Review: Anna Faris Saves "The Hot Chick" (Happy B'day, Anna Faris)

TRASH IN MY EYE No. 8 (of 2003) by Leroy Douresseaux

The Hot Chick (2002)
Running time: 104 minutes (1 hour, 44 minutes)
MPAA – PG-13 for appeal for crude and sexual humor, language and drug references
DIRECTOR: Tom Brady
WRITERS: Rob Schneider and Tom Brady
PRODUCERS: Carr D'Angelo and John Schneider
CINEMATOGRAPHER: Tim Suhrstedt
EDITOR: Peck Prior
COMPOSER: John Debney

COMEDY/FANTASY/ROMANCE

Starring: Rob Schneider, Anna Faris, Matthew Lawrence, Eric Christian Olsen, Robert Davi, Rachel McAdams, Alexandra Holden, Maritza Murray, Tia Mowry, Tamara Mowry, Fay Hauser, and Jodi Long, Melora Hardin, Michael O’Keefe, and Dick Gregory with Adam Sandler

The Hot Chick is a 2002 American body-switching comedy starring Rob Schneider, Anna Faris, and Rachel McAdams. Adam Sandler served as one of the film’s executive producers and has a small role in the film for which he did not receive screen credit.

The Hot Chick seems to send you a warning from beyond the movie poster – Warning! This is really lowbrow trash! Luckily, movie is very funny, and Rob Schneider has that gift to make you look past the bad story material, the same kind of material upon which his career seems to thrive.

Jessica (Rachel McAdams) is the hot chick, the most beautiful girl in school, but also the cruelest, and she just can’t help herself when it comes to being full of herself. A pair of ancient, mystical earrings (please, don’t question it) causes her to switch bodies with Clive (Rob Schneider). So Clive’s body contains Jessica’s essence and personality, while Jessica’s body belongs to the soul of Clive, a low rent, dumb criminal.

Jessica reveals her new body to her close friend, April (Anna Faris), and, of course, April slowly comes to love Clive. Perhaps, the strangest thing is that so many come to easily accept Jessica’s predicament once it’s revealed to them. I guess it just makes for more characters to be in on the joke, more people to suffer the cruel fate of this movie’s pratfalls.

Schneider and co-writer/director Tom Brady pile the script with so many sight gags and so much gross humor, bodily functions, and sexual innuendo that there’s bound to be quite a few things to laugh at. Relentless, they don’t give the viewer enough time to focus on the holes in the plot. So what? It’s a cheap laugh. How many times do bad movies, especially this kind of cheap comedy, payoff and give make us laugh literally from its beginning to the its very ending?

Besides, I’m really in love with Anna Faris. I’d see this movie again just for her.

5 of 10
C+

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Review: "The Music Lovers" Loves Tchaikovsky (In Memoriam: Ken Russell)

TRASH IN MY EYE No. 26 (of 2003) by Leroy Douresseaux

The Music Lovers (1970)
COUNTRY OF ORIGIN: UK
Running time: 123 minutes (2 hours, 3 minutes)
DIRECTOR: Ken Russell
WRITER: Melvyn Bragg (based upon the books by Catherine Drinker and Barbara von Meck)
PRODUCER: Ken Russell
CINEMATOGRAPHER: Roger Slocombe
EDITOR: Michael Bradsell

BIOPIC/DRAMA/MUSIC

Starring: Richard Chamberlain, Glenda Jackson, Max Adrian, Christopher Gable, Kenneth Colley, Isabella Telezynska, and Maureen Pryor

Must genius suffer for the sake of his art? That’s just one of the themes of Ken Russell’s wild and fanciful, The Music Lovers, the 1970 biographical film about the life and career of Romantic-era Russian composer, Peter Ilich Tchaikovsky. The film covers the rise of his star at the Moscow Conservatory to his death in 1893 and focuses on the sweeping beauty of his music, as well as the tragedies of his personal life as they influenced his musical output.

