Take a Trip Back to the Hundred-Acre Wood With Winnie the Pooh

When I first heard about Winnie the Pooh, Disney’s sequel to 1977’s The Many Adventures of Winnie the Pooh, I immediately realized that it would come out the same weekend as Harry Potter and the Deathly Hallows: Part 2. How could I choose between the bear I’ve loved all my life and the wizard who took me on a magical literary journey lasting nearly a decade?

I do question the wisdom of Disney releasing Winnie the Pooh on that particular weekend, when any box office revenue would be dwarfed by one of the most anticipated movies in recent memory, but perhaps the thought was that it would fill the niche of children too young for Harry Potter. I was only able to catch one of the movies opening weekend, and I couldn’t resist the allure of Harry, but I caught up with Pooh and his friends this weekend. His adventure is far shorter and simpler, but it’s just as enjoyable in its own breezy way, at least for a lifelong fan like me.

It surprised me to hear Winnie the Pooh described as Pooh’s first time on the big screen since the 1970s. Other Pooh movies have been released in theaters, featuring the same basic look and several of the same cast members as Pooh’s first Disney outing, so I’m not sure why this one is considered so fundamentally different. Then again, it does feel more closely tied with Many Adventures, given the strong presence of the narrator and the frequent interaction with the book in which the stories reside. One scene makes particularly clever use of some letters that tumble into the tale.

There’s nothing revolutionary about this movie. Life in the Hundred-Acre Wood is very simple, with just a few basic problems that plague its residents time and again. Hence, Eeyore losing his tail is familiar territory, as is Owl misreading a note from Christopher Robin and sending everyone into a panic, Piglet facing his fear and Pooh running out of honey. Because of the leisurely pace and the repetitive nature of the stories, my guess is that many adults will find it a bit on the snoozy side despite the mere 70-minute length, and some kids might as well. One family in my showing actually left halfway through. You have to go into this movie with a certain mindset, accepting that its driving events are not going to be very adrenaline-inducing.

The movie reprises a couple of established songs and introduces several others, though most are short and forgettable. The most memorable is a fearsome description of the Backson, the beast that has allegedly kidnapped Christopher Robin. This sequence, accompanied by chalkboard illustrations, has a trippy edge to it reminiscent of the Heffalumps and Woozles sequence in the original film. The characters’ imaginations run away with them as they dream up all the dreadful things this monster does, and the song seems to invite post-movie creativity from children in the audience.

All of the voice actors are expressive and fit into their roles well, but most of the cast is new for this movie, and the differences take some getting used to. Jim Cummings continues to inhabit the role of Pooh perfectly, and he does an admirable job with Tigger as well, but Travis Oates’ voice is distractingly high as Piglet. The tone is about right, but the pitch makes it sound like he’s on helium. He’s been playing Piglet on My Friends Tigger and Pooh and related specials since John Fiedler’s death in 2007, but this is my first encounter with the new Piglet, and he hasn’t quite won me over yet. Tom Kenny takes over for Ken Sansom as Rabbit for the first time, and his voice sounds decidedly off as well. Bud Luckey fares better as despondent Eeyore; aside from sounding a bit too Southern at times, he seems like a good match for Peter Cullen. Wyatt Dean Hall is fittingly spunky as Roo, while Jack Boulter is a more refined but still boyish Christopher Robin, Kristen Anderson-Lopez makes a very maternal Kanga and John Cleese is a predictably fine narrator.

The standout cast member for me, though, is Craig Ferguson, who seems to be having the time of his life as the grandiloquent Owl. Having often watched Ferguson’s rambling monologues on The Late Late Show, I would say that the character is an ideal fit with his style, and I can’t help wondering whether he had the same sort of free improvisational rein that Robin Williams did with Aladdin. Owl similarly steals the show, getting most of the best lines and generally making more of an impression than any other character, even Pooh himself. Ferguson nails the essence of the character, striking a perfect balance of sophistication and silliness whether he’s composing his extensive memoirs or delivering a rousing speech of encouragement to Piglet as he embarks on a rescue mission that Owl could much more easily undertake himself. His insistence on using complicated vocabulary is a running joke throughout the movie as poor muddled Pooh tries to puzzle out his meaning, and I found myself reminded of Trixie Belden scratching her head over the overly complex proclamations of her older brother Mart. I’d love to see those two try to talk each other under the table.

While most of the movie is more likely to elicit a nostalgic smile than a hearty laugh, some scenes are quite funny, and most involve words in some way. Pooh and Eeyore’s misunderstanding of Owl’s use of the word “issue” and a discussion of knots that reminds me of Abbott and Costello’s Who’s On First? routine are a hoot, as is the way everyone’s speech becomes absurdly littered with the word “honey” when the rumbly in Pooh’s tumbly gets to be too much for him to bear. This movie paints Kanga as being easily annoyed by loud noises, which adds to the humor and makes her more prominent than usual. It also seems like a sly nod to the parents in the audience who can probably relate all too well with her desire for a little peace and quiet.

The movie also emphasizes the consideration the characters have for each other. When they believe Christopher Robin to be in danger, everyone steps up to the plate to help. When Eeyore gets left out of the main contingent’s plan to rescue him, Tigger takes him under his wing. Piglet braves the spooky forest and Pooh puts his craving for honey aside for the sake of their friends. That pervasive spirit of camaraderie, even more than the idyllic scenery and the lackadaisical lifestyle, is what makes the thought of a sojourn in the Hundred-Acre Wood so appealing.

