Mandy Patinkin – We Are Movie Geeks

THE PRINCESS BRIDE – Tenacious Eats ‘Movies For Foodies’ February 14th at The Mahler Ballroom

” Hello. My name is Inigo Montoya. You killed my father. Prepare to die. “

There is nothing more fun (or romantic) than a Tenacious Eats ‘Movies For Foodies’ Film Series event! This time it’s the beloved 1987 cult classic THE PRINCESS BRIDE. It’s February 14th (that’s Valentine’s Day Guys!) from 6:30 to 10pm at The Mahler Ballroom (4915 Washington Blvd, St. Louis). Ticket information can be found HERE. A Facebook invite for the event can be found HERE

The Tenacious Eats site can be found HERE

What a fun night this will be:

Doors open at 6:30PM with a special movie themed Selfie Station, cash bar and multiple rounds of film and music trivia for tons of prizes and tickets to future Tenacious Eats Shows!

*Film begins at 7:00PM along with special Teats Treats! No dress code. Costumes always encouraged and rewarded!

*Film will be paused to introduce each course.

*Selfie Station!

*Trivia

$100.00 per person.
$125.00 per person day of event. Seating is limited and space cannot be guaranteed unless purchased in advance.

This menu is like a fairy tale!

First Course “As You Wish” Coq au Vin mini pies, Amish chicken, turnip, riesling, Herbs de Provence, Marcoot Alpine cheese, dates, apples, whipped parsnip top and a Sweet Knocker cider reduction.

Second Course “My Name is Inigo Montoya Prepare to Die!” Housemade chorizo, crawfish, hominy, jamon, pomodoro and chickpea stew. Served with 12 month Manchego cheese and bittersweet chocolate sauce.

Third Course “Never go in Against a Sicilian When Death is on the Line!” Farmer’s plate of beet pickled egg, cheese, figs, olives and Salam Bedu Sicilian sausage.

Fourth Course “Fezzik’s Restorative Lamb” Baby New Zealand lamb chop, mushroom bread pudding, potato parisienne, parsley, English peas, carrot, served with a lamb and fig glace.

Fifth Course “To Blave! Max’s Miracle Pill” Dark chocolate coated magic. (Miracle Max’s top secret cure).

Sixth Course “Wuv, Twue Wuv…” Chiffon wedding cake, French buttercream, layers of passion fruit and orange and white chocolate creme anglaise.

One of the best qualities of THE PRINCESS BRIDE is that it simultaneously manages to be both fairytale and fairytale parody. It lampoons the whole world of fairytale and fantasy while, at the same time, celebrating it. Most of the characters within play it for laughs other than the title character (who is, after all, a fairytale princess and not a female Groucho Marx) and Mandy Patinkin’s Spanish revenge-bent swordsman.

The cast, largely composed of lesser-known talents (at the time) and notably absent the big megastars that were then dominating the box office, is superb. The romantic leads were basically unknowns; the beautiful and talented (nice English accent!) Robin Wright and the suave and handsome Cary Elwes. Wally Shawn is also perfectly cast as the supremely intelligent (or so he thinks) Vizzini. Andre the Giant plays the role of giant that was (literally) made for him to play — he does a good job and is very appealing as the archetypal gentle giant. Chris Sarandon gets to go way over the top to great effect as Prince Humperinck (apologies to Englebert, but did they choose the name just ‘cos it’s inherently funny?) and Christopher Guest shows off both another flawless British accent and the ability to quite effectively and quietly capture the feel of your basic model psychopathic sadist. Peter Cook even gets to make an appearance as a clergyman with a speech impediment. Billy Crystal is great and his ad-libs add to the film. Carol Kane is also effective — both of them in extreme make-up — as his wife. Back in the present day reality, Peter Falk is terrific as the grandfather who’s patiently reading the tale to his grandson, well played by young Fred Savage.

I have yet to meet someone who has seen THE PRINCESS BRIDE and didn’t love it

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Tenacious Eats is…
Unexpected! Visceral! Titillating! Brought to you in High Definition Taste-O-Vision! (Special glasses, not required)

By integrating film and food, Movies for Foodies creates an original experience, a feast for the senses, an event that brings food and film, chefs and diners together.

Tenacious Eats only works with locally produced food procured by them and hard-to-find ingredients, imported from places that specialize in them. With each new film, we write a new menu specific to its story. Sometimes the menu is literal and sometimes it is inspired interpretation. In all cases, each dining experience is different because each film is different.