As the film begins, Peter Ilich Tchaikovsky (Richard Chamberlain) teaches harmony at the Moscow Conservatory. He is composing his early music, but it meets with disfavor from his mentor Nicholas Rubinstein (Max Adrian), who got him the position at the Conservatory. At this point, the film becomes what we might now consider a music video. Russell uses Tchaikovsky’s music to illustrate the young musician’s personal moods and his confidence in himself as a composer. Of course, Tchaikovsky’s music is beautiful, but when Russell combines the music with powerful visuals, he makes us feel the composer’s joy for life and for his art. It’s a heady, emotional rush; personally, my eyes were literally glued to the screen and my spirits soared with sublime beauty of Tchaikovsky’s jams. I simply couldn’t escape the impressionistic sensations that literally bleed from the film. The music soars and the visuals rush by in a stream of surrealistic landscapes, so you can’t help but be caught up with and in Tchaikovsky.

The film does take some liberties with history as many films of this type do. The composer gains a patron, a wealthy widow, Madam Nadezhda von Meck (Isabella Telezynska), who provides him with a annual allowance which helps him to find more time to compose. Around that same time, he meets and marries Antonina Milyukova (Glenda Jackson), a student at the conservatory who sends him a love letter. The film severely compresses the time between Madam von Meck’s endowment and the composer’s marriage to his admirer, which is historically inaccurate. However Russell plays the effect of these two relationships on the composer off each other.

In Russell’s film the marriage stunts Tchaikovsky’s development as a composer much to the chagrin of his patron, his teachers, his friends, and his brother Modeste (Kenneth Colley). The marriage is unhappy from the onset and is not helped by the arrival of his mother-in-law (Maureen Pryor). Instead, Russell creates an idealized romantic love between Tchaikovsky and Madam von Meck that contrasts with his troubled marriage to Nina. The burdens of maintaining these two vastly different romances move the film forward to its tragic resolutions.

That’s probably the most powerful thing about this film, the juxtaposition of the sublime beauty of Tchaikovsky’s music and the debilitating traumas of his personal relationships. Usually, such extreme misery would be a turnoff, but Russell frames everything in the context of Tchaikovsky’s beloved compositions. Everything that happens to the composer in his film is understood in the context of the music. In a sense, you have to wonder what came first. On one hand, I can realize that the music came from his life experiences, but in the framework of the movie, I got the feeling that the music, whether through the influence of his patrons, admirers, friends, or family, was the master controller. Russell beautifully presents this conflict of creativity: the music or the life, which comes first? He takes full advantage of the visual possibilities of film, while opening up the senses to what the addition of sound can do for the movie viewing experience.

The performances are brilliant, but I especially give kudos to Ms. Jackson as Nina. Her transformation from a beautiful young thing to pitiable mental case is astonishing. She essentially plays two people, and she reinforces that by undergoing an almost total physical transformation from romantic heroine to tragic, broken woman.

For those who love Tchaikovsky, The Music Lovers is an interesting take on the famed composer’s life, and fans of his will certainly love the music. For lovers of films, this is a peak work by one of the great visual stylists, a man whose work is an eye-popping blend of the grandiose, the bizarre, and the beautiful.

8 of 10
A

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"The Twilight Saga: Breaking Dawn - Part 1" Actually Dark and Moody

TRASH IN MY EYE No. 99 (of 2011) by Leroy Douresseaux


The Twilight Saga: Breaking Dawn – Part 1 (2011)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – PG-13 for disturbing images, violence, sexuality/partial nudity and some thematic
DIRECTOR: Bill Condon
WRITER: Melissa Rosenberg (based upon the novel by Stephenie Meyer)
PRODUCERS: Wyck Godfrey, Karen Rosenfelt, and Stephenie Meyer
CINEMATOGRAPHER: Guillermo Navarro
EDITORS: Virginia Katz
COMPOSER: Carter Burwell

