Wreck-It Ralph (2012)

WHAT IF YOU WORKED at the same job for 30 years, with no change in your routine or position, and no acknowledgement from your co-workers – ever? Would you look to break free and find a better life?

That’s the premise of Wreck-It Ralph, Disney’s 52nd animated feature film. Tired of smashing buildings for 30 years as the bad guy in the arcade game Fix-It Felix, Jr., Ralph (John C. Reilly) leaves and explores other games in his arcade, in search of being a hero. After stealing the medal from the first-person shoot-‘em-up Hero’s Duty, Ralph frantically escapes and lands in the racing game Sugar Rush, with Felix (Jack McBrayer) and Hero’s Duty’s Sergeant Calhoun (Jane Lynch) in hot pursuit.

Gamers from Generation X and younger will drool over the abundance of game titles and characters that pop up in the first act of Wreck-It Ralph, especially during the 30-year time lapse of Ralph’s arcade (titles go buzzing by) and the early scenes of Game Central Station, where characters from arcade games old and new cross paths on their way home from work.

What’s largely missing from the second act of Wreck-It Ralph is what Pixar seems to have sucked from Disney’s films over the last two decades: character development. For quite a while, the film is largely plot-driven, as we sit back and watch Ralph jump around the various video game worlds and meet all walks of digitized life, including Vanellope (Sarah Silverman), a glitchy little girl from Sugar Rush who has dreams of being a racing champion. As two kindred misfits, she and Ralph make a deal to help each other get what they want, and the action continues…

…until the third act, which begins with Ralph doing something that seems devastatingly cruel to Vanellope, yet makes us leap to where we should be in terms of caring for the characters. We hope Ralph will learn the truth about Sugar Rush’s mysterious past and help Vanellope achieve her dreams before the finale, which culminates in a one-two punch of a fantastic car race (including a huge reveal of the film’s true villain) coupled with the impending destruction of Sugar Rush from a horde of giant cyber-bugs Ralph accidentally brought in from Hero’s Duty.

Looking back on all the buzz that preceded Wreck-It Ralph’s release, there was no way for it to live up to the hype. But it still delivers in terms of pure entertainment. Some name-calling and poop jokes aside, it’s hopefully another solid step in Disney’s emergence from Pixar’s shadow and back to the quality animated storytelling they hinted at with Bolt a few years back.

Rating:

What did FilmBoy and Jack-Jack think?

FilmBoy loved Wreck-It Ralph – he and I couldn’t stop talking about it as we left the theater. His affection for video games and their characters surely played a part. Jack-Jack thought the film was “weird,” but couldn’t elaborate. The plot details and continuous action may have been a lot for him to process as a 6-year-old.

Is it suitable for your kids?

Wreck-It Ralph is rated PG for “some rude humor and mild action violence.”
Violence/Scariness: Heavily armed soldiers shoot at giant cyber-bugs, some of which grow machine gun arms and shoot (no one is hurt). A character comically pulls a zombie's heart out of his chest, then puts it back. In another comic scene, Calhoun punches Felix several times, giving him black eyes, broken teeth, and bruises (they heal immediately when he touches his face with his magic hammer). In a brief flashback, a character is eaten by an alien bug. Calhoun and Ralph occasionally punch others and destroy their surroundings. Vanellope drives her car into a wall and comically spits out a tooth (no blood). Mean girls tear apart Vanellope’s car, which Ralph helps rebuild but then destroys himself because he’s told that racing it could kill her (she sobs and calls him names). The film’s villain makes a final appearance in a mutated form that could be scary to young children. A little girl transforms into a princess and tells other girls they will be executed for being mean; she then says it was a joke. There’s talk about characters dying permanently outside of their own video games; a few scenes show characters in life-threatening situations.
Language: There’s frequent use of insults and name-calling, including “I hate you," "shut your chew hole," "pussy willows," "doody," "numbskull," “moron,” “idiot,” “dumb,” “stupid,” “diaper-baby,” “stinky brain,” and my personal favorite, “Miss Fartfeathers.” Rude humor includes mentions of “puke,” “butt load,” and a running joke about Hero’s Duty (as in “doody.”).
Alcohol: A character pours himself a martini. A scene takes place in a game called Tapper, in which characters drink root beer from beer mugs. Characters are also briefly seen drinking at a dance party.
Adult situations: Two characters exchange a passionate kiss in two different scenes.