LIFE ITSELF (2018) – Review

This week’s major studio (well, Amazon has snagged an Oscar or two) release is a big, star-studded bit of Oscar bait (it’s now Fall, ya’ know) that tries to answer a sixty-or-so year old question: can a current TV “wunderkind” also strike gold at the box office while being at the top of the Nielsen TV ratings? Yes, Dan Fogelman hopes to be a multi-media, double threat. His TV show, “This is Us”, is a real rarity, a broadcast network (NBC) show that has as fervent a fan base as those programs on cable (basic and premium) and streaming (oh, Amazon does that, too). He wants to expand that base into the nation’s multiplexes this weekend with this “quasi-anthology” storyline (well, storylines) jumping back and forth between cultures and countries (subtitles=serious cinema). So, will we be treated to another TRAFFIC or BABEL, or will it land with a loud, pretentious thud like THIRD PERSON (one of its stars is in this one also)? Well, the box office numbers are almost as unpredictable as LIFE ITSELF.

After the Amazon (and other companies) logo, the screen goes to black. White letters dissolve in with a “chapter” number and title (oh, oh..literary aspirations). We get a quirky funny sequence (hey, maybe it’s not too arty after all), narrated by a fave foul-mouthed star, that is not really the film’s true first subplot. We then meet mopey, disheveled Will (Oscar Isaac) acting up at a coffee shop (and being asked to leave) as he’s on his way to a court-mandated session with therapist Dr. Morris (Annette Benning). Will finally decides to open up about his ex-girlfriend Abby (Olivia Wilde). We hear of her sad childhood, then bounce ahead to her hooking up with Will while in college as she writes her major thesis on “the unreliable narrator” (could that be a…clue). Will and his doc roam about the fun times in the relationship (the couple even dress up as characters from a vastly superior flick for a costume party) before the “session” comes to an abrupt end and we’re off to “chapter two”. We zoom ahead to meet Will and Abby’s offspring Dylan (Olivia Cooke), a twenty-one-year-old hellion who’s making her grandpa’ Irwin’s (Mandy Patinkin) hair turn white with worry. After a thrashin’ punk rock concert, she punches out a chick that films her making out with her bass player. She races into the NYC night and sees a little Hispanic boy standing at the front of a city bus. For his backstory (and chapter), we hop across the pond to Spain and the opulent olive farm/ranch of Mr. Saccione (Antonio Banderas). He notices one of his workers who gently plucks the olives while others use rakes and nets. That worker, Javier (Sergio Paris-Mencheta) is called in to meet with the big boss in his study. Saccione tells Javier of his rough childhood and his rise to power. But after much vocal prodding, Javier refuses to share any personal history. Nonetheless, Saccione offers him a promotion to foreman which comes with a small dwelling on the big estate. Javier rushes to the town square where his girlfriend Isabel (Laia Costa) is finishing her shift at a tavern. Javier tells her of the new position and proposes to her. The two make a home at the ranch, eventually raising a baby son named Rodrigo. As the boy matures, Saccione spends most of his afternoons with him and ‘Rigo’s mother. His boss’s interest in his family begins to eat away at the usually easy-going Javier. It all comes to a boil when Saccione helps them out financially after a traumatic event. So just how will this tie into the family drama over in the “Big Apple”, or Nueva York? That’s for a couple more “chapters”.

A talented cast really works hard to make the often ludicrous twists and turns of the script work. The first act is almost a two-person play with dialogue bouncing back and forth like a tennis match with doctor and patient on either side of the net. As said patient, Isaac continues to be a most compelling actor, showing us the spark of new love in his eyes during the college sequence, then showing us that the spark has been extinguished in the present day. Will is a hair trigger, exploding then retreating with just a word or prompt. The always superb Benning is part prodding inquisitor, part animal trainer as she navigates through the dark recesses of the damaged man’s psyche. Though Will tries to dismiss her, Benning stands her ground and never lets him slither away. Wilde gets to show more of her witty, intelligent side (usually just seen on her TV talk show interviews) as Abby, but the script puts her back on the pedestal too quickly, making her the “dream girl” once again, rather than a complex character. Of course, the camera still loves her, but Wilde deserves much more interesting roles. Cooke as their daughter Dylan alternates between dead-eyed and emotionally drained to a tightly wound ball of fury ready to explode at the most mundane slight or offense. She’s a stark counterpoint to Patinkin’s calm, caring, but still tough and cynical Irwin. Though his days are dwindling, he still thinks he can get through to his often surly charge. In flashbacks, we see him as a warm sparring partner to the boisterous Jean Smart as his wife Linda, a lady with no filter, who never sugar coats her often dark thoughts. In the overseas “chapters”, Banderas gets to speak in his native tongue as the cultured gentleman drawn to his hard-edged helpers. He may seem aloof, but Banderas shows us the sadness that all his wealth can’t hide. His gloom is lifted with his surrogate family as Saccione delights in his “Dutch uncle” role. Peris-Mencheta is more of a mystery as Javier, who appreciates his boss, but tries to keep an emotional distance from him. Of course, there’s no wall between him and Costa as his adored lady love. Her Isabel goes through the most emotional changes, going from flighty waitress to adoring mother, and later as a fighter trying to hold her marriage and family together. The young adult version of Rodrigo is played with brooding intensity by Alex Monner, while Lorenza Izzo is full of emotion as the family member who tries to tie it all together in the story’s epilogue.

