Autumn is supposed to be the time when big entertainment gives way to smaller, character-driven dramas with an eye on Oscar. So why, then, have we been given three films in the last three weeks that are vastly more entertaining than just about anything that came out over the summer? I’m referring to Tim Burton’s Corpse Bride, Wallace & Gromit: Curse of the Were-Rabbit and Serenity.
With so much magic hitting the big screen lately, I’m compelled to use this forum more to abandon objectivity and gush about stuff I like. And right now the thing at the top of that list is DreamWorks Animation’s and Aardman Animations’ Wallace & Gromit: Curse of the Were-Rabbit. For anyone who’s a fan of director Nick Park’s Academy Award-winning, clay-animated shorts, going to see this feature-length adventure is like catching up with old friends. However, the movie stands so well on its own that newcomers can easily jump on board and delight in the world of cheese-loving British inventor Wallace and his bemused beagle buddy, Gromit.
It’s not hyperbole to say that Wallace and Gromit are a classic comic duo on par with the likes of Laurel and Hardy, Abbot and Costello and Martin and Lewis. They’ve certainly earned that distinction with this latest outing, which features amazing animation, loveable characters, clever writing and a great story to boot.
In Wallace & Gromit: Curse of the Were-Rabbit, we find the title pair the proprietors of Anti-Pesto, a humane pest control company currently employed in ridding gardens of hungry bunnies as the town’s annual vegetable growing contest nears. During a service call, Wallace falls for Lady Tottington (Helena Bonham Carter) and makes an enemy of Victor Quartermain (Ralph Fiennes) a huntsman and social climber who’s after a chunk of the Tottington fortune. More trouble arises when the town is terrorized by a mysterious beast that is gobbling up every bit of produce, even those cleverly guarded by Anti-Pesto devices.
One of the best things about the film (directed by Nick Park and Steve Box) is that the humor comes from the characters and not from a barrage of pop-culture references that are already worn out. Even the sight gags and prat falls are fresh enough to ensure laughs over multiple viewings, and you will want to see this one more than once. There are big laughs for adults all the way through, and kids are sure to stay riveted to their seats by the brisk pace, vibrant colors and breathtaking action sequences. This is everything you could want from an animated comedy romp.
Speaking of romps, I would be remiss to not mention Serenity, Joss Whedon’s big-screen treatment of his erstwhile sic-fi series, Firefly. I can’t lay claim to being a Browncoat, a member of the show’s loyal legion of fans, but I can see why Whedon and his characters have generated such a following.
Nathan Fillion is great as Mal Reynolds, captain of a flying rust bucket dubbed Serenity. The title spaceship is home to a riff-raff crew that has taken to pulling heists after fighting a losing war against the Universal Alliance, an interplanetary governing body that employs horrific means to ensure peace throughout the universe. One of the Alliance’s experiments is a young telepath named River, who is busted out by her brother and harbored aboard Serenity for a fee. With the Alliance hot on their trail, Mal and his team also have to deal with the Reavers, a particularly nasty horde of cannibals that make the Klingons look like Teletubbies.
Serenity is equal parts space opera and classic Western, and Mal nicely fills the spot left vacant by Han Solo. He’s the kind of cowboy absolutely would shoot first in a cantina, and is never at a loss for a clever quip. Whedon’s writing is sharp and fresh, even if his plotline involving the brother-and-sister team is less engaging than the relationships between the Serenity crew members.
Don’t expect Revenge of the Sith-sized effects from Serenity. Zoic Studios and Rhythm & Hues do a fantastic job of bringing the alien worlds and space battles to life, but the modest budget works in the film’s favor. The producers don’t use digital technology to throw everything and the kitchen sink at the screen, so we’re left with a more stripped-down sci-fi vision that relies more on its script and actors to engage the audience. Serenity isn’t a perfect film, but it’s a great start to what I hope will be a franchise. Now if only the Jim Henson Co. can get its cancelled SCI FI Channel series Farscape resurrected on the big screen…
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