Will your FilmMother want to watch it?

Even if she’s not a serious gamer, she’ll love Wreck-It Ralph: endearing characters on a fantastic adventure, with several tender moments served up along the way. (Also, Disney, if you’re reading this: My wife said she would love to play the game Sugar Rush for real. Get on that, please.)

In one of these hands, I’ve got Q*Bert.

Go ahead…guess.

I SAID GUESS!!!

Wreck-It Ralph
* Directors: Rich Moore
* Screenwriters: Phil Johnston, Jennifer Lee
* Stars: John C. Reilly, Jack McBrayer, Jane Lynch, Sarah Silverman
* MPAA Rating: PG


Rent Wreck-It Ralph from Netflix >>

Sleeping Beauty (1959)

RECENTLY, JACK-JACK’S kindergarten class went on a field trip to see a children’s play.

But when I heard the play was Sleeping Beauty, I grew concerned. I’ve documented my boys’ track record of anti-princess sentiment, so I was worried he may not care for the play. Turns out, he really liked it.

Hoping to capitalize on this, I showed Jack-Jack my pristine, barely used, 50th anniversary DVD of Sleeping Beauty I bought from our local library for $3 (that’s not a typo). He was fascinated, carrying it around the house for several days, staring at the box art.

Yet as the whole family sat down to watch Sleeping Beauty, I wondered if it could capture the attention and imagination of two young boys more than half a century after its release…

Sleeping Beauty follows 16-year-old Princess Aurora, who’s put in the care of three bumbling fairies to avoid the curse of being cast into a deep sleep by the evil witch Maleficent – a curse that can only be broken by true love’s first kiss.

Some of the plot developments in Sleeping Beauty are a bit odd by today’s standards…

• When Maleficent declares, during Aurora’s infancy, that she will curse the princess on her 16th birthday, the king and queen give her to the three fairies to raise until she turns 16 (though parents of teens may agree with this technique).
• On the eve of Aurora’s 16th birthday, the fairies send her out into the woods – unchaperoned – so they can plan her birthday party. (What could possibly go wrong?)
• Prince Phillip, who’s destined to wed Aurora in an arranged marriage, may want to check the statutes in his kingdom concerning his plans to wed a 15-year-old minor.

What’s interesting is that while Sleeping Beauty (aka Princess Aurora) gets top billing, it’s the three fairies who carry the film. In fact, Aurora is virtually a bit player in her own movie; she’s more of a plot device than a fully developed character.

Is this movie old? Yes, it is. But thanks to an amazing transfer full or rich, vibrant colors, it looks very new. And the animation is classic Disney in every way possible: fluid character movements surrounded by gorgeous set pieces and backdrops.

Aside from the antics of the fairies, the wickedness of Maleficent, and the climactic battle, Sleeping Beauty plays a bit quiet. However, the last ten minutes are truly exciting as Prince Philip faces off against Maleficent in the form of a fire-breathing dragon (her, not him).

With Sleeping Beauty, there’s not much more you could ask for from a classic Disney movie: a prince, a princess, cute and funny animals, comedic relief, an evil queen, and a fairytale ending.

So did it capture the attention and imagination of my boys? The answer is yes. Maybe not a resounding yes…let’s call it a confident, admirable yes.

Rating:

What did Dash and Jack-Jack think?

