I recommend Rob Minkoff’s Mr. Peabody and Sherman with a broad smile. The story was character-based, the plot moved a nice trot, the animation was beautiful, and the voice acting was first-rate. High marks, all around.
I found some of the plot devices even stunning. They disclosed to me, by their very superfluity, the love of the writers for story-making. The devices themselves were interesting, and writers’ love always engenders a kindred love in the audience, I find.
Now, a stirring discussion could begin with the movie’s meaning for pop culture:
- because it is another remake of an old all-ages property but one that never had as big a fanbase as some other properties–and I do not know the original, so I cannot make more than partial comparisons to other remakes.
- because it sends another message along the lines of the thesis that adults know nothing very useful and only renegade minors can bring about a better society–but whereas this by-now old thesis is supposed to be subversive, Mr. Peabody and Sherman might subvert it!
Jay Ward, Craig Wright, Robert Ben Garant, and Thomas Lennon–the writers–might even say–who knows?–they love the audience. Well, if that is the case, then here is my reply: I have a deep regard for you as well.