Honey, I Shrunk the Kids (1989) - News Poster

News

5 Of The Most Iconic Adventure Movies Of All Time

There is no other type of movie like the ‘Adventure film’ that takes the viewer on an exciting quest that is often filled with danger, grand discoveries and action, that often has the capacity to delight many families everywhere.

Classics such as The Goonies, Back to the Future, The Lord of the Rings trilogy and many more are fondly remembered.

Unfortunately, it is difficult to recall the last time cinema delivered an iconic movie filled with adventure on the same scale as the aforementioned. The sequel to 1995’s Jumanji has just been theatrically released, but it is hard to look past the idea that it is designed to cash in on the success of a movie that was made 23 years earlier.

An Indiana Jones sequel has been confirmed, although after the critically panned Kingdom of the Crystal Skull, it is difficult to believe that the franchise can be given new strength to endure.
See full article at Age of the Nerd »

Disney Eyeing Reboots of ‘Honey, I Shrunk the Kids,’ ‘Father of the Bride’ and ‘The Parent Trap’

Disney already has all hands on deck for live-action remakes of their classic animated movies. We’ve already seen the likes of Cinderella, Beauty and the Beast and The Jungle Book hit theaters and Aladdin, Dumbo, Mulan, Pinocchio, and The Lion King are on the way. But it sounds like Disney is running out of animated movies […]

The post Disney Eyeing Reboots of ‘Honey, I Shrunk the Kids,’ ‘Father of the Bride’ and ‘The Parent Trap’ appeared first on /Film.
See full article at Slash Film »

Arthur and the Invisibles

Arthur and the Invisibles
For his children's fantasy Arthur and the Invisibles, writer-director Luc Besson appears to have grabbed bits of this and that from a number of fairy tales, tossed them into a blender and hoped for a family adventure. The result isn't an unpalatable pudding but rather a fair-to-middling children's film that is half CG-animation and half live-action. Adults may shake their heads at the blatant borrowings from the King Arthur legend and The Wizard of Oz to the 1980s comedy Honey, I Shrunk the Kids, but many youngsters will enjoy the ride.

The film will also supply the answer at some future date to the barroom challenge: What 2006 movie starred Madonna, David Bowie and Snoop Dogg? The trick is that these singer-actors do not appear in this movie but perform the voices of several of the tiny CG beings who live in the hero's backyard.

The decision by MGM and the Weinsteins to move the national release of Arthur to Jan. 12 is odd, since it will miss the holidays when the film's biggest audience is out of school. This does avoid head-to-head competition with "Charlotte's Web," though, so perhaps the film will have the playing field more to itself.

Besson's story is based on his own children's book, Arthur and the Minimoys, which he adapted in a screenplay written with visual artist Celine Garcia. Young Arthur (Freddie Highmore of "Charlie and the Chocolate Factory") lives on a Connecticut homestead with his grandmother (Mia Farrow) and pet dog. Life is good, but he does suffer from neglect by his parents, wage slaves in a distant city.

His vivid fantasy life is fueled by tales of his grandfather, who mysteriously disappeared awhile back. In deepest Africa, granddad made friends with a jungle tribe of huge proportions and, conversely, the Minimoys, a tribe of tiny creatures.

An evil real estate developer will foreclose on the grandmother's property in 48 hours unless she can come up with a king's ransom. Arthur's rescue plan sends him searching for African rubies his granddad buried in the yard. A treasure map, conveniently discovered in a nick of time, instructs Arthur to miniaturize himself by passing through a telescope into the land of the Minimoys, inch-tall creatures who inhabit the backyard.

Here, insects assume huge sizes, and good and evil are locked in constant warfare. There is a good king, a villain whose name no one dares speak, a rastaman named Max (Snoop) and a princess (Madonna). He falls in love with the tiny princess and must travel with her and her younger brother toward the center of power for the evil Maltazard (Bowie) and the place where he believes his grandfather is a prisoner. All this is done as a cartoon, but even so, the idea of Madonna coming on to a 10-year-old boy is a bit weird.

The action and derring-do are exciting, but Besson drags things out considerably for his young audience at 122 minutes. The CG work is clever but cannot measure up to Pixar's standards in cleverness or imagination. Nothing is fresh here. Nevertheless, Besson's tech crew and visual effects overseers make the two worlds meld quite well.

ARTHUR AND THE INVISIBLES

MGM

The Weinstein Co. presents an Europa Corp./Avalanche Prods./Sofica Europacorp/Apipoulai production

Credits:

Director: Luc Besson

Screenwriters: Luc Besson, Celine Garcia

Based on the book by: Luc Besson

Producers: Luc Besson, Emmanuel Prevost

Directors of photography: Thierry Arbogast, Dominique Delguste

Production designer: Hugues Tissandier

Music: Eric Serra

Special effects: Dominique Vidal

Costume designer: Patrice Garcia

Cast:

Arthur: Freddie Highmore

Grandmother: Mia Farrow

Voice of Princess Selenia: Madonna

Voice of Maltazard: David Bowie

Voice of Max: Snoop Dogg

Mother: Penny Balfour

Father: Doug Rand

Voice of the King: Robert De Niro

Voice of Miro: Harvey Keitel

Voice of the travel agent: Chazz Palminteri

Voice of Ferryman: Emilio Estevez.

Running time -- 122 minutes

MPAA rating: PG

Fox takes 'Time' for writing duo

20th Century Fox has acquired Mark Legan and Mark Wilding's pitch Family Time for low- to mid-six figures. The story is described as a family time-travel adventure, similar in tone to Honey, I Shrunk the Kids. Tom Jacobson is producing, while Monnie Wills is shepherding the project for Jacobson's shingle. Fox's Debbie Liebling is overseeing the project for the studio. Jacobson's Paramount Pictures-based shingle has several projects in development around town, including the oil thriller Black Monday, based on a Bob Reiss novel, at Paramount.

See also

Showtimes | External Sites