Sleeping Beauty was a tougher sell for Dash than Jack-Jack. He almost declined to watch it with us, but finally agreed. While he did sit through it without protest (and actually seemed to enjoy it), I doubt he’ll ask for a second viewing.
For his part, Jack-Jack did like Sleeping Beauty. But due to my hard sell of the dragon, he asked “Where’s the dragon?” or “Is the dragon coming soon?” several times.

Is it suitable for your kids?

Sleeping Beauty is rated G, and is largely appropriate for all ages. Some minor concerns for small children: Maleficent can be menacing at times; one of the king's servants gets tipsy on wine; Maleficent declares that she is summoning “all the powers of Hell;” a dragon is stabbed by a sword, with some blood coming from the wound.

Will your FilmMother want to watch it?

Hmm...does she like Disney? Does she like princesses? Do you know I’m asking these questions rhetorically?

SPOILER ALERT!!!

Sleeping Beauty
* Director: Clyde Geronimi
* Screenwriter: Erdman Penner
* Stars: Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Taylor Holmes, Bill Thompson, Marvin Miller
* MPAA Rating: G


Rent Sleeping Beauty from Netflix >>

The Muppets (2011)

REALITY CHECK: There are now generations of children who haven’t been properly exposed to the special brand of adorable anarchy that is the Muppets. This is a crime.

Apparently, actor Jason Segel (Forgetting Sarah Marshall) felt the same way. Drawing on his fond childhood memories of the original Muppet movies and The Muppet Show, he championed a new feature film for his formerly famous felt friends (fun fact: I love alliteration). That film, simply titled The Muppets, opened over the Thanksgiving holiday.

Plot:
The premise is inspiring, and has one foot in pseudo-reality: The Muppets disbanded years ago, and no one has heard from (or cared about) them since. But this may change as Kermit, Fozzie Bear, Miss Piggy, and the gang reunite to throw a telethon to save the Muppet Theater from being demolished by a greedy oil tycoon, Tex Richman (a perfectly evil Chris Cooper). Leading the charge are two brothers: human Gary (Segel) and his Muppet brother Walter (voice of Peter Linz), who dreams of one day being an official member of the Muppets himself.

Critique:

In creating The Muppets, Segel (who co-wrote the script) and director James Bobin had two daunting tasks: 1) Satisfy the nostalgia of Gen X-ers raised on the original Muppet movies and The Muppet Show; 2) Hook the current generation of children who only know Muppets from the benign edutainment of Sesame Street.

Did they succeed? Regarding the latter, time will tell if there’s room today among kids’ fast-paced, CGI-laden entertainment for a bunch of felt characters who haven’t been big since the Reagan administration. But for parents who were raised on Kermit, Fozzie, and Miss Piggy’s antics, The Muppets hits all the sweet spots of nostalgia. If you’re a Gen X-er (like yours truly), you’ll feel like a kid again as the film shows clips of the old Muppet Show, pans past framed pictures of former guest hosts, and hauls out a new yet faithful rendition of “The Rainbow Connection,” the signature song from the original Muppet Movie.

Like the Muppet films that preceded it, the humor in The Muppets is very self-aware. Clever bits include traveling “by map” to get places faster, and the Muppets agreeing that a montage would be the best use of time for rounding up the remaining members of their gang to save the theater.

The Muppets works best when the humans don’t get in the way. Yes, there are human villains and a slew of celebrity cameos in the original trilogy of Muppet films (The Muppet Movie, Great Muppet Caper, and The Muppets Take Manhattan). But the Muppets didn’t share the main storylines in those films with anyone who wasn’t a fellow felt creation. While it’s understandable Segel would want to write himself into his dream project, you wonder how much leaner the film might have been had he relegated himself to a cameo or supporting role.

The Muppets’ original musical numbers by Flight of the Concords’ Bret McKenzie are good, the standouts being the big opener “Life’s a Happy Song” and the hysterically overwrought “Man or Muppet.” However, the licensed soundtrack choices are trite and uninspired, including tired anthems such as “Back in Black,” “Bad to the Bone,” and “We Built This City.”