FANTASY/DRAMA/ROMANCE

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Ashley Greene, Jackson Rathbone, Nikki Reed, Kellan Lutz, Peter Facinelli, Elizabeth Reaser, Julia Jones, Chaske Spencer, Gil Birmingham, Boo Boo Stewart, and Michael Sheen

The Twilight Saga: Breaking Dawn – Part 1 is the fourth film in the Twilight Saga film franchise. Like the previous films: Twilight, The Twilight Saga: New Moon, and The Twilight Saga: Eclipse, Breaking Dawn – Part 1 is based upon the wildly popular Twilight book series by Stephenie Meyer. Each of the first three films is based upon one of the first three books in the series; however, the fourth book, Breaking Dawn, is being adapted into two movies.

Breaking Dawn – Part 1 continues the love story a young human woman, Bella Swan (Kristen Stewart), and her vampire boyfriend, Edward Cullen (Robert Pattinson), as the two join hands in marriage. Not everyone is happy about the nuptials, especially Bella’s friend, the Native American werewolf, Jacob Black (Taylor Lautner). Jacob vehemently objects to Edward’s honeymoon plans for the couple, as he believes what Edward plans could kill Bella. The couple honeymoon on the private island of Isle Esme in Brazil, but Bella makes a shocking discovery that puts a strain on her relationship with Edward. That discovery also threatens the Cullens’ treaty with Jacob’s tribe and Bella’s very life.

Although I enjoyed it, I don’t have as much to say about The Twilight Saga: Breaking Dawn – Part 1 as I had about the previous movies. Most of this film is joyless, but it isn’t slow. The story deals with the darker side of romance and family; even the wedding is filled with omens and portents. This is a jarring difference from the rest of the series, which depicted young love growing stronger and more confident. I would be lying if I did not admit that I wanted more of that. There were times in this movie that I was begging for the unhappiness to hurry up and end.

For those hungry for more vampire vs. werewolf action, that dominates the second half of the Breaking Dawn – Part 1. This physical, tribal, racial conflict offers an energetic anecdote to the gloomy Gus that is most of this film. Also of note: I don’t know if it was because of the theatre in which I saw Breaking Dawn – Part 1, but there were times in the film that the musical score was so loud that I could not hear the dialogue.

Anyway, The Twilight Saga: Eclipse, Breaking Dawn – Part 1 is, thus far, the least of the series, but it is not at all a bad movie. It tells a good story, but it does come across as weird (even weirder than vampire stories normally are) and wonky.

6 of 10
B

Sunday, November 27, 2011

Review: New "Conan the Barbarian" is Gleefully Lunatic

TRASH IN MY EYE No. 98 (of 2011) by Leroy Douresseaux

Conan the Barbarian (2011)
Running time: 113 minutes (1 hour, 53 minutes)
MPAA – R for strong bloody violence, some sexuality and nudity
DIRECTOR: Marcus Nispel
WRITERS: Thomas Dean Donnelly and Joshua Oppenheimer, and Sean Hood (based upon the character, Conan, created by Robert E. Howard)
PRODUCERS: John Baldecchi, Boaz Davidson, Randall Emmett, Joe Gatta, Avi Lerner, Danny Lerner, Fredrik Malmberg, and Les Weldon
CINEMATOGRAPHER: Thomas Kloss
EDITOR: Ken Blackwell
COMPOSER: Tyler Bates

FANTASY/ACTION

Starring: Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman, Rose McGowan, Bob Sapp, Leo Howard, Steven O’Donnell, Nonso Anozie, Saïd Taghmaoui, Milton Welsh, and Morgan Freeman (narrator)

Conan the Barbarian is a fictional character created by Robert E. Howard. Conan first appeared in publication in the December 1932 issue of Weird Tales in the short story, “The Phoenix on the Sword.” Howard featured Conan in several short stories, but only one novel. After Howard’s death, other authors would write Conan novels, and the character has also appeared in comic books nearly non-stop since 1970.