Writer/director Fogelman is aiming for the fences, attempting to make a sprawling epic that has an emotional family saga at its core. It seems to work best in the opening chapter with the story of Abby, Will, and his “shrink”, though it’s peppered with far too many “F-bombs” (maybe a reaction to dealing with network censors for two years). There are a few nice narrative flourishes that employ some neat bits of FX wizardry (bearded older Will caressing the soft shaven cheek of college Will, and later he and Doc Morris walk through a snowy park full of frolicking Abbys), but several sudden bursts of bloody violence are over the top with cartoon-like gore. The punk world of Dylan feels like a TV version of a dance club frozen in amber since the early 1980’s. Then the action truly grinds to a halt in dusty Spain with a booze-filled “back story-time” that never seems to end (or get interesting). This leads to a turgid tale of jealousy and class resentment that might feel more at home on the soap operas of the Telemundo cable channel, complete with a medical crisis that slowly weakens a major character. As the two-hour mark draws ever closer, Fogelman hastily crashes the stories into each other, culminating in a romance that we’re only told about. Which leads to the final lecture/denouncement that’s overstuffed with enough flowery platitudes to fill an airport gift shop and a month of social media posts and GIFs. All the clever stylings of the opening minutes are burned away by the final fade out. LIFE ITSELF pummels at the heartstrings, but never engages our intellect. Save the tissues for the new season of Fogelman’sTV prime time “sob show”.

2 Out of 5

WONDER- Review

While another bruising company of costumed heroes makes the walls vibrate in stereo at many theatres (actually in most of the screens at your local multiplex), a quieter, more gentle film is opening to give families a nice alternative. And it stars real flesh and blood actors rather than computer-generated characters. It’s based on the rare young adult novel that’s not set in a dystopian future. The beloved five year-old book offers another take on a tale as old as time, with themes that echo the live BEAUTY AND THE BEAST from earlier in the year. Add a dash of THE ELEPHANT MAN, a pinch of THE PHANTOM OF THE OPERA, a sprinkle of MASK, toss it in a middle school (maybe cooked in a classic “Easy Bake Oven”) and film goers should savor this sweet, nourishing cinema dish all about a most unusual boy, who despite his outer appearance is really quite a WONDER.

As the leaves begin to change for the Fall, the Pullman family, mother Isabel (Julia Roberts), dad Nate (Owen Wilson) and teen older sister Olivia (Izabela Vidovic), Via’ for short, are escorting little August “Auggie” (Jacob Tremblay) to his first day at Beecher Middle School. Previously Auggie has been home-schooled by his mom. He’s hesitant to remove his “fishbowl-style” astronaut helmet, because Auggie looks very different from his new classmates. He was born with Treacher Collins syndrome, a genetic disorder that produces facial deformities. Despite their concerns over how the other students will react to him, the Pullmans believe that Auggie must learn to interact with others. Luckily the principal, Mr. Tushman (Mandy Patinkin), is sympathetic and enlists three students, Charlotte, Julian, and Jack Will (Noah Jupe) to give him a tour. Over the course of that first school year, Auggie will deal with being ostracized and bullied by some, and embraced by other kids like Jack Will and a sympathetic girl named Summer (Millie Davis). Meanwhile Via has her own problems as she begins a new year of high school in the city. Her BFF Miranda (Danielle Rose Russell) is aloof, while the outgoing Justin (Nadji Jeter) persuades her to join the drama club, which leads to her first romance. But Via still feels neglected by his parents who seem to make Auggie the “center of the universe”. Holidays come and go, seasons change, and the Pullmans adjust to their children’s new challenges.

