Ani-MAY-tion Month: Robots (2005)

Shiny, bright, easy entertainment, Robots is enjoyable enough, despite the fact that it's a couple of notches below any of the better animated movies of the last decade. It's lovely to look at, with design work that holds up well alongside any other title from the decade, but just doesn't have much else going for it.

Ewan McGregor voices Rodney Copperbottom, a robot who dreams of being a great inventor. He decides to head off on a quest to impress the mighty Bigweld (Mel Brooks), the big cheese in Robot City. Unfortunately, Bigweld is no longer in charge of his own company, which is now being managed by the greedy, devious Ratchet (Greg Kinnear). Rodney still wants to meet Bigweld, and his persistence might just lead to an upturn in the fortunes of the poorer residents of Robot City (including Fender, voiced by Robin Williams).

Co-directed by Chris Wedge and Carlos Saldanha, there's a wealth of detail and gorgeousness in every scene here. The same can't be said of the script, written by Lowell Ganz, Babaloo Mandel and David Lindsay-Abaire. It's not exactly poor, but it just feels a bit flat. Even the lines rattled off by Robin Williams feel lacking in energy, especially compared to his far superior turn in Aladdin (over two decades old, but still one of the standout performances in any animated work).

While the vocal cast all do well, it's a shame that there aren't a few more easily identifiable voices. Williams is obviously Williams, and Paul Giamatti is always welcome in any movie, but McGregor provides a bland, American accent, and Kinnear seems a bit tame in a role that you'd expect him to seize with his usual relish. Brooks, great director that he is, doesn't make much of an impression as Bigweld, while Halle Berry, Jim Broadbent, Stanley Tucci, Amanda Bynes, Dianne Wiest and the rest of the cast are in the same boat. They all do a perfectly good job at reading their lines, but they're left bereft of any real personality. Funnily enough, it's Jennifer Coolidge, in a supporting role, who ends up as one of the most memorable robots, thanks to her fun character actually matching her usual onscreen persona.

Robots has all of the parts in place, all of the nuts and bolts are on, but it just put a decent motor into the gorgeous exterior. Aesthetically pleasing it may be, and a lot of the visual gags are very enjoyable, but the fact that it never fires on all cylinders (pardon the pun) means that it's unlikely to be anyone's first choice when browsing the family entertainment section.

6/10

http://www.amazon.com/Robots-Blu-ray-DVD-Digital-Copy/dp/B005KP778S/ref=sr_1_5?s=movies-tv&ie=UTF8&qid=1400183215&sr=1-5&keywords=robots

Parenthood (1989)

Featuring Keanu Reeves before he was best known from Bill and Ted and years before he was Neo, Joaquin Phoenix while he was still known as Leaf and Martha Plimpton . . . . . . when she was known, Parenthood is a fun '80s movie that holds up today just as well as it did when it was first released. It may run slightly overlong, but it's well paced with some big laughs in between all of the wry observations on the joys and perils of parenthood.

Steve Martin and Mary Steenburgen are the main characters, Gil and Karen Buckman, but the narrative also spends plenty of time with Dianne Wiest (playing Helen Buckman, single mother and Gil's sister), Harley Kozak and Rick Moranis (Gil's other sister and her partner), Tom Hulce (Gil's brother) and Jason Robards (Gil's father). The aforementioned Keanu Reeves and Martha Plimpton are a tempestuous, teenage couple (with Plimpton also being Weist's daughter in the film) and Phoenix is Wiest's sullen young son.

Directed by Ron Howard, the film benefits from both the ensemble cast and a fun script written by Lowell Ganz and Babaloo Mandel. The drama and comedy is nicely mixed together in perfect amounts, with a real little bonus for Steve Martin fans as he gets to reference his past live material in a scene that has him creating some balloon animals (yeah, maybe not worth singling out, but I've always loved that sequence more than any other part of the movie).

Everyone gets to have at least one great moment, even the wonderful Helen Shaw (playing the grandma) in the last role of her brief film career. Martin gets to have lots of fun and Steenburgen is superb, but Wiest, Plimpton, Reeves and Phoenix really end up stealing the movie by the time the end credits roll. Moranis and Kozak are both very funny as rather pushy parents, Jason Robards is as good as ever and Tom Hulce does a good job at being a bit of a selfish ass. And then there are the kids, running around and causing problems. I'm not going to say that they all give wonderful, flawless performances but they're all very good at being, well, kids. Job done.

This will definitely appeal more to those who can identify with the many unique situations that come from being a parent, but there's also plenty here to appeal to everyone else. Because we all have some kind of family, which is equally what the film is looking at for most of the runtime.

