Anton Yelchin – Behind the Proscenium

The Smurfs

With Wit, Reviewed By Kimmo Mustonenen

What the Smurf?!?

Another Smurfing CGI poopfest of the summer of pooping Smurfed-up films?

The movie studios have Smurfed us again – right up the Smurfhole.

If animated characters take on real actors, then alarm bells should ring. Excluding again the extraordinary movie gem Beowulf (genius!), it is also already hard at all to call a movie of this kind that can convince.

Then, when a studio then tries the popular cartoon series The Smurfs and in this, is messed up, then red alert should be achieved!

Success!

Anyone who is curious nonetheless: Yes, The Smurfs is really a very weak movie that nobody has to look at – but if you do, blame only yourself (or your Smurfingly annoying mate who said it would be good – dump her now!).

Smurfs live concealed in a village, hidden from the outside world. And it also has a good reason: Among others, it has the evil wizard Gargamel (Hank Azaria) who dicks with Smurfs (not literally – it’s kids movie!). But eventually he succeeds and his cat, Azrael (who does not dick), still make the village identified and found.

During their flight, a little Smurf group, including Papa Smurf and Smurfette (whore), in a magic vortex that brings them into an alien world: New York City – in and of our time.

Then, even Smurfs can’t get a ticket to Book of Mormon (sad Smurfs). And since Gargamel was also to New York, they seek refuge with Grace (Jayma Mays – boring in Glee. Have sex with Mr. Schuester already!) and Patrick (Neil Patrick Harris – ladykiller!), who are trying to help the Smurfs on their way back.

The concept is simple: Take a well-known franchise (in this case, The Smurfs), invent a hair-raising story line and try with as simplistic gags at least a little pep in the boring construct bring.

Or not.

The Smurfs makes it quite simple and shipped the blue little people with the help of a rather cheap gimmick in our world to be found (this is confusing).

As a consequence of a classic culture clash show is taken off, but unfortunately it lacks the rear to the front of even a semi-good idea.

The highlight is when there already is a hopelessly misplaced Gargamel heedless of a braking car.

Hurp durp.

Yes, The Smurfs actually tried it with only the very stale gags that were boring 25 years ago (or more – think vaudeville… IF YOU DARE!) and have since been contradicted by constantly chewed just such ideas and soulless, embarrassing movies.

For any half-experienced viewers of the film ensures only for a large dollop of boredom and who is looking for something for children, should be no problems have a better alternative to find the pool of wonderful animated films.

Even Neil Patrick Harris fans can save the visit as the How I Met Your Mother star burned here is just merciless.

Something like The Smurfs comes out just when they (money grubbing studio tycoons like Khan Manka, Jr.) tries again every last cent out of an old franchise to push.

The story is bleh, the gags are all lukewarm damp squishy sandwich and otherwise it is primarily a high dumbness.

View may well be the only very young audience, but otherwise everyone else of the moviegoers already implemented have seen better.

If I had paid any Smurfing money to see this Smurf-fest… well, I would have yelled “Smurf off and die!” Smurfing Smurf Smurfers. So, one thumb – Smurfing… downward.

Kimmo Mustonenen (Kimmo On Kino) – Behind The Proscenium

P.S. This learned from The Glee Project – Ryan Murphy is a tool.

With wit, reviewed by Kimmo Mustonenen

“The Beaver” is nearly successful, despite the condition of his film script, which was capable I simply do not (cannot) to assume. I confess it is possible, too, that a man could be in the lowest point in the situation, to be healed, by project engineering his psyche into a hand puppet.

I am not it am possible safe, or even advisable to form a serious film over. What? We go through the film with Mel Gibson, which he carries one toothy beaver on its left hand, and which an entire lot of dis-believingness causes, so that we shift. Over.

Nevertheless is here different of Mel Gibson’s-fine achievements, an announcement that he is finally a great actor.

His personal life is in the ruins because of the illness of dipsomania (and Russians), which fights it still with (and with the Russian). He I thinks, which is responsible for his impudent acts and statements, that this is not the good man, who I saw many movies in.

Of, which I know over alcoholism, I believe that he goes through personality conflict that it is content on some days and by rage and crazy head on others used up, and that such changes are symptoms of the illness. Form your own diagnosis. I did.

It took something courage of master Jodie Foster to refer this film in Gibson. I believe that her Gibson knows, his good side and respect its talent. It was certainly the right choice for this material.

Everything, his troubles, summed by looking by her opening shot, an exhausted man, who swims on a raft in a swimming pool, his arms broad like crucified the Christian.

A voice (later uncovered, around the Beaver to be had, what?) informs us that this dark Walter is a man, thus deeply in the lowest point, it his family alienated and nearly his business destroyed. Bummer.

We meet his much-suffering Mrs. Meredith (Jodie Foster), its applied son carrier (Anton Yelchin) and its doubting colleagues. Meredith throws him finally out, not without love, but love with.

He buys a bottle, bangs into a motel, tried to kill himself and by the hand puppet (Beaver) is interrupted. It finds that the puppet has a voice, he lets it speak for him and begins to again enter his life of the previous past.

Brillianter even still, Gibson and author Kyle Killen do not form you the slightest attempt to use the illusion of ventriloquism; Gibson manipulates the puppet and speaks of its own mouth, in an admirable if unexplainable Cockney accent.

His life improves in kinds, which I leave, so that you discover, yourself. I leave you also to surprise around me if Matt Lauer in wait on a material “Today” program quite became with a hand puppet interview, as it does here. What?

A parallel plan refers carriers, which son also, whose gift, papers for schoolmates is to be written, who read, as if they were written by those class participants themselves. What?

The category Valedictorian asks it to write you a speech. If she’s (she’s a she, if that is unclear) that intelligently, why can’t write it? She’s however, that interesting to go through problems, the carriers in one discovers lateral history, bending those, to lead us away from the film’s through-line.

Which kind of the film with the same letters however “The Beaver” does not result to be? We never know.

But without “The Beaver” we would have never witnessed a sexual threesome, a hand puppet with including. Juicy.

Maintaining Gibson must be serious several times, with the production of this film, but don’t you think when filming this sex scene, the urge to suppress laugheter had too much pain? That is the deadly error in this sincere effort.

So well, as Gibson is, his character is gotten caught still between the tragedy of the man and the absurdity of “The Beaver”.

One thumb waiving high. Two, but for the missing of Ginnifer Goodwin. She should be in every film.

Even Fast and the Furious Five, which I will be reviewing soon.

Kimmo Mustonenen – Behind The Proscenium
Follow @KimmoMustonenen

Tag: Anton Yelchin

The Smurfs [REVIEW]

The Beaver [REVIEW]