After his break-out Oscar-nominated role two years ago in ROOM, Master Tremblay is firmly on track to a terrific acting career (I’ll not count his supporting role in last Summer’s dramatic disaster THE BOOK OF HENRY). Despite the encompassing prosthetic make-up, he ably conveys Auggie’s every mood through his soulful eyes and subtle body language. If Jacob decides to pursue the arts, it will be interesting to see his choice of roles as he matures. Luckily he shares this film with some formidable familiar and unfamiliar (not for long) faces. After a year and a half away from the cameras (we heard her voice in the last Smurfs flick), Ms. Roberts brings great warmth to her role as the doting devoted matriarch. She’s a strong force in the household, though her concern over her kids weighs heavily. Her anxiety over “letting go” is best shown in a silent scene as she has her lunch in the now empty “home school” space. Wilson’s his usual affable, laid-back self, always trying to avoid conflict and ready to act as coach/cheerleader. Patinkin is the kind of understanding, tender-hearted bear of a man we all wish could be overseeing our kids. Broadway sensation Daveed Diggs (“Hamilton”) is an enthusiastic guide to the world of knowledge as beloved teacher Mr. Browne. As for the newer faces, Vidovic is most effective as the teen still yearning for her parent’s affections, but straining to become more than just the big sister. Russell, as her former pal, shines in a subplot about her wish to be part of the Pullmans. Jeter is just the bubbly influence to gently nudge Via out of her comfort zone. Jupe (SUBURBICON) does very well as Auggie’s very conflicted best bud. We can see how he’s drawn back to his old crowd while reaching out to the new “odd” kid. Oh, and kudos to Elle McKinnon who scores big laughs as the vain, show biz “Broadway baby” Charlotte. And it’s great to see the fabulous Sonia Braga as a nurturing angel Grans in a sweet memory from Via.

Five years after the surprise hit, THE PERKS OF BEING A WALLFLOWER, director Stephen Chbosky, who joined Steve Conrad and Jack Thorne in adapting R.J. Palacio’s best seller, still has a knack for getting “un-showy” honest performances from his young cast. Unfortunately, their adherence to the story’s literary roots slackens the pace and erodes the focus. The “side stories” (designated as chapter headings) on Miranda and Jack Will take us away from the Pullmans and have little dramatic “pay off”. And choosing “Our Town” as Via’s school play seems an easy way to grab the tear-ducts (high school theatrics are much more real in this weekend’s LADY BIRD). It contributes to the overall “stitched together” feel of the flick , as though we’re “binge-watching” four or five episodes of “Auggie’s World”. Plus it hits all the required beats of an “uplifting tale” (I kept thinking I saw a Hallmark logo in the corner of the screen). You know, “classmates are scared at first, pick on him, then slowly see past his looks and recognize his good heart”, then sending the audience out with a moment of triumph and celebration. It’s much too familiar but the terrific cast makes WONDER a bit more tart than syrupy sweet.

3 Out of 5

Win Passes To The Advance Screening Of WONDER In St. Louis

Based on the New York Times bestseller, WONDER tells the inspiring and heartwarming story of August Pullman. Born with facial differences that, up until now, have prevented him from going to a mainstream school, Auggie becomes the most unlikely of heroes when he enters the local fifth grade. As his family, his new classmates, and the larger community all struggle to find their compassion and acceptance, Auggie’s extraordinary journey will unite them all and prove you can’t blend in when you were born to stand out.

Wonder stars Academy Award® winner Julia Roberts (Best Actress, Erin Brockovich, 2000; August: Osage County, Pretty Woman), Academy Award® nominee Owen Wilson (Best Original Screenplay, The Royal Tenenbaums, 2001; The Grand Budapest Hotel, Midnight in Paris), and Jacob Tremblay. Also starring are Izabela Vidovic (Homefront, Zombieland), Tony Award® and Emmy® Award winner Mandy Patinkin (“Homeland,” The Princess Bride), recent Tony Award® winner Daveed Diggs (“Hamilton”), the legendary Sonia Braga (Kiss of the Spider Woman), Danielle Rose Russell (A Walk Among the Tombstones), Nadji Jeter, Noah Jupe (“The Night Manager,” The Titan), Bryce Gheisar (A Dog’s Purpose), Millie Davis (“Odd Squad,” “Orphan Black”), and newcomer Elle McKinnon.

WONDER opens in theaters on November 17, 2017.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of WONDER on November 15 at 7:00 pm in the St. Louis area.

Answer the Following:

WONDER is directed by Stephen Chbosky. Chbosky previously adapted (then directed) his own book into a film that garnered the 2013 Independent Spirit Award for Best First Feature. What is the name of that movie?

TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

Visit the official site: http://www.wonder.movie/

#ChooseKind #WonderTheMovie

This film has been rated PG – For thematic elements including bullying, and some mild language

As You Wish: THE PRINCESS BRIDE Returns to Theaters Oct. 15th and 18th

“Hello. My name is Inigo Montoya. You killed my father. Prepare to die.”

Thirty years after its release, the endlessly quotable adventure-romance-fantasy-comedy The Princess Bride returns to movie theaters for two days only on Sunday, October 15, and Wednesday, October 18 as part of the TCM Big Screen Classics series from Fathom Events and Turner Classic Movies. The screening will include a special, newly created introduction by TCM Primetime host Ben Mankiewicz and the film’s acclaimed director, Rob Reiner, who will discuss The Princess Bride and its legacy.
Check out this new 30th anniversary trailer:

Swept up in the passions of their rekindled true love, Westley (Cary Elwes) and Buttercup (Robin Wright) encounter great obstacles — giants, fire swamps, rodents of unusual size — to be together in an epic tale that grandfather (Peter Falk) reads to grandson (Fred Savage). The greatest obstacle of all: despicable Prince Humperdinck (Chris Sarandon), set on making Buttercup his wife to wage war on his enemies. The lovers seek help from Fezzik (André the Giant), a gentle giant with a knack for rhyming, and Inigo Montoya (Mandy Patinkin), a skilled swordsman dedicated to the revenge business. In this hilariously epic adventure, the lengths Westley and Buttercup must go for true love are indeed “inconceivable” … and unforgettable.

WHO: Fathom Events, Turner Classic Movies, Twentieth Century Fox and Metro-Goldwyn-Mayer (MGM)

WHEN: Sunday, October 15 – 2:00 p.m. and 7:00 p.m. (local time)

Wednesday, October 18 – 2:00 p.m. and 7:00 p.m. (local time)
WHERE: Tickets for The Princess Bride can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in nearly 700 select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

THE PRINCESS BRIDE Screens Midnights at The Tivoli This Weekend

“Hello. My name is Inigo Montoya. You killed my father. Prepare to die!”

Why is this such a classic line in the minds of many? I don’t know, really. But I do know that the way that Mandy Patinkin delivers it in this film has ‘classic line’ written all over it!

THE PRINCESS BRIDE screens this Friday and Saturday nights (July 28th and 29th) at midnight at the Tivoli Theater as part of their ‘Reel Late at the Tivoli’ Midnight series.

Believe it or don’t, but I just saw THE PRINCESS BRIDE for the first time in 2014 at a Tenacious Eats ‘Movies for Foodies’ event. I’d heard great things about it for decades so I’m not sure why I’ve spent so many years avoiding it. Perhaps because I was 25 when it was made in 1987 and really, what self-respecting dude would watch a movie called THE PRINCESS BRIDE with his buddies (I must not have had a girlfriend at the time)?

I have yet to meet someone who has seen THE PRINCESS BRIDE and didn’t love it which makes my 30 year viewing gap that much more inexcusable. I hadn’t seen it but now I have and if you haven’t, you’ll have the opportunity this weekend when THE PRINCESS BRIDE plays at the Tivoli Friday and Saturday as part of the Reel Late at the Tivoli Midnight film series (July 28th and 29th).

The Tivoli’s located at 6350 Delmar Blvd., University City, MO. Admission is a mere $8!

The Tivoli’s website can be found HERE

http://www.landmarktheatres.com/market/st.louis/tivolitheatre.htm

Here’s the Reel Late at the Tivoli Line-up for the next few weeks:

Aug. 4-5 THE EXORCIST: EXTENDED DIRECTOR’S CUT

Aug. 11-12 SPIRITED AWAY
Friday and Saturday at midnight, Subtitled
Saturday matinee at noon in English

Aug. 18-19 THE SHINING

Aug. 25-26 THE ROOM with Tommy Wiseau in person! –
Preceded by a trailer for Tommy’s upcoming film BEST F(R)IENDS
All tickets $15; no passes

Julia Roberts, Owen Wilson, Jacob Tremblay Star In Sweet Trailer For WONDER

AUGGIE (Jacob Tremblay) and JACK WILL (Noah Jupe) in WONDER. Photo courtesy of Lionsgate Entertainment.

Lionsgate has released the first trailer for WONDER starring Julia Roberts, Owen Wilson, Jacob Tremblay and Mandy Patinkin.

Based on the New York Times bestseller, WONDER tells the incredibly inspiring and heartwarming story of August Pullman, a boy with facial differences who enters fifth grade, attending a mainstream elementary school for the first time.

