Mr. Peabody & Sherman
This adaptation of Jay Ward's 1960s cartoon is sweet and bombastic, clever and weirdly reactionary.
The title of Anthony Minghella's dour "Breaking and Entering" is a metaphor. How do we know this? Well, for one thing, there's a burglary right at the start.
And the central character himself, Will Francis (Jude Law), demonstrates a fondness for metaphors in his dialogue. He's so fond of them that he even tells us he is fond of them in a climactic speech: "I don't even know how to be honest anymore. Maybe that's why I like metaphors." Then he goes on to describe a metaphor, where a circle represents his family, but it's also an enclosure or a cage, and he wants to feel comfortable in it but sometimes he feels trapped in it and sometimes he feels excluded from it. [...]
In the press notes, Jude Law spells it out: "The argument is: Is it worse to steal somebody's computer or is it worse to steal somebody's heart?" That's not even a decent metaphor (although, to be fair, the film is not about organ theft). It's simply an algebraic formulation: a > b or b > a, where "a" is "computer," "b" is "heart" and the nature of the relationship is "worse"?
Expressed in those terms, "Breaking and Entering" Full review at RogerEbert.com
Scott Jordan Harris argues that disabled characters should not be played by able-bodied actors.
Chaz writes to Roger about attending the Oscars without him.
Gerardo Valero looks at George Lazenby's only outing as James Bond, "On Her Majesty's Secret Service".
The Unloved, Scout Tafoya's video essay series about critically reviled films that deserve more respect, continues wi...