Another area that’s anemic is the lackluster roster of celebrity cameos, which in past Muppet films has been populated either by current A-listers or Hollywood royalty. To compare: The original Muppet Movie has Milton Berle, Bob Hope, Mel Brooks, James Coburn, Dom DeLuise, Madeline Kahn, Richard Pryor, Steve Martin, and Orson Welles. With The Muppets, we get Emily Blunt, Judd Hirsch, Ken Jeong, Jim Parsons, Sarah Silverman, John Krasinski, Emily Blunt, and the kid from ABC’s Modern Family. (One plus: Neil Patrick Harris’ cameo is both fleeting and funny.) You also have to wonder if kids who watch The Muppets generations from now will know or remember Jack Black (Kung Fu Panda 2), the “celebrity host” (emphasis on the air quotes) that the Muppets get to emcee the telethon.

Soundtrack and celebrities aside, nearly everything about The Muppets feels right. It’s fun to watch, and it exposes today’s kids to the joys of Muppet mayhem. After a rousing finale, the audience in our theater applauded. And as we left the theater, I was happy.

But once we got home, the cinematic equivalent of buyer’s remorse set in. Did Segel and Bobin just use a large chunk of Muppets nostalgia to make their movie work? Aside from some new, uneven musical numbers, what did they bring to the Muppet legacy to re-establish it, as was surely the plan with this project?

Look at it this way: Midway through The Muppets, Miss Piggy declares they’re going to get a celebrity host for their telethon “by any means necessary.” The same goes for the film itself. If it means nostalgically hijacking the Muppet memories of Gen X-ers to get a new generation of kids to know, cherish, and bond with Kermit and company, fine. Whatever it takes. The truth is, as you’re watching those memories unfold on screen, you won’t care. You’ll just be happy to see the Muppets again – and that today’s generation of kids can now discover what they’ve been missing.

Rating:

What did Dash and Jack-Jack think?

They loved The Muppets, laughing frequently and eating up the antics. Some of the plot logistics may have gone over their heads, but it didn’t faze the fun they were having – though Jack-Jack was quick to point out, upon Fozzie demonstrating his “fart shoes:” “See, that’s why it’s rated PG.”

Is it suitable for your kids?

The Muppets is rated PG for mild rude humor, aka the aforementioned fart shoes. Aside from those shoes, a comical fistfight breaking out at a relaxation center, and some menacing by Cooper’s Tex Richman, there’s nothing terribly inappropriate for kids.

Will your FilmMother want to watch it?

Absolutely. And she should. Despite its minor flaws, she’ll love The Muppets. See it as a family; if you don’t have kids, see it as a couple. It’s worth it.

"Wow, there it is...where all the Oompa-Loompas make Everlasting Gobstoppers..."
"Uh, Gary, you're thinking of a different place..."

The Muppets
* Director: James Bobin
* Screenwriters: Jason Segel, Nicholas Stoller
* Stars: Jason Segel, Amy Adams, Chris Cooper, Jack Black
* MPAA Rating: PG


Rent The Muppets from Netflix >>

Cars 2 (2011)

I’M SURE I’M NOT ALONE when I say I have two boys under the age of ten who love Pixar’s 2006 release Cars. It’s a near-perfect match for young boys: A cartoon movie about talking cars, fast races, and the true meaning of loyalty and friendship. (And to my wife’s satisfaction, the meanest villain is merely an obnoxious cheater.)

So when Dash heard there was going to be a Cars 2, we knew we’d be going to see it the moment it hit theaters. It’s Pixar, they’re characters our family loves, and it’s based on Pixar’s most kid-friendly film. It’s bound to be great, right?

Right?