The character is best known, outside of people who read fantasy fiction and comic books, for his appearance in two films from the early 1980s. Arnold Schwarzenegger portrayed Conan in Conan the Barbarian (1982) and Conan the Destroyer (1984). After over two decades, Conan returned to movie screens in Conan the Barbarian, a 2011 action/fantasy film and sword and sorcery movie. In the new film, Conan seeks revenge against the ambitious and ruthless warlord who killed his father.

After his father, Corin (Ron Perlman), is killed and his entire village murdered, young Conan (Leo Howard) swears revenge. The killer is an empire-building warlord, Khalar Zym (Stephen Lang), who wants to reassemble the Mask of Acheron, an ancient relic that will give him the power to conquer the world. The story picks up 20 years later and finds Conan (Jason Momoa) a pirate living amongst the Zamoran pirates led by Artus (Nonso Anozie).

Fate brings Conan into contact with one of the men who raided his village. From this man, Conan learns that Zym and his sorceress daughter, Marique (Rose McGowan), are searching for a pureblood descendant of the necromancers that made the Mask of Archeron. They find that descendant in the form of Tamara Amaliat Jorui Karushan (Rachel Nichols), a young woman living in a monastery, but Conan gets Tamara first. This begins a battle between Conan and Zym that will decide the fate of the world.

There are so many fantasy films in theatres that are aimed at the family audience or, at least, general audiences, including females. Conan the Barbarian is aimed squarely at males, but mainly at males whose balls dropped more than a few years ago. Speaking of balls: Conan the Barbarian is balls to the wall in terms of the sheer lunacy thrown on the screen. This movie is hardcore – even more so than the darker Conan the Barbarian and certainly more than its lighter, PG-rated sequel, Conan the Destroyer. Hacking, slashing, a bloody caesarean, beheadings, torture, topless wenches, mass murder, and assorted depictions of gore and brutal murder: this is the real Conan, steeped in the violent and edgy material of weird pulp fiction.

Visually, Conan the Barbarian looks like a Robert E. Howard Conan story should look. There are swarthy pirates, hefty warriors, comely maidens and wenches, reptilian witches, and miscreants of all sizes and shapes. Barbarian villages dot the landscape; ruined fortresses protrude from rocky outcroppings; a monastery hides beyond a cavernous pass; immense castles and structures reach for the sky; and deceptively fast ships cut across the sea.

Conan the Barbarian does have its problems. The movie is a little too long, and, without spoiling, I can say that some of the places the story sends Conan don’t seem to make much sense. It is as if the film is simply being stretched or the story padded. Some of the action scenes work very well, but others are simply extraneous or gratuitous.

The characters are bit shallow, but the actors make the most of them. I would describe the performances as grand and flamboyant rather than over the top. Rose McGowan is a hoot as the conniving, vicious Marique. Stephen Lang brings to this movie the same aggressive physicality he brought to Avatar as the villain, Colonel Miles Quaritch. It is difficult for me to separate Arnold Schwarzenegger from Conan, but I like Jason Momoa’s take on the character. Momoa’s Conan is younger, leaner, and meaner; he is like a wolverine and a panther.

Overall, I like this new Conan the Barbarian. Visually, aesthetically, and in the story, it reminds me of many of the Conan comic books that I read as a kid, especially The Savage Sword of Conan. With its disappointing box office, there likely won’t be a sequel, but the new Conan the Barbarian deserves one.