Disney tends to reward viewers patient enough to sit through the credits, and that’s certainly the case here. To the tune of a charming new song by Zooey Deschanel, the credits roll, complete with animated tidbits as Pooh and his pals interact with the names scrolling down the screen. There’s even a final funny scene at the very end of the credits that is well worth the short wait.

Before the movie, meanwhile, we’re treated to The Ballad of Nessie, an old-school-style short warmly narrated in rhyme by Billy Connolly. Given Ferguson’s prominence in the movie – albeit with an upper crust British accent rather than his natural Glaswegian accent – I wonder if he was a factor in deciding to pair the film up with this short, which is largely a celebration of stereotypical Scotland. With a rustic, bagpipe-laced score reminiscent of Ashokan Farewell and nods to everything from thistles and tartans to golf and Braveheart, it has great appeal for those who love that country as much as I do. Nessie, with her rosy cheeks, long eyelashes and vaguely Wookiee-like voice, is adorable, as is her rubber duck companion, and the takeaway message is a worthwhile one.

My showing of Winnie the Pooh had an audience of about a dozen, and I doubt that was too atypical. It doesn’t have the same sort of blockbuster draw that Harry Potter or even a typical animated Disney feature does; despite the popularity of Pooh products, most consider the movies themselves to be the realm of the very young. However, if you’re still young at heart and if you ever wished you could blink yourself to the Hundred-Acre Wood for a day, I suspect you will find this outing with Pooh and his friends a pleasant return to beloved company.

Third Time Holds Little Charm With Shrek the Third

I've been looking forward to May as the month of the blockbusters, and a couple weeks ago my movie watching got off to a good start with Spider-Man 3. Though I read some pretty scathing reviews, I thought the film was phenomenal and looked forward to watching the next big premiere, Shrek the Third. There were lines around the lobby for Spidey, so I thought we might do well to buy tickets for Shrek ahead of time. We never got around to it, so I was a little nervous when we got to the theater. I needn't have worried about getting seats; I might have done well to worry instead about other things...

When we walked into our theater at 10:15, the previews had started without us, but we were the only people in the audience. A few minutes later, a couple came in and sat down. And that was it. Seven people at the second showing of Shrek the Third. Impressive. If our reaction was a typical response, I doubt Shrek will be packing folks in. I personally couldn't have laughed aloud more than half a dozen times, and I think every time it was something I'd seen already on the previews.

The movie begins roughly where the second left off, with Shrek (Mike Myers) and Fiona (Cameron Diaz) living a cushy life in the royal kingdom of Far Far Away. They're on an extended visit, but as much as they enjoy their fancy lodgings, they're both anxious to get back to their old life in the swamp. Well, Shrek is, anyway; Fiona thinks it might be time to change things up a bit with some new additions. But any arguments about the pitfalls of parenthood will have to wait, because the king (John Cleese) is dying, and he needs someone to take over. That means either Shrek or Fiona's cousin Arthur (Justin Timberlake). And since the last thing Shrek wants is to rule the kingdom, another quest is in order...

It seems like bringing the Arthurian legend into Shrek's world would be an inspired idea, but it turns out to be only one of many weak threads in a film that is surprisingly lackluster. The most interesting thing about Arthur, an insecure, unpopular boy teased by all of his classmates at his medieval high school, is his former magic teacher, Merlin (Eric Idle), a highly eccentric old man with a trick or two up the sleeves of a robe too short for common decency. There's a bit of conflict between Shrek and Arthur deriving from the fact that the ogre initially conceals the fact that he was actually the first in line, but it never feels very pressing.

Nor was I all that invested in the antics of the women attending Fiona's baby shower at the time when Prince Charming (Rupert Everett) showed up with an army of villains to take over the kingdom. Narcoleptic Sleeping Beauty (Cheri Oteri), mannish stepsister Doris (Larry King) (whose sister Mabel (Regis Philbin) is in league with the villains), tough-talking Snow White (Amy Poehler), bitter Rapunzel (Maya Rudolph) and perfect Cinderella (Amy Sedaris) all have their moments, but nobody really stands out to me as an exciting new character.

The most consistently entertaining characters remain Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas). In this installment, there's a bit of added amusement when the two inadvertently switch bodies, much to each other's horror. Little of their dialogue is particularly memorable, however, and my favorite aspect of Donkey this time around is his little bunch of baby donkey dragons, which are as adorable as they are physically improbable. In fact, visually speaking, this movie does have a lot to recommend it, though the baby ogres are a bit freakish looking. Several contemporary songs are prominently featured, most effectively Cat's in the Cradle and That's What Friends Are For, but none of them makes much of an impact.

In the end, Shrek the Third is a movie to watch because you loved the two that preceded it. You'll find enjoyment in the familiar characters but bemoan the fact that they aren't delivering as many laughs as usual, nor coming together in service of a story that feels coherent. Hopefully you'll walk out of the theater smiling, but there's certainly not much need to order these tickets ahead of time. Something tells me Shrek won't be catching up to Spidey anytime soon.