Plot:
Star racecar Lightning McQueen (Owen Wilson) and his best friend, tow truck Mater (Larry the Cable Guy), head overseas to compete in the first-ever World Grand Prix. But the road to the championship is filled with potholes, detours, and surprises when Mater gets caught up in an intriguing adventure of his own: international espionage. Torn between assisting Lightning McQueen in the high-profile races and being part of a top-secret spy mission, Mater's journey leads him on explosive chases through the streets of Japan and Europe, trailed by his friends and watched by the whole world.

Critique:

In various interviews, Cars 2 director (and Pixar co-founder and Disney/Pixar Chief Creative Officer) John Lassetter has said he wanted to do something completely different with this sequel compared to the original.

And therein lies the problem.

Cars 2 is far removed from what made the original so endearing (even if Cars is basically Doc Hollywood with wheels). Cars 2 is driven entirely by plot, not character – the complete antithesis of any Pixar film that came before it. To make matters worse, the plot (a battle of alternative fuel vs. oil) is far too complex and adult-centric for children to follow, much less care about.

In terms of characters, the old gang from Radiator Springs is back, but almost incidentally: Luigi, Guido, Fillmore, and Sarge join the adventure, but we only see the rest of the gang at the beginning and end of the film. Development of the main characters is also at a minimum: There are occasional hints at the special friendship of McQueen and Mater, but the sentiment quickly vanishes and we’re off to the races again (literally).

Then there’s the noise factor. While it’s expected that McQueen’s three big races will have loud engines, screeching tires, and an occasional crash, the remainder of Cars 2 is flooded with booming explosions, unrelenting action, and extended scenes of bullet-spraying violence.

The screenplay by first-time Pixar scribe (and second-time feature film writer) Ben Queen feels like it was commissioned rather than crafted. There’s near-zero character depth, and jokes often feel like they’re pulled from a sitcom, relying too often on toilet humor and double entendre.

On the plus side: In true Pixar fashion, Cars 2 is visually gorgeous, especially the Tokyo segment. There are grown-up jokes about VIN numbers, Japanese culture, and airport security that hit the mark. And the idea that all the villain cars are discontinued lemons (Pacer, Gremlin, etc.) is inspired.

Unlike Pixar’s previous, moving films like Toy Story 3, Up, and WALL-E, not one tear will be shed by anyone while watching Cars 2…except maybe tears of sadness for how badly Pixar has stumbled with this entry (which unfortunately comes out as the company celebrates its 25th anniversary).

Taking into account Lassetter’s unabashed love of cars and what makes them go vroom, Cars 2 comes off as a pet project by the boss that no one dared question in terms of its unoriginal storytelling, lack of character development, convoluted plot, and inappropriateness for children.

It’s been five years since Lassetter directed the original Cars, and a dozen years since his previous Pixar directing gig, Toy Story 2. In that time, it seems he’s either losing his touch as a director...or has lost touch with what audiences want from a Pixar film.

Rating:

What did Dash and Jack-Jack think?

Sitting through Cars 2 is an exhausting experience for filmgoers of any age, but especially for kids. Dash and Jack-Jack were restless and fidgety by the end of the second act; the endless onslaught of car chases, gunfire, and explosions simply drained them. Also, like the original Cars, this sequel clocks in at nearly 2 hours – way too long for the attention span of children.

Is it suitable for your kids?

It’s unfathomable how Cars 2 received a G rating by the MPAA. It contains even more intense action and violence than Pixar’s PG-rated The Incredibles. Nearly every car involved in espionage fires a gun, and many of the shootouts are excessive; also, several cars are tortured and killed.
In addition to the scatological humor, there’s other questionable language including threats of violence (“Lightning McQueen must be killed,” “I’m gonna make sure you stay dead”), sexually suggestive insults (“Your mother,” “Your sister”), and in the Tokyo segment, Mater hits a gong and declares, “Bang a gong, get it on!”

Will your FilmMother want to watch it?

If she’s looking for the sentiment and fun from the original Cars in this sequel, she’ll be highly disappointed.

Vee have vays uff making you like zis movie...