7 of 10
B+

Saturday, November 26, 2011

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"Pirates of the Caribbean: On Stranger Tides" a Good Trip

TRASH IN MY EYE No. 97 (of 2011) by Leroy Douresseaux


Pirates of the Caribbean: On Stranger Tides (2011)
Running time: 137 minutes (2 hours, 17 minutes)
MPAA – PG-13 for intense sequences of action/adventure violence and some frightening images
DIRECTOR: Rob Marshall
WRITERS: Ted Elliot and Terry Rossio; from a screen story by Ted Elliot and Terry Rossio (based upon characters created by Stuart Beattie, Jay Wolpert, and Ted Elliot and Terry Rossio; suggested by the novel, On Stranger Tides, by Tim Powers, and based upon Walt Disney’s Pirates of the Caribbean)
PRODUCER: Jerry Bruckheimer
CINEMATOGRAPHER: Dariusz Wolski (D.o.P.)
EDITORS: David Brenner, Michael Kahn, and Wyatt Smith
COMPOSER: Hans Zimmer

ACTION/FANTASY/ADVENTURE

Starring: Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane, Kevin McNally, Sam Clafin, Astrid Bergès-Frisbey, Stephen Graham, Richard Griffiths, Greg Ellis, Damian O’Hare, Judi Dench, and Keith Richards

Pirates of the Caribbean: On Stranger Tides is a 2011 fantasy adventure film and pirate movie. It is also the fourth movie in the film franchise that began with Pirates of the Caribbean: Curse of the Black Pearl in 2003. This film draws its inspiration from the 1987 historical fantasy novel, On Stranger Tides, by Tim Powers. On Stranger Tides the movie has the world’s most infamous pirates on a quest to find the Fountain of Youth.

After failing to rescue his first mate, Joshamee Gibbs (Kevin McNally), Captain Jack Sparrow (Johnny Depp) is taken before King George II of England (Richard Griffiths). The King forces Jack to guide an expedition to find the Fountain of Youth. Much to his chagrin, Jack discovers that his old nemesis, Captain Hector Barbossa (Geoffrey Rush), is heading the expedition.

Jack escapes and learns that someone is pretending to be him and is enlisting a crew for a rival expedition to find the Fountain. Then, he crosses paths with a woman from his past, the lovely Spaniard, Angelica (Penelope Cruz), and her father, the ruthless pirate, Blackbeard (Ian McShane), who uses voodoo magic and possesses supernatural powers and a magical sword. Kidnapped and taken aboard Blackbeard’s ship, the Queen Anne’s Revenge, Jack is forced to guide Blackbeard’s expedition to find the Fountain of Youth. This journey will take Jack places where nothing is as it seems and connect him with people who never tell the truth. And who is more dangerous – Blackbeard or Angelica?

I avoided going to the theatre this past summer to see Pirates of the Caribbean: On Stranger Tides because, quite frankly, I’d had enough of the franchise. I liked the first film; really hated the second (Dead Man’s Chest); and really liked the third (At World’s End), but I was exhausted of the repeated showings of the films, especially the second and third, on various cable networks.

The first good move the filmmakers made with On Stranger Tides was to strip it down of characters and elements. It’s still ostentatious and is still filled with big set pieces, big action scenes, and big characters, and there are actors willing to give the kind of loud performances that bring these flamboyant characters to life.

After saying that, I know that it is hard to believe that it is possible for this gaudy, immodest Hollywood franchise to be stripped down. However, only three characters from the earlier films return for On Stranger Tides: Jack Sparrow, Hector Barbossa, and Joshamee Gibbs. Rather than have several subplots stretched over multiple locales, On Stranger Tides focuses on Sparrow, Barbossa, Blackbeard, and Angelica’s quest to find the Fountain of Youth, which involves only three locales: England, the sea, and Whitecap Bay (the area where the Fountain can be found). Screenwriters Ted Elliot and Terry Rossio basically create a straight line from mission start, the quest, and the goal – beginning, middle, and end – without too much in the way of side stories or sidetracks.

I think the addition of two fine actors, Ian McShane and Penelope Cruz as Blackbeard and Angelica respectively, was the move that paid off most for On Stranger Tides. Both are good characters and they add freshness to this franchise. It is as if On Stranger Tides exists outside the other films, which is a good thing. The audience doesn’t need to have seen the other films to enjoy this one. Indeed, some may need to forget the first three in order to give this lively and entertaining, big budget flick the benefit of the doubt.

