Film

'Bee' Provides a Pleasant Buzz

BEE MOVIE (dir. Steve Hickner & Simon J. Smith)

While it may seem like blasphemy to say it, the comedic allure of Jerry Seinfeld remains elusive to some of us. As a stand-up, he was merely acceptable, the kind of observational whiner that’s become something of a satiric spoof all its own. His self-named sitcom, the often described “show about nothing”, has gone from must-see TV to a Borat level of hindsight marginalizing. Even his post-boob tube work has been lamentably unsatisfactory, failing to give fans and those who never bought into the hype the brazen witticisms they once loved. Now the one time small screen icon is making the leap to silver, albeit in an anthropomorphized, CGI form. Playing the title insect in Dreamworks’ Bee Movie, he hopes to draw a more sophisticated crowd to what has been, traditionally, kid-oriented fair. He may actually succeed.

After graduating from bee college, young drone Barry B. Benson and his cousin Adam Flayman can’t wait to get a job in the hive’s honey manufacturing concern. But when they learn that the career they choose will be the one they have for their whole life, Barry balks. Traveling with the Pollenjocks who work outside among the flowers, our hero gets his first taste of what it’s like in the real world. Of course, there are specific rules if a bee finds themselves among humans. Never talk to people, and never sting them. Both missteps could be fatal. When he’s almost killed by a lunkheaded yuppie named Ken, Barry is saved by Vanessa, a good natured florist. Violating the mandates of the colony, the little bug strikes up a friendship with the attractive young girl, and it’s not long before the pair is hanging out, sharing insights into their species. But when Barry learns that humans eat honey, and that his fellow insects are enslaved to make the succulent elixir, he becomes furious. In order to save his kind’s byproduct, he does the only thing a tiny pest can – he sues the honey companies in court.

While never as clever as it thinks it is, and lacking the internal logic that makes a Pixar project hum with indescribable brilliance, Bee Movie is still a witty, imaginative romp. It offers Jerry Seinfeld in “trying too hard mode” and a wealth of talent being patently underutilized. Unlike other CGI cartoons that rely on stunt casting to give its characters inferred life, Bee Movie simply lets actors do their job, with such noted names as Oprah Winfrey, Kathy Bates, and Matthew Broderick accomplishing what they can. Sure, there are moments of abject obviousness, as when the bullying, overbearing and incredibly obese lawyer starts speaking with…John Goodman’s voice, and nothing can hide Renee Zellweger’s noxious, nasal bleat (she’s a real weak link here as the human Vanessa). But any film that gets Sting to make fun of his nom deplume, or Ray Liotta to riff on his tripwire reputation, can’t be all bad.

Actually, Bee Movie is a lot like Antz except with a younger multi-millionaire mensch substituting for Woody Allen. There is the same unexceptional imagineering, the individuals behind the scenes thinking that turning nature into something corporate and mechanized means fresh and novel. As the various honey-based conglomerate logos spin by, as we see the hive as some sort of wacked out widget production palace (complete with bugs who collect the last drop of sweet stuff from the vats) the slightly sloppy shortcutting shows through. When dreams and closet dwelling creatures were explained in the masterful Monsters Inc. you never got the impression that the warehouse of doors was a half-baked notion. But the sticky amber liquid comes to represent so much in Bee Movie that the lack of magic tends to take away from the premise. Indeed, the first 20 minutes more or less tread nectar, waiting for Seinfeld’s Barry to finally fly outdoors.

Once our yellow and black hero interacts with Vanessa and begins to learn the ways of humans and the world outside the hive, Bee Movie begins to click. Granted, such surreal setpieces as a trial, an airplane emergency, and a decimated Central Park are hardly the stuff of animated hilarity, but props should be given to Seinfeld and the other writers for taking the genre in a different, more grown up direction. While it can’t match what Brad Bird has done with a similar, maturing storytelling style (as witnessed by the brilliant Incredibles and Ratatouille), Bee Movie is better than the lame brained, pop culture cribbing of Shrek. In fact, unlike the entire joke-a-thon style of the overly busy Fox CG films, there are moments of quiet elegance and sly satire here.

Of course, not everything works. Some of the more subtle jabs will fly over the heads of wee ones (the whole concept of Barry’s parents fretting over Vanessa being “Bee-ish”, the Larry King parody) and there are numerous gags that just don’t work. In fact, a good percentage of Bee Movie is not what one would call laugh out loud funny. Instead, like much of what Seinfeld represents, there is a thinking man’s level of wit here that keeps the snickers at arms length. We get what the film is driving at, and where it hopes to land its punchlines, but when an obvious Graduate riff simply dries up and blows away, we can sense a demographically concerned focus group mentality at play. Sitcom success is one thing. For Seinfeld to click as a cartoon character, there’s a whole other level of mainstream acceptance that has to go on – and Bee Movie doesn’t mess up the marketing.

And then there are elements that make no sense at all, at least from a humor standpoint. Someone needs to get Patrick Warburton a case of Decaf, stat. He reads every line of his spurned human paramour Ken as a far more hyper version of his paralyzed cop character Joe Swanson on Family Guy. He literally has no nuance to his shriek and shout performance. Chris Rock is also hampered by the PG parameter he’s locked into. When he’s talking about how hated mosquitoes are (being one of the bug’s himself), you keep waiting for the rant to go blue. Instead, it’s stifled, left incomplete and lagging behind other sequences in the film. While the action is anarchic, perfect for the ADD driven sugar frosted seat fillers, we loose much of the complexity the animators have attached to the NYC backdrop, and there’s no sense of awe-inspiring artistry here. Dreamworks isn’t making a film for the ages. This is perfectly prepared product, specifically finessed to increase shelf life and stimulate DVD revenue.

Indeed, while it will guarantee swift ticket sales and long lasting box office legs, Bee Movie is hardly what you’d call a classic. It offers its own slightly askew take on the anthropomorphic creature cartoon and frequently trips on its way down said path, but when all it said and done, it’s inoffensive and fairly entertaining. Some will say they expected more from their former small screen God and argue that the movie marginalizes his fairly obvious genius. Others knew he was a man of limited skills all along. No matter what side of the argument you find yourself on, Bee Movie is likely to disappoint. It’s not as awful as you think. It’s also not as good.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.


20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta


Keep reading... Show less
Film

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

Keep reading... Show less

Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

Keep reading... Show less
7

Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

In a staid city like Washington, D.C., too many concert programs still stick to the basics. An endless litany of Rachmaninoff and Tchaikovsky concerti clog the schedules and parades of overeager virtuosi seem unwilling to vary their repertoire for blasé D.C. concertgoers. But occasionally you encounter a concert that refreshes your perspective of the familiar. The works presented at The Kennedy Center on 25 October 2017 might be stalwarts of 20th century repertoire, but guest conductor Antonio Pappano, leading the Orchestra dell'Accademia Nazionale di Santa Cecilia, reminded us how galvanizing the canonical can still be. Though grandiose executions of Respighi's The Fountains of Rome and The Pines of Rome were the main event, the sold-out crowd gathered to see Martha Argerich perform one of her showpieces, Prokofiev's Third Piano Concerto. Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

Keep reading... Show less
9
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image