RICHARD’S “CANADA AM” REVIEWS FOR JUNE 19 WITH Jeff Hutcheson.
Richard’s “Canada AM” reviews for talking teddy bear comedy “Ted 2,” the hero dog movie “Max” and “The Overnight” with host Jeff Hutcheson.
Watch the whole thing HERE!
Posts Tagged ‘Seth MacFarlane’
METRO CANADA: From Fozzie to Ted, Hollywood brings ursine roles to bear
By Richard Crouse – Metro In Focus
When John Bennett (Mark Walhberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true and Ted (voice of Seth MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life and the subject of two movies, Ted and this weekend’s Ted 2.
Ted isn’t your usual teddy bear. He smokes pot, swears—imagine rooming with Tommy Chong and Charles Bukowski—and has trouble holding down a job.
In the new film Ted is married to a human woman but under the eyes of the law he is seen as property and not a person. When the couple decide to adopt a child he faces a court battle helmed by a young lawyer (Amanda Seyfried) and a renowned, civil-rights attorney (Morgan Freeman).
Ted may be the rudest and crudest teddy bear to ever star in a movie, but there are loads of other talking teddies that are cool bears and not Teddy Bores. Remember Lancelot from Labyrinth, or the bear in AI: Artificial Intelligence who tells the young robot that 50 years is not such a long time and Winnie the Pooh? Here are three more cinematic bear necessities:
“I’ll never be like other people, but that’s alright,” says the star of the delightful Paddington, based on the much-loved children’s books by Michael Bond, “because I’m a bear. A bear called Paddington.”
The story of Paddington (voiced by Ben Whishaw) the cuddly, orphaned Peruvian bear picks up when he, armed only with a “worrying marmalade problem” and his distinctive red hat, lands at Paddington Station in London. There, a family adopts him and learns to love the little bear, even though chaos follows his every step. The film’s co-star Hugh Bonneville says the Paddington character is so popular he is, “part of the DNA of the UK.”
The movie presents Paddington in his iconic blue duffel coat and red hat but not the usual Wellington Boots because they were not part of the bear’s original design. Manufacturers added his red Welly’s so the toy teddies were able to stand upright.
As voiced by Ned Beatty, Lots-o’-Huggin’ Bear is a Southern accented, strawberry scented teddy who looks cuddly, but is anything but. When a misunderstanding threatens to separate the toys, Woody (Tom Hanks), Buzz (Tim Allen), Jesse (Joan Cusack) and the gang take matters into their own tiny hands but when they meet the huggable but evil Lotso the garbage dump or the attic begin to look good.
“The guy may seem plush and huggable on the outside,” says Buttercup the Unicorn, “but inside he’s a monster.” His habit of throwing toys that don’t please him into “the box” is so evil he’s even been compared to the wicked Governor on The Walking Dead.
Unlike Ted Fozzie the Bear doesn’t work blue. The fuzzy brown jokester has been a big screen star since 1979’s The Muppet Movie where he was discovered by Kermit the Frog doing stand-up comedy in a dive bar. In the film Fozzie drives a Studebaker, but how, exactly, does a puppet manoeuvre a car? The film answers the question—“Where did you learn to drive?” Kermit asks. “I took a correspondence course!”—but the real answer is that the real driver hid in the trunk and drove the car by remote control, using a television monitor to guide his steering.
TED 2: 3 STARS. “You’ll laugh & then feel bad about the things you’re laughing at.”
In the first five minutes of “Ted 2,” Seth Macfarlane’s sequel to the 2012 stoner-potty-mouth-teddy-bear movie starring Mark Wahlberg, there’s a wedding between a stuffed bear and a human, drug use, Flash Gordon, bear porn and a dance number.
Then it gets weird.
To understand how weird it gets, you have to know the history. When John Bennett (Wahlberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true and Ted (voice of MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life and room and soul mates. Ted isn’t your usual teddy bear. He smokes pot, swears—imagine bunking with Tommy Chong and Charles Bukowski and you get the idea.—and likes to drive and text at the same time.
In the new film Ted is married to Tami-Lynn (Jessica Barth) but when the couple decide to adopt a child it’s discovered that in the eyes of the law Ted is considered property and not a person. John and Ted hatch a plan to fight for the bear’s civil rights in court. “We’ll take it all the way to Judge Judy if we have to,” says John. The only lawyer they can afford is a young attorney on her first case, Samantha L. Jackson (Amanda Seyfried) who shares the guy’s affection for pot (she smokes a strain called Help Me Get Home) and agrees to work pro bono.
Add to that court cases, a wild kidnapping plot, a renowned, civil-rights attorney (Morgan Freeman) and a nutty battle at Comic Con.
Ted journey to personhood begins with as laugh a minute. Maybe even every thirty seconds. Full belly laughs, that go well beyond politically correct to a land where very few comedians fear to tread. There are jokes about race, sexuality, the Kardashians, mental illness and a whole host of “That’s too soon” gags. You will laugh even though you’ll feel bad about some of the things you are laughing at. MacFarlane and his “Family Guy” co-writers (Alec Sulkin and Wellesley Wild) have hit a sweet spot whereby they can use animation and cute teddy bears to push the envelope in very extreme ways. This is not a movie for the easily offended.