Pirates of the Caribbean: On Stranger Tides is everything you liked about the Pirates of the Caribbean franchise (exotic locales, eccentric characters, the supernatural, etc.) without a horde of characters. Now, there is no reason not to like it.

7 of 10
B+

Friday, November 25, 2011

Review: "Batman: Mask of the Phantasm" is Better Than Some Live-Action Batman Movies (Happy B'day, Kevin Conroy)

TRASH IN MY EYE No. 239 (of 2004) by Leroy Douresseaux

Batman: Mask of the Phantasm (1993) – animated
Running time: 76 minutes (1 hour, 16 minutes)
MPAA - PG for animated violence
DIRECTORS: Eric Radomski and Bruce Timm
WRITERS: Alan Burnett, Paul Dini, Martin Pasko, and Michael Reeves; from a story by Alan Burnett (based upon characters appearing in DC Comics and Batman created by Bob Kane)
PRODUCERS: Benjamin Melniker and Michael E. Uslan
EDITOR: Al Breitenbach

ANIMATION/SUPERHERO/ACTION/MYSTERY with elements of drama

Starring: (voices) Kevin Conroy, Dana Delany, Mark Hamill, Hart Bochner, Stacy Keach, Jr., Abe Vigoda, Dick Miller, John P. Ryan, Efrem Zimbalist, Jr., Bob Hastings, Robert Costanzo, and Marilu Henner

Batman: Mask of the Phantasm is a 1993 animated superhero feature film. It is a spin-off from the Batman: The Animated Series, the Emmy Award-winning television series that ran from 1992 to 1995.

There is a new killer in Gotham City, a costumed murder dubbed The Phantasm (Stacy Keach, Jr.) who murders a group of crime bosses. Because of the killer’s dark appearance, he is mistaken for Batman (Kevin Conroy). An ambitious city councilman, Arthur Reeves (Hart Bochner), sends the Gotham police force after Batman. Implicated in the murders, the Dark Knight must solve the mystery of The Phantasm’s identity.

However, a complication arrives in the life of Batman’s civilian identity, Bruce Wayne (Conroy), when a former fiancée, Andrea “Andi” Beaumont (Dana Delany), comes back to Gotham. How she is connected to The Phantasm’s killing spree and how Bruce Wayne’s past figures into the case are just a few questions Batman must answer… and the Joker’s (Mark Hamill) in town gumming up the state of affairs.

Batman: Mask of the Phantasm is the best Batman feature film to date, and it’s probably the least seen movie version of the venerable comic book character because the film is animated. Truthfully, animation is usually the best medium with which to adapt a comic book. Animation lends itself to the exaggeration and color fantasy settings in which comic book characters and worlds work best.

Based upon the popular animated television series, “Batman” – best known as Batman: The Animated Series” – which began in 1992, Mask of the Phantasm has all the creative talents who made the TV series so popular (and honored) behind it. In fact, the film was originally planned to be a direct-to-video release. Thus, it lacks the punch of a theatrical film, as the filmmaker’s didn’t have enough time to rework it and throw in the pyrotechnics movie audiences expect of theatrical films. However, Mask of the Phantasm is highly entertaining, and its dark and moody atmosphere is more genuine than any other Batman theatrical release. The drama is moving, and the mystery is palatable, absorbing, and suspenseful, certainly more so than that of the other Batman live action films. While appropriated for most children six and above, the film’s storytelling is mature enough (without being vulgar) to intrigue older viewers.

The quality of the animation wasn’t close to that of the best theatrical releases from Disney (or the many animated films directed by Don Bluth from the late 80’s to mid 90’s), but it was some of the best animation on TV for its time. The program’s color palette and art deco design made it a favorite among both animation and comic book professionals and fans. All of that carries over to the film, so Batman: Mask of the Phantasm is as good as the animated TV series. Since the film is longer, that makes it a special treat.

