Blog Archives

Baby Mama (2008)

2008 is becoming a year dominated by Tina Fey. She won three Emmys for her Best Comedy TV series 30 Rock, including writing and acting, and her dead-on portrayal of vice presidential candidate Sarah Palin has branded the public perception of this political figure. Baby Mama is a mildly entertaining comedy that works because of the finely honed chemistry between Fey and her former Saturday Night Live co-star, Amy Poehler. The movie is at its best when these two women can play off one another. The banter isn’t laugh-out-loud funny but provokes plenty of smiles and chuckles. The movie goes in an unforeseen direction in the third act that attempts to raise the stakes through drama, but it feels like a disappointing direction for what is essentially a female buddy comedy. The jokes flow at a steady pace and the movie has a great supporting cast of big names that know how to leave their mark, like Steve Martin as a daffy New Age CEO and Sigourney Weaver as a amazingly fertile boss.

Nate’s Grade: B

Fantasia 2000 (2000)

The first updating of long gone Walt Disney’s dream anthology hits the IMAX screens in a resounding fury of classical music and first rate animation. Like its predecessor though, it’s uneven in its quality. Some segments are more impressive or creative than others. In the 2000 redux the best of the best would be characterized by “Rhapsody in Blue,” a Gershwin blues number brought to stunning life by characters of simplicity yet definition. The animation on each is commendable and different from the next segment to follow it. “The Sorcerer’s Apprentice,” the only segment from the original to be included, shows its wrinkles and grain more than ever when blown to IMAX’s wide canvas. The standout, to me anyway, was clearly the final segment closing the just-over-an-hour animated orchestra called “The Firebird.” The imagery and animation are so sleek and beautiful that I thought I was going to break down by how stupendous the artwork was. This is a tale that leaps from the screen and lets you share some of the beauty with it – further enhancing the festival of the Mouse. Without these stand alone segments this ballet of song and ink would be rather adequate and nothing more, but with the addition of these two marvelous segments it becomes something worthwhile… at least for 20 minutes. Hey, it’s the most exposure classical music will get on the youth of today.

Nate’s Grade: B

The Prince of Egypt (1998)

Holy Moses, a Bible story made for a mass audience? The first animated feature from the folks at Dreamworks is ambitious, and crazy enough… it just might work. I’ll start right off by saying hands down this is great animation. The scenes are constructed with beauty and at certain times I did had something stirred inside me from the wondrous eye-candy. People look like people, not sketched cartoons. The animation and movement are so lifelike and fluid that you’ll easily be lost inside it and forget you are indeed watching a film people drawn by hand.

But while the visuals are lavish and splendid and just about every other adjective you can think of, the story suffers. The head folks had difficulty using the story of Moses because three separate religions use that story for their own purposes and beliefs. The trick is not pissing off any of the religions, and the end product is a very vague and gentile Sunday School lesson. They give you the message to believe, but believe in what? It’s never explained. The main characters tread over the thin ice of religious ire, and because of that intimidation they are often vague in descriptions and purpose. The idea of faith is pretty much gagged and taken away to be replaced with the supposedly more noble (and note; more universally agreed upon) issue that slavery is bad. You can’t help but feel a little like the producers chickened out with the material and hid behind the idea of slavery to not rise anyone’s blood pressure over a cartoon tale.

By making Ramses (Ralph Fiennes actually getting his second chance this decade to persecute Jews in a movie) and Moses (Val Kilmer, who also surmises the voice of God, but if God were Kilmer don’t you think he would’ve passed on The Saint?) not so black and white you have established that they are indeed people and both have their reasons for what they each do. You can see the motives and understanding for each, plus the tension and drama gets a shot in the arm.

While the music and message can be easily passable they can’t detract from the greatness that this movie projects with its simple and marvelous visions. You may gasp when the Red Sea is parted. I must confess though after multiple viewings on DVD the story and songs are indeed growing on me as is my impression of the film. This movie is more effective on your TV screen than the big screen.

Nate’s Grade: B