Definitely look for this film come awards season.

Based on the New York Times bestseller, WONDER tells the inspiring and heartwarming story of August Pullman.

Born with facial differences that, up until now, have prevented him from going to a mainstream school, Auggie becomes the most unlikely of heroes when he enters the local fifth grade.

As his family, his new classmates, and the larger community all struggle to find their compassion and acceptance, Auggie’s extraordinary journey will unite them all and prove you can’t blend in when you were born to stand out.

WONDER is directed by Stephen Chbosky who is best known for writing The New York Times bestselling coming-of-age novel The Perks of Being a Wallflower (1999), as well as for screenwriting and directing the film version of the same book, starring Logan Lerman, Emma Watson, and Ezra Miller. He also wrote the screenplay for the 2005 film RENT, and Disney’s 2017 live-action adaptation of BEAUTY AND THE BEAST alongside with Evan Spiliotopoulos and was co-creator, executive producer, and writer of the CBS television series “Jericho”.

Look for WONDER in cinemas November 17, 2017.

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Twitter: www.twitter.com/WonderTheMovie

Daveed Diggs as “Mr.Browne” in WONDER. Photo by Dale Robinette.

SMURFS: THE LOST VILLAGE – Review

“Tra-la-lalala”A simple tune that quickly transformed into an earwig which burrowed into the brains of a generation (“Generation X” to be more precise). Yes, it’s the rallying song of that big, blue behemoth of kid-friendly franchises, the Smurfs. Those petite (three apples high) magical imps were introduced by Belgian cartoonist Peyo (AKA Pierre Colliford) way, way back in 1958. They were a merchandising phenom in Europe, but didn’t truly achieve worldwide superstar status until they descended on the US thanks to TV cartoon titans Bill Hanna and Joe Barbara (the creators of The Flintstones and Scooby Doo also co-wrote that too-catchy theme song with Hoyt Curtin) and became the anchor for NBC’s Saturday morning line-up in 1981 through 1989. Tons of toys and imitations (remember the Snorks?) followed, but things were quiet in their hidden spot in the magic forest for the next twenty years or so. And then Sony Pictures decided to exploit the nostalgic affection that thirty-somethings still had for them. And they’ve got kids of their own now, so let’s return to the woods. The result was the 2011 box office hit, THE SMURFS mixing live-action stars led by Neil Patrick Harris with the now CGI-animated blue pixies. Of course a sequel followed two years later. But now Sony is returning them to their animated adventure roots, much like the dubbed import THE SMURFS AND THE MAGIC FLUTE back in 1983. They’re still computer-delinated, but there ‘s no cavorting in front of second-unit shot real backdrops. We’re exploring that vast forest in SMURFS: THE LOST VILLAGE.

But first we’ll drop in on a typical day in a “found” village, the home of the Smurfs. Everyone seems to be having a happy “smurfy’ day, all but one, the lone blue (skin and mood) lady, Smurfette (voiced by Demi Lovato). While most of her pals are named for their personality (Vain Smurf, Nosy Smurf, etc) or job (Farmer Smurf, Baker Smurf, etc.), her own name denotes nothing specific (“What’s an ‘ette'”?). Naturally she breaks the rules and ventures into the lush Forbidden Forest in search of answers. Luckily(?) three of her pals and protectors, Clumsy Smurf (Jack McBrayer), Brainy Smurf (Danny Pudi), and Hefty Smurf (Joe Manganiello), sneak off just behind her. Of course they’re discovered by their arch foe, the crafty wizard Gargamel (Rainn Wilson), who desires them for his “dark magic”. Soon after finding a mysterious yellow cap and spotting an entrance to a walled off section of the woods, Smurfette and company are scooped up by Gargamel’s “hench-bird” (is it a vulture/dodo hybrid?). The sorcerer spies the cap right before Papa Smurf (Mandy Patinkin) launches a rescue. Back at home base, the angry patriarch “grounds” the quartet, but Smurfette is concerned that Gargamel will locate the hidden village. The four friends sneak out and rush back to the woods to warn those behind that wall about the wizard. It’s too late since Garagamel, his bird, and his devious feline sidekick Azrael are in hot pursuit. Can our heroes get there in time and thwart his evil schemes?