8/10

http://www.amazon.co.uk/Steve-Martin-Collection-DVD/dp/B000QJMSFA/ref=sr_1_1?ie=UTF8&qid=1374525282&sr=8-1&keywords=steve+martin

Multiplicity (1996)

Harold Ramis is a director who I can happily say has provided me with a lot of laughs. In fact, Groundhog Day is one of my favourite comedies of all time. The high concept and great lead performance from Bill Murray even managed to distract me from the fact that the female lead was played by one of my least favourite actresses ever, Andie MacDowell. In a similiar way, Multiplicity is a high concept movie with a great lead performance from Michael Keaton that manages to distract me from the fact that the female lead is played by one of my least favourite actresses ever, Andie MacDowell.

That's not the end of the common ground that both movies share. Both films show what can happen when someone is given much more time on their hands and both films, ultimately, try to convey the message that it doesn't matter how much time you have, what matters is how you use it.

Michael Keaton plays Doug Kinney, a busy man who is struggling to do well at work and keep his boss (Richard Masur) happy while also getting to spend time with his family and keep his wife (Andie MacDowell) happy. Fortunately, after a stressful incident at a site he's working on, Doug is given the chance of a miracle by Dr. Leeds (Harry Yulin). That miracle comes in the shape of . . . . . . . . . . . Doug. Well, Doug number two, to be exact. A clone. An extra Doug means that the original Doug should be able to spend more time with the family, relax occasionally and generally get more done. That's the theory anyway. In reality, things start getting more and more complicated. Maybe a third Doug could take the pressure off slightly. And a fourth?

There are a number of factors here that you can all too easily complain about. Andie MacDowell for one. The script, written by Chris Miller, Lowell Ganz, Mary Hale and Babaloo Mandel, is sharper than a lot of people give it credit for but there are also a few untidy loose ends and a number of developments that make holding your suspension of disbelief harder with every minute that goes by.

So it's a good thing that Ramis, who directs with his usual bright and breezy touch, has a good cast in place for many of the supporting roles - Yulin, Masur, John de Lancie, Eugene Levy, Brian Doyle-Murray - and then tops everything off with yet another great performance from the consistently brilliant Michael Keaton. In fact, Keaton gives four great performances, playing each Doug in the different way required to show exactly who they are. Clone number one is a more macho Doug, clone number two is a more sensitive and caring Doug in touch with his feminine side and clone number three is . . . . . . . . . . . well . . . . . . . . . he's not quite right. Keaton gets to have a blast playing all of the characters and it's a tour de force of acting that lifts the whole movie from something good to something very good and, to me, almost great.

7/10

http://www.amazon.co.uk/Multiplicity-DVD-Michael-Keaton/dp/B0001E5T6K/ref=sr_1_1?ie=UTF8&qid=1348517780&sr=8-1

Spies Like Us (1985)

When Spies Like Us first came out I remember that I rented it numerous times, running home with that chunky VHS box in my pre-teen hands and looking forward each time to the antics of Dan Aykroyd and Chevy Chase sparking off each other onscreen. And then I was always disappointed by the slow build-up and the flat patches in between the decent moments of comedy, even at that early age.

So it's no surprise to learn that the film turns out to be just the same nowadays as it seemed way back then. The story is a simple one. Chevy Chase and Dan Aykroyd are two government employees who think that they're being given a chance to be spies when, in actual fact, they're nothing more than decoys while the valued spies get on with their duties. This leads to numerous situations in which our inept leads find themselves way out of their depth and with their lives on the line.

Based on a screenplay by Dan Aykroyd, Lowell Ganz and Babaloo Mandel, Spies Like Us is clearly inspired by the Bing Crosby/Bob Hope "Road" movies and works well as a tribute. Chevy Chase is the fast-talking, bumbling half of the duo while Aykroyd is actually pretty smart and simply unequipped for a mission which the two men have not been expected to complete in any event.

Director John Landis paces things almost exactly as he paced Trading Places, except this time around there are less big laughs in the comedic moments and so the movie feels slower and "flabbier" despite a runtime of just over 100 minutes. Highlights include a selection of scenes showing our duo going through intense training, a sequence in which the two try to pass themselves off as doctors and a finale that features the funktastic sound of "Soul Finger".

Chevy Chase and Dan Aykroyd play to their strengths, you'll know already if you love or hate them, and the rest of the cast includes such luminaries as Steve Forrest, Donna Dixon, Bruce Davison, Bernie Casey, Frank Oz and, as this is a Landis movie, a number of cameos from the likes of Terry Gilliam, Ray Harryhausen, Joel Coen, Sam Raimi and many others.

Oh, and to end on a little bit of trivia, the "see you next Wednesday" that was a Landis trademark in many of his movies is seen on an army-related poster in the office of Colonel Rhumbus (played by Casey). 

6/10.

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