Cars 2
* Director: John Lassetter
* Screenwriter: Ben Queen
* Stars: Owen Wilson, Larry the Cable Guy, Michael Caine, Emily Mortimer, John Turturro, Eddie Izzard
* MPAA Rating: G


Buy Cars 2 from Half.com >>
Rent Cars 2 from Netflix >>

Leroy & Stitch (2006)

DASH GOT LEROY & STITCH ON DVD for Christmas last year, and when he eventually asked me if we could watch it as part of our weekly Movie Night, I knew I was taking my chances for a couple of reasons:

1. Direct-to-video Disney films are sketchy at best, uninspired and slap-shod money-makers at worst (though The Lion King 1 1/2 was a pleasant exception).
2. The last entry we watched in the Lilo & Stitch film series, 2003’s Stitch! The Movie, was absolutely awful – nearly killing the fun memories of the 2002 original film.

Still, I took a deep breath, popped in the DVD, and hoped for the best. (Or feared the worst, I can’t remember…)

Plot:
Since rounding up all 625 of Dr. Jumba's genetically engineered experiments in Stitch! The Movie, Lilo (Daveigh Chase), Stitch (Chris Sanders), Pleakley (Kevin McDonald) and Jumba (David Ogden Stiers) are enjoying separate vacations in the far corners of space. But when evil Dr. Hamsterviel (Jeff Bennett) returns, forces Jumba to create Stitch's evil twin (a creature he names Leroy), and plans to clone Leroy into an unstoppable army, it's up to Lilo to reunite the gang and save the day.

Critique:

While Leroy & Stitch is pretty quiet until Dr. Hamsterviel arrives, things pick up once he creates the powerful and destructive Leroy. In fact, the battles between Stitch and Leroy are actually exciting and really well-choreographed.

There are a decent amount of one-liners for the grown-ups; a climactic battle featuring Stitch and the “good” aliens versus an army of Leroys; and a great, inspired closing scene that pays tribute to Lilo’s hero, Elvis Presley.

The creative team of Tony Craig, Roberts Gannaway, and Jess Winfield (responsible for the aforementioned, lackluster Stitch! The Movie) have redeemed themselves with Leroy & Stitch. While it may not go down as a classic in the Disney pantheon, it’s an enjoyable and easily digestible 73 minutes of fun for kids and parents alike.

Rating:

What did Dash and Jack-Jack think?

They both really enjoyed Leroy & Stitch, earning it repeat viewings over the weekend after this airing on Friday night. Despite a slow start, the action and antics kept them entertained – the capper being (gross-out alert) when Leroy picks his nose with his tongue.

Will your kids like it?

Kids under ten will probably enjoy Leroy & Stitch. And despite Leroy’s tricky nose-picking, there’s no content that’s inappropriate or scary for toddlers or pre-schoolers.

Will your FilmMother want to watch it?

Leroy & Stitch will probably fall somewhere between “enduring it” and “liking it” – fun to watch with the kids, but not something she’d seek out on her own.

Yikes. Anybody remember that arcade game Robotron: 2084?

Leroy & Stitch
* Directors: Tony Craig, Roberts Gannaway
* Screenwriters: Roberts Gannaway, Jess Winfield
* Stars: Daveigh Chase, Chris Sanders, Kevin McDonald, David Ogden Stiers, Jeff Bennett
* MPAA Rating: G


Buy Leroy & Stitch from Half.com >>
Rent Leroy & Stitch from Netflix >>

The Cat from Outer Space (1978)

AS I HINTED at the beginning of my last review, there’s not much love (or nostalgia) for Disney films of the ‘70s. But as a ‘70s child, my movie-going memories and the Disney films of that decade are largely inseparable.

To wit: I remember my mom and aunt taking me to see 1978’s The Cat from Outer Space and loving it; then two years later, my sixth grade class watched it on a rainy day, erupting in applause when it ended.