As with far too many animated features, this film resorts to “stunt casting”, using well-known vocal talent from TV and movies, perhaps to lure in the adult crowd. I’ll admit to playing an audio guessing game (is that …mmm..no, it’s …) as my mind wandered during most of the 89 minute running time. Fortunately many casting choices worked out well, often helping the overall tone. This is true of a trio of sitcom vets. Pudi (TV’s “Community” and “Powerless”) and McBrayer (“30 Rock”) bring a lot of manic energy to their roles of Brainy and Clumsy. But the movie MVP may be the wonderful Wilson as the snickering sneering sorcerer who not nearly as menacing as he believes himself to be. You may want to rush to the exits at the final fade-out, but try to stick around for the end credits as Wilson riffs (could it be “ad-libs”) on the words and phrases scrolling over his bare noggin (“Matte Painting?! Is that really a thing?!”). I wished there was more of that in the middle of the flick! Lovato and Manganiello are plucky and sweet as story’s (almost) romantic couple (not to worry parents, it’s just hinted). They bring more to their roles than the biggest names, though. Patinkin seems too somber and cranky, making us miss Papa’s previous voice, the late great Jonathan Winters, even more. And Julie Roberts is far too low energy as the queen of said “lost village” SmurfWillow (oops, a teeny spoiler), though another sitcom pro Elle Kemper (“The Unbreakable Kimmy Schmidt”) amps up the final act considerably.

Like their original TV episodes this new feature adventure is bouncy and colorful, while not being too achingly saccharine (it comes mighty close). There are a few spooky scenes, but nothing to upset the wee ones (though their older sibs are sure to get antsy). Dreamworks had a lot more fun with another set of whimsical imps in last year’s TROLLS which was aiming for a slightly more mature audience. This new film is a fairly good way to introduce children to the theatre experience, since it’s really aimed squarely at the “pre-K” crowd. It certainly lands on the gentler side of family flicks with none of the wild “in your face” aggressive hi-jinks of the HOODWINKED films or last year’s ANGRY BIRDS MOVIE (the “teaser” for the upcoming EMOJI MOVIE played before the feature…uh oh). I attended a “flat” screening, so I can’t say if many of the action sequences (with lots off leaping and flying about) that looked to be designed for 3D worked. Luckily the blue folks have some visually interesting playmates. Florescent green bunnies bounce through dark caves while dragonflies that breathe fire (like..you know..) offer transport. Oh, and Brainy’s got a nifty ladybug pal that’s a camera (for ‘selfies’), a scanner, and a printer (bet it’ll be the big toy gizmo for Easter). After the edgy wonders from Disney, Pixar, and Dreamworks, this timid tale is a tad tedious, but for the parents of the very young SMURFS: THE MAGIC VILLAGE is an occasionally amusing, bland, but bearable kiddie matinée.

2 Out of 5

GET SMURFY Set For Worldwide Release on March 31, 2017; Demi Lovato, Rainn Wilson and Mandy Patinkin Star

To mark this year’s June 14th Global Smurfs Day, Sony Pictures Animation announced the all star cast of GET SMURFY, its brand new, fully computer-animated feature film reminiscent of creator Peyo Culliford’s original recognizable style.

Get Smurfy finds Smurfette and her brothers trekking through the uncharted Enchanted Forest to try and discover a fabled Smurfs village before their nemesis, the evil wizard Gargamel, does. Along the way, some of the mysteries of the little blue creatures’ origins are brought to light: do Smurfs come in any other colors? are their mushroom houses organic? And… why are there 99 boys and only one girl???

Demi Lovato has signed to voice the girl-power-ful Smurfette, with Rainn Wilson (The Office, Monsters vs. Aliens) stepping into the evil shoes of the Smurf nemesis, Gargamel. Papa Smurf will be played by Mandy Patinkin (The Princess Bride, Homeland).

Set for a worldwide release on March 31, 2017, the new feature-length animated adventure will be directed by Kelly Asbury (Shrek 2, Gnomeo & Juliet), produced by Jordan Kerner (Charlotte’s Web, The Smurfs) and co-produced by Mary Ellen Bauder (Hotel Transylvania).

Get Smurfy will stand as a brand new entry in the Columbia Pictures movie franchise that has grossed more than $900 million globally.

Says director Kelly Asbury, “The continued popularity of the Smurfs is unmistakable, and this new outing will return them to the fully-animated world that launched them.”

Adds Sony Pictures Animation’s Kristine Belson, “We have gathered a group of filmmakers and artists who have grown up with these loveable characters, and Get Smurfy will be imbued with the same spirit of adventure that first made all of us lifelong fans of these little blue guys…and girl.”

