Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.
By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his lifelong dream to see the wilds of South America. Russell, a wilderness explorer 70 years younger, inadvertently becomes a stowaway.
35 years after The Rocky and Bullwinkle Show's cancellation, our two TV heroes have been living off the finances of their reruns on TV. To make matters worse, Rocky has lost his ability to fly, and the trees in Frostbite Falls have all been cut down. Meanwhile, over in Pottsylvania, home of Rocky and Bullwinkle's arch enemies Fearless Leader, Boris, and Natasha, the Iron Curtain has fallen, leading the villains to leave Pottsylvania, and dig through a tunnel all the way to the TV of a Hollywood Producer, Minnie Mogul. She signs a contract, giving her the rights to produce the Rocky and Bullwinkle Movie, and accidentally pulls the three villains out of the TV, turning them into humans! Now, they have an evil plan to hypnotize America, using RBTV (Really Bad TeleVision), making everyone's mind mush, so he can go on to the TV, and get everyone to vote him President of the USA! However, new FBI Agent Karen Sympathy has an assignment--get the only ones who could ever defeat the villains- ... Written by
At the R.B.T.V. Station, when a security guard is tossed from Bullwinkle's antlers, the glass shatters before the guard is thrown through it. See more »
[Bullwinkle is going for a walk in the woods]
But Bullwinkle, there aren't any more woods.
You don't have to tell me, I'm the Chairman for the Frostbite Falls Society of Wildlife Conversation.
You mean "wildlife conSERVation."
What'd I say?
You said "wildlife conVERSation."
Well, somebody's gonna have to start talking about these things.
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In the end credits, Rocky, Bullwinkle, Boris, Natasha, and Fearless Leader, in their original animated designs against a black background, fight for control of the credits and alternatively display each of the major credits as if they are turning a revolving wall panel with the credits printed on it. Then the end credits begin to change on their own while the characters chase each other in varying combinations. Then the minor end credits begin to scroll up normally with one last display of Rocky and Bullwinkle seated and waving to the audience. See more »
The Rocky and Bullwinkle Show was set up as a low-budget parody of television and film animation. It was rife with in-jokes, sardonic comments on the media, bad puns, occasional feints at adult humor. It was not your average kids show. It wore its poverty-row production on its sleeve. It mocked all our expectations, and a good many of our cultural shibboleths - contemporary academia and small-town middle-America both felt its sting.
Having avoided this film for a decade (presuming that Hollywood would bollix it up the way they had with the Warner Bros. cartoon characters and Casper the ghost), I at last found a cheap copy and said what the heck. Well, I was very much - and very pleasantly - surprised. The film is quite true to the original program. I love it when Whoopi Goldberg is referred to as "the honorable Judge Cameo". I love the sun bouncing up and down at sunrise and sunset. I am glad they dealt with Rocky's 'fear of flying' again (and getting over it) without any sentimentality. The in-jokes and sarcastic cultural references and media lampoons are all intact - those who complain about the animation and special effects miss the several remarks on the poor animation from the characters themselves - the animation and SFx are supposed to be borderline, that's part of the joke! So too the over-the-top characterizations and acting.
(The real illusion of cinema's 'art of illusion' is that generated by an audience expecting the illusions to 'look real' - it is this illusion - the audience's - that the Rocky and Bullwinkle Show, and now the movie, mock.)
The Rocky and Bullwinkle Show was kinda like Jazz - you either got it or you didn't. The low rating on this film only indicates that this is true for the movie as well.
The original show largely survived because of its low cost, and through syndication allowing it to be re-edited for marginal time slots, e.g., 5 am. It was only years after it ceased production that it's real strengths began endearing it to millions. In like manner, I suspect this film is on its own quiet, gradual way to becoming a cult classic. Parents will play it for their kids who will wonder "WTF?!" - then, ten years later the light-bulb will click on for those same kids, and they will 'get it' - and another generation of Rocky and Bullwinkle fans will come of age.
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