Then comes the court case and the movie shifts. The jokes thin out and the subtext about the civil rights of any oppressed people comes front and center. Or at least threatens to for a moment. There are definitely some serious matters afloat here and MacFarlane allows the absurdity of the situation to take a backseat to the issue of basic rights for all people—even if they are bears.
The jokes still come hard and fast, but fewer of them land in the second hour. Perhaps two hours is too long for dirty-mouth stoner bear jokes, or maybe it’s that Wahlberg has less to do here than he did in number one, or that Mila Kunis, so charming in “Ted” is gone, replaced by Seyfried. Seyfried is fine, BTW, and can deliver a joke but Kunis’s relationship with John in the first film provided much of that film’s heart, something part two could use a bit more of.
“Ted 2” has more very funny, very off colour jokes than most movies. Too bad they’re concentrated in the first hour and not spread throughout.
TED: 3 ½ STARS
Fans of “Family Guy” already know what to expect from “Ted,” the big screen directorial debut of Seth MacFarlane. As the writer and the voice behind Peter Griffin on that show he has redefined the limits of what is acceptable on prime TV. Now imagine that without a network censor looking over his shoulder. Ladies and gentlemen, I give you “Ted.”
When John Bennett (Mark Walhberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true, and Ted (voice of Seth MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life, which causes problems when John grows up and moves in with his girlfriend Lori (Mila Kunis). After four years of living with John and the pot smoking, foul-mouthed Ted—imagine rooming with Bob Marley and Charles Bukowski—she becomes fed up, and makes an ultimatum: It’s either her or the stuffed, stoned bear.
The novelty of watching a stuffed bear spout words that would make a biker blush fades soon after the opening credits. After that the movie relies on Seth MacFarlane’s trademarked blend of awkward, inappropriate humor to get laughs, and you know what? It works. I didn’t feel good about laughing at some of the gags, but I laughed.
The movie is structured like a long-form episode of “Family Guy.” There are flashbacks, fight sequences that intentionally go on too long, pop culture references—MacFarlane gives “Flash Gordon” star Sam Jones the biggest part he’s had in twenty years—and the kind of jokes you tell around the water cooler the next day, but only in a whisper. Seth MacFarlane is an enemy of political correctness, and no one or subject is off limits. You’ve been warned.
The movie works best when it is cursing and drinking, but it also has a heart. Sort of like an R-rated “Alf.” Despite the concept—a teddy comes to life and gets high with his owner—the movie is a fairy tale—although a very raunchy one—and wants you to take the relationship between John and the two most important people in his life—Ted and Lori—seriously. MacFarlane eases off on the raunch slightly in the last half-hour to allow the relationship part of the story to take center stage, but ends off with some memorable jabs.
“Ted” must be the coarsest movie to ever star a teddy bear, but beneath the crudeness is a real stuffed beating heart.
The cult of the man-child By Richard Crouse Metro Canada June 27, 2012
“When I’m lyin’ in bed at night,” Tom Waits sang, “I don’t wanna grow up.”
He’s not the only one. In recent years Cineplexes have been overrun by boy-men: adult males who still act as though they’re 16 years old.
This weekend in the Seth MacFarlane comedy Ted, Mark Wahlberg is John, a man-child who had trouble letting go of his childhood teddy bear who came to life as the result of a childhood wish.
He does everything with Ted — including cower when a storm hits. “Thunder buddies for life, right, Johnny?” says Ted. John replies with an answer we can’t print here.
That’s one of the hallmarks of the man-child movie, they’re raunchy.
Step Brothers is a rude and crude arrested development comedy with enough swearing to make Lenny Bruce blush. Will Ferrell and John C. Reilly play spoiled, unemployed men thrown together Brady-Bunch style when their patents wed.
They don’t get along at first — they even try to bury one another alive — but soon their shared passion for karaoke brings them together, like two overgrown kids in a playground.
Adam Sandler has made a career playing testosterone-fuelled men who never grew up. In Mr. Deeds, Just Go with It, The Waterboy and Happy Gilmore he plays characters with the emotional age of a Baby Gap customer, but the classic is Billy Madison, where he plays a hotel heir forced to go back to grade school.
As Sandler was throwing temper tantrums on screen Jason Segel was slowly defining his child-man act. I Love You Man, with its Man Cave and Rush soundtrack, was a warm up to his most grown-up portrayal of an adolescent man. In Jeff, Who Lives at Home he plays a 30-something who lives at home and is obsessed with the M. Night Shyamalan film Signs. Overgrown and underdeveloped he turns an outing to the hardware store into a wild day.
Peter Pan with a plan
The common link to many of these man-child movies is one man — producer Judd Apatow.
• If it ain’t broke… Not since Jerry Lewis has one man made so much money presenting the age-old gag of self-infantilizing on screen.
• Big names. He’s worked with Ferrell, Sandler and Segel, and it was his R-rated The 40-Year-Old Virgin and Knocked Up that gave us Seth Rogen’s brand of prolonged childhood.
• Plans to recruit Paul Reubens? Apatow even recently announced he’s thinking about making a movie with pop culture’s ultimate man-child, Pee Wee Herman.