WISH I WAS HERE – The Review

Hard to believe, but it’s been a full ten years since Zach Braff, best known for his lead role on the TV sitcom “Scrubs”, released his feature film-making debut, writing, directing , and starring in GARDEN STATE. The modest box-office hit was a character study about a young man, played by Braff, in his twenties returning to his home town and learning to enjoy life again, thanks to a local free spirit played by Natlaie Portman. It generated a passionate group of fans who were eager for a follow-up from Braff. After a few more years on the TV show, a couple of movie acting gigs, and a recent stint in a Broadway musical, he surprised everyone with an internet announcement. Braff was ready for his second directorial effort, but he needed help to make the film the way he wanted…financial help. And so he launched a fund-raising effort through the Kickstarter website. Media critics scoffed, but he raised the required money goal in record time (much as the VERONICA MARS film did), and so he could cast the actors he wanted and have that much envied director perk, the final cut. But is the finished product worth the backers’ monetary investment, or the film-goers’ time investment? Time to take a look at WISH I WAS HERE.

After the brief black and white opening titles, we’re dropped into a big chase on a forest-type planet landscape. An intrepid space ranger (Braff) and a small flying robot are on the run from a menacing cloaked figure. A questioning young boy returns the spaceman back to the real world. The daydreamer is Aidan Bloom (Braff), an actor in his mid thirties still hoping for his big break. Luckily his wife Sarah (Kate Hudson) has a steady, but soul-draining, city government job that takes care of the household. Aidan’s main job is taking that questioning boy, nine year-old Tucker (Pierce Gagnon) and thirteen year-old Grace (Joey King) to their exclusive private Hebrew school before heading to another fruitless audition. Outside the school, Aidan is informed by the staff of another unforseen expense. He’ll have to hit up his father, who has been footing the school tuition. But the stern, sour Gabe (Mandy Patinkin) delivers a bigger shock to him: the money will now go towards treating his recent diagnosed cancer. The stunned Aidan delivers the news to his younger brother, the reclusive internet blogger Noah (Josh Gad) who responds with apathy. Noah was attached to their late mother, but wants nothing to do with their disapproving pop. Aidan decides to step up and home school his two kids, but will he finally give up on his thespian dreams in order to get the family back on track and deal with his father’s rapidly declining health?

Once again, Braff is an engaging, offbeat leading man. He’s not as mopey as he often was in GARDEN, but since he’s now a movie father we get his almost constant exasperation, mainly from his financial and acting frustrations. Like many of the other characters we want him to be more responsible, and happily his flights of fancy become much less frequent. He works well with the young actors playing his kids. Gagnon is a cute troublemaker, while King is proving to be one of our most interesting young actresses following great work last year in WHITE HOUSE DOWN, THE CONJURING, and just a few months ago on TV’s “Fargo”. Her Grace really embraces the religious teachings at the school while trying to deal with her first case of “puppy love”. Patinkin’s not concerned about being unlikable as the scowling, dour patriarch. It’s after illness takes him down a notch that he reveals a real warmth. Gad’s not given a lot to do as a stereotypical internet troll who can’t seem to connect with anyone in the real world. Frequently he’s another frustration for Braff. The real stand-out here is Hudson who is the opposite of the manic, magic pixie role that Portman played in GARDEN. Being the grounded bread-winner has taken a toll on her spirit. We feel her fatigue as she punches numbers at work while dealing with an incredibly obnoxious “cubicle-mate” and an idiot boss. Fortunately she finally vents to her stunned hubby in a terrific monologue during a seaside “date night”. Later she shares a lovely intimate, revealing conversation at Gabe’s hospital bed. Outstanding work from Hudson. Hopefully her days of empty-headed rom-coms are behind her. There’s also great supporting turns from Jim Parsons as an acting audition buddy, Alexander Chaplin as a sympathetic rabbi, and Braff’s TV buddy Donald Faison as a conned car salesman.

Braff makes excellent use of the very bright sunny California locations and a wonderful soundtrack full of offbeat tunes. Unfortunately he indulges in too many film tricks like switching to slow motion and relying on clichéd montages (he and the kids bond in the desert). A couple of subplots just don’t really pay off. Noah improvising a costume to impress a pretty neighbor that actually wins a prize at Comicon(!), just rings false and veers into “cutesy” contrivance. And the extremely inappropriate co-worker would not be tolerated by any company in this day and age. Pinups in his work space? Human Resources would be there in a split second. A scene involving him late in the film seems an unbelievable coincidence. And the last third of the movie veers into the morbid as Gabe begins to fade. But despite these faults, the strong performance from Kate Hudson makes the film worth a look, especially for fans of Braff’s previous work. WISH I WAS HERE is a flawed, but often engaging look at a modern, very flawed family.

3.5 Out of 5

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