7 of 10
B+

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Review: "The Muppet Movie" Still Moves Me

TRASH IN MY EYE No. 96 (of 2011) by Leroy Douresseaux

The Muppet Movie (1979)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – G
DIRECTOR: James Frawley
WRITERS: Jack Burns and Jerry Juhl
PRODUCER: Jim Henson
CINEMATOGRAPHER: Isidore Mankofsky
EDITOR: Chris Greenbury
COMPOSER: Paul Williams
SONGS: Paul Williams and Kenny Ascher
Academy Award nominee

FANTASY/COMEDY/ADVENTURE/FAMILY

Starring: The Muppets, (voices) Jim Henson, Frank Oz, Jerry Nelson, Richard Hunt, Dave Goelz; Charles Durning, Austin Pendleton, Edgar Bergen, Mel Brooks, Dom DeLuise, Elliot Gould, Madeline Kahn, Steve Martin, Cloris Leachman, Richard Pryor, Bob Hope, James Coburn, Milton Berle, and Orson Welles

The Muppet Movie is a 1979 live-action, comic fantasy film and musical. This Oscar-nominated film stars The Muppets, the puppet characters created by the late Jim Henson, specifically the characters that appeared on the television series, “The Muppets” (1976-81). A film-within-in-a-film, The Muppet Movie tells the story of how The Muppets came together, or, as Kermit the Frog says, “It’s sort of approximately how it happened.”

The film begins with Kermit the Frog (Jim Henson) relaxing in a Florida swamp on a sunny afternoon, when a Hollywood agent tells him that he should pursue a career in Hollywood. Inspired by the idea of “making millions of people happy,” Kermit begins a cross-country journey, at first by bicycle. After an accident, Kermit teams up with Fozzie Bear (Frank Oz) and resumes the trip in Fozzie’s Studebaker. Along the way, they pick up fellow travelers like The Great Gonzo (Dave Goelz) and his mate, Camilla the Chicken (Jerry Nelson), and of course, Miss Piggy (Frank Oz).

Meanwhile, the villainous Doc Hopper (Charles Durning) and his assistant, Max (Austin Pendleton), pursue them. The Colonel Sanders-like Hopper is the owner of a “French-fried frog legs” fast food franchise, and he wants Kermit to be the new spokesman for the franchise. After Kermit says no, Hopper chases him, making offers that become increasingly threatening.

Prior to this recent viewing, I had not seen The Muppet Movie since the early 1980s (I think), but I remember liking it. I wasn’t sure how I’d feel about it now, but it turns out that I still love the movie. Is the reason nostalgia? No, The Muppet Movie is simply an excellent film. As a film musical, it has terrific songs from Paul Williams and Kenny Ascher, and three of them (“Rainbow Connection,” “Movin’ Right Along,” and “Can You Picture That?”) are great.

As a comedy, it is sharp and smart, surprisingly so for a film that is aimed at children, although “The Muppet Show,” was meant to appeal to both children and adults. There is sly innuendo, clever word play, and snappy dialogue. The film even offers satire, such as its skewering of the desire to be famous for entertaining.

And hell, ya’ll, it’s the Muppets. What could be unlikable about them? I look forward to my next viewing of The Muppet Movie, and I want to encourage you, dear readers, to see it if you haven’t already or to just see it again.

8 of 10
A

NOTES:
1980 Academy Awards: 2 nominations: “Best Music, Original Song” (Paul Williams and Kenny Ascher for the song "The Rainbow Connection") and “Best Music, Original Song Score and Its Adaptation or Best Adaptation Score” (Paul Williams and Kenny Ascher)

1980 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Paul Williams and Kenny Ascher for the song "Rainbow Connection")

2009 National Film Preservation Board, USA: “National Film Registry”

Monday, November 21, 2011

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