Dash often balks when I want to watch movies from my childhood with him; sometimes they just don’t hold up. But I found an “in” through his love of the Binky the Space Cat books (left) by Ashley Spires; he really loves Spires’ comic-book illustrations as she tells the funny tales of Binky’s imagination and exploration.

Well, this is a movie about a cat and outer space…the timing couldn’t be better, right?

Plot:
A UFO is stranded on earth and impounded by the U.S. government. Its pilot is an extraterrestrial cat (voiced by Ronnie Schell) with a collar that has special powers, including the ability to allow the cat to talk with humans. The cat, nicknamed “Jake,” enlists the help of scientists Frank (Ken Berry), Liz (Sandy Duncan), and Link (McLean Stevenson) to reclaim and repair his ship to get back home.

Critique:

As with several favorite films and TV shows of my childhood, it seems The Cat from Outer Space is a situation where I’ve loved my memories of the film more than the film itself.

It takes 45 minutes into TCFOS until any true attempts at comedy take place, which is a mixed blessing since nearly all attempts at comedy fall flat. Out-loud laughs are at a minimum, and so is the barely-present musical score by legendary film and TV composer Lalo Schifrin. Essentially, the script and action make TCFOS feel as if it was written more as a light-hearted adult caper than a kids’ Disney film.

Berry, Duncan, and Stevenson try to keep things moving with frenzied actions and bewilderment about the whole situation (Stevenson offering the most entertainment as Berry’s mooching friend and colleague) as they try to keep Jake from falling into the hands of pursuing U.S. army troops led by Harry Morgan, here basically doing a more gruff variation of his Colonel Potter role from TV’s M*A*S*H. It all culminates in a plane-chase climax that, while sounding cool, takes for-ever to conclude.

The Cat from Outer Space is typical of the ‘70s lot of Disney live-action movies: pedestrian and slow-paced, but with just enough of a Disney touch to make it watchable (though it’s eons better than Superdad).

Tidbits:
* Sandy Duncan is allergic to cats.
* Stevenson and Morgan both played commanding officers on the TV series M*A*S*H, with Morgan replacing Stevenson when Stevenson left to star in his own show, the ill-fated Hello, Larry.
* Screenwriter Ted Key also wrote other Disney live-action films of the ‘70s, including Gus and The Million Dollar Duck. He also created the characters Mr. Peabody and Sherman for the “Rocky and Bullwinkle” cartoon series.

Rating:

What did Dash (and Jack-Jack) think?

Dash liked TCFOS just enough to stay with it, though he and I were wondering if the plane-chase climax was ever going to end. Jack-Jack lost interest near the one-hour mark, which is no surprise: a slow-moving, 105-minute live action movie can’t compete with the attention span of a four-year-old. (However, he did chime in during a foot chase involving an elevator: “I like elevators. They’re fun.”)

Is it suitable for your kids?

While The Cat from Outer Space is rated G, it’s a “’70s G,” as I call it. (The MPAA was a little less scrutinizing back then.) Depending on your sensitivities, there are a few scenes involving alcohol and tobacco, as Stevenson’s cigar-chomping character constantly barges into Berry’s apartment to steal beers and watch sports; and in a pivotal scene in a pool hall, there’s plenty of beer-drinking and cigar-smoking. Also, the climax includes some gunplay and mild peril as Berry and Duncan nearly fall out of the planes during the drawn-out plane chase.

Will your FilmMother want to watch it?

As much I may be betraying my childhood memories by saying this, I wouldn’t bother her with this one – even if she likes Disney films and/or cats.

The casting for Easy Rider 2 was looking less than promising.

The Cat from Outer Space
* Director: Norman Tokar
* Screenwriter: Ted Key
* Stars: Ken Berry, Sandy Duncan, Ronnie Schell, McLean Stevenson, Harry Morgan, Roddy McDowall
* MPAA Rating: G



Buy The Cat from Outer Space from Half.com >>
Rent The Cat from Outer Space from Netflix >>