It's a good thing that ole William Shakespeare has been settled six feet under for low these last four hundred years. Had he seen what's been done with (and in many ways, become of) his many classic stage plays, he'd probably wish he was dead. It's not just a matter of rewriting the Bard (itself a laugh, considering his reputation as one of the greatest scribes of all time) -- it's the various weird ways that our culture has tried to make his potent period pieces more palatable. The latest example of such a surreal retrofitting comes via the odd Gnomeo and Juliet. By the title you can tell that it's yet another update on those timeless doomed lovers, only now realized via garden tchotchkes and old/new Elton John songs. Yes, you read that right.
In a lovely English suburban setting, Miss Montague (voiced by Julie Walters) and Mr. Capulet (Richard Wilson) are having their typical row over their competing backyards. Their green finger feud carries over to their respective lawn ornaments, the Redbricks (led by Michael Caine) and the Blueberrys (with matriarch Maggie Smith). As these painted pawns battle between themselves, resorting to lawn mower races to resolve their differences, a lovelorn Gnomeo (James McAvoy) unexpectedly falls for the pretty Juliet (Emily Blunt). While they know such a relationship is forbidden, they seek advice on how to make it work from a plastic pink flamingo (Jim Cummings). It may be impossible, however, what with ceramic bully Tybalt (Jason Statham) constantly interfering and instigating.
You know exactly where this material is going when you read that Shrek 2 helmer Kelly Asbury is handling the directing duties. Loaded with that kind of irritating self-referential irony (this time, dealing with all things Bard) that passes for animated wit, it's no wonder the House of Mouse sat on this film for several years before giving it to Touchstone to tackle. While avoiding much of the current cultural trends (there are no Jersey Shore gnomes here, though Ozzy Osbourne, Hulk Hogan, and Dolly Parton have voice cameos), the film still displays a disappointing desire to riff on all other targets. This includes a mandatory Matrix spoof, several swipes at John and his famed flamboyance, and lots of grow/green gags. While the actors win us over with their excellent voice work, the desire to "dumb things down" for the intended underage demo constantly thwarts Gnomeo and Juliet's potential magic.
This is a movie poised to take a few risks, to have characters literally "shatter" when their time is up. But after years in development Hell, turned around more than a cheap mattress, there is a clear commercial imprint that removes most of the subversion. Thankfully, the character design and attention to detail make up for such shortcomings. While watching garden gnomes reenact one of the great romantic tragedies ever does provide a bit of novelty, we know that things will never get as dark or as daring as the material mandates -- and such aesthetic "almosts" don't really count.
The result is like watching an over-extended sketch. The first few minutes make you laugh. The next bring a slight smile. The rest of the time you are silent, the joke and the accompanying freshness having long gone stale. While a better than average entertainment, Gnomeo and Juliet just can't fully realize its many strengths. Having Shakespeare as a source can be both a benefit and detriment. For the most part, this quirky little cartoon finds a way to balance out both without completely giving in to the crass contrivances of the genre.
In a lovely English suburban setting, Miss Montague (voiced by Julie Walters) and Mr. Capulet (Richard Wilson) are having their typical row over their competing backyards. Their green finger feud carries over to their respective lawn ornaments, the Redbricks (led by Michael Caine) and the Blueberrys (with matriarch Maggie Smith). As these painted pawns battle between themselves, resorting to lawn mower races to resolve their differences, a lovelorn Gnomeo (James McAvoy) unexpectedly falls for the pretty Juliet (Emily Blunt). While they know such a relationship is forbidden, they seek advice on how to make it work from a plastic pink flamingo (Jim Cummings). It may be impossible, however, what with ceramic bully Tybalt (Jason Statham) constantly interfering and instigating.
You know exactly where this material is going when you read that Shrek 2 helmer Kelly Asbury is handling the directing duties. Loaded with that kind of irritating self-referential irony (this time, dealing with all things Bard) that passes for animated wit, it's no wonder the House of Mouse sat on this film for several years before giving it to Touchstone to tackle. While avoiding much of the current cultural trends (there are no Jersey Shore gnomes here, though Ozzy Osbourne, Hulk Hogan, and Dolly Parton have voice cameos), the film still displays a disappointing desire to riff on all other targets. This includes a mandatory Matrix spoof, several swipes at John and his famed flamboyance, and lots of grow/green gags. While the actors win us over with their excellent voice work, the desire to "dumb things down" for the intended underage demo constantly thwarts Gnomeo and Juliet's potential magic.
This is a movie poised to take a few risks, to have characters literally "shatter" when their time is up. But after years in development Hell, turned around more than a cheap mattress, there is a clear commercial imprint that removes most of the subversion. Thankfully, the character design and attention to detail make up for such shortcomings. While watching garden gnomes reenact one of the great romantic tragedies ever does provide a bit of novelty, we know that things will never get as dark or as daring as the material mandates -- and such aesthetic "almosts" don't really count.
The result is like watching an over-extended sketch. The first few minutes make you laugh. The next bring a slight smile. The rest of the time you are silent, the joke and the accompanying freshness having long gone stale. While a better than average entertainment, Gnomeo and Juliet just can't fully realize its many strengths. Having Shakespeare as a source can be both a benefit and detriment. For the most part, this quirky little cartoon finds a way to balance out both without completely giving in to the crass contrivances of the genre.
