since Pascal’s scathing review and quotes a current Sony executive as saying, “Is it Say Anything or Jerry Maguire? Probably not, but is it a really entertaining movie for an audience? Yes, it is.”
Moviegoers will decide the fate of Aloha, but its release begs for a reassessment of Crowe’s recent, less successful films.
A remake of the Spanish film Open Your Eyes, 2001’s Vanilla Sky starred three of Hollywood’s hottest stars of the moment, Tom Cruise, Cameron Diaz and Penelope Cruz in a dark thriller about a self-obsessed playboy whose life is turned upside down after reconstructive surgery on his face. The surreal blend of romance and sci fi threw critics off but a another viewing a decade after its release reveals a daring movie that examines regret, desire and mortality.
An enjoyable darkly comic romance, Elizabethtown got trounced by critics (it currently sits at 28% on Rotten Tomatoes) but is a great showcase for star Kirsten Dunst. She is frequently good in films, but here she really steals this movie as the cute and kooky stewardess who has several unforgettable moments—when she tells Bloom (Orlando Bloom) to stop trying to break up with her and her giggly reaction when Bloom asks her a personal question on the telephone. Without her performance the trip to Elizabethtown wouldn’t be nearly as much fun.
Finally, We Bought a Zoo, the story of a widower who swallows his grief by buying a zoo and finding love, shouldn’t work. It’s too sentimental and manipulative by half but luckily Matt Damon is there to ground the flighty story. Even a postscript (and no, I’m not going to tell you what it is), that even Steven Spielberg would find schmaltzy, works because star Damon hits all the right notes and Crowe’s dialogue sings. A father and son argument is a showstopper and you’ll likely never use the word “whatever” again without thinking of this movie.
