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Film Features Film/TV

The Bob’s Burgers Movie

When The Simpsons premiered in 1989, it changed the way animation was perceived. Before then, cartoons were for kids on Saturday morning. After The Simpsons became a massive hit, the idea of animation as a conduit for sophisticated humor aimed at adults became acceptable, even ubiquitous.

The family The Simpsons portrayed was based on creator Matt Groening’s childhood memories of a middle class life in the 1960s: a father who worked a 9 to 5 job which paid the family’s bills, and a mother who stayed home to keep house and care for the three children, who went to public school. In 1989, this was already a self-conscious anachronism. The irreverent Simpsons were meant to be a commentary on the conservative model of the nuclear family found in older sitcoms like The Honeymooners and Father Knows Best. Now, 33 years into its run, the middle class world of The Simpsons is all but extinct. 

The world of the Belcher family in Bob’s Burgers looks a lot more like America in 2022. Father Bob (voiced by H. Jon Benjamin) and mother Linda (John Roberts) own a small burger joint catering to tourists in the waterfront area of an unnamed New England town. They live in a cramped apartment above the restaurant along with their three kids, Tina (Dan Mintz), Gene (Eugene Mirman), and Louise (Kristen Schaal), who help out at the diner when they’re not in school. Bob’s Burgers has run for 12 seasons on Fox, and the Belchers’ oft-delayed feature film debut has finally made it to the big screen.

The whole family’s wants and needs are neatly summed up in the film’s opening musical number, “Sunny Side Up Summer,” where they make their plans for what to do once school is out. Bob is nervously making a perfect speciality burger to give to his loan officer in the hopes that they can get a payment deferral. But when the banker is unpersuaded by quality fast-casual food, they have a week to get a loan payment together or risk repossession of the kitchen. Just as they’re brainstorming ways to make up their budget deficit, a sinkhole opens in front of the restaurant, making it almost impossible to attract the customers they need. Favorite regular Teddy (Larry Murphy) pitches in by building a food cart so they can take their operation mobile just as the summer tourist season kicks in. 

Meanwhile, Louise’s beloved bunny hat has become a source of teasing from the other kids in her class. To prove she isn’t a “baby,” she ventures down into the sinkhole, where she discovers a skeleton that appears to be a murder victim. When Louise rallies the kids to try to solve the mystery, the answers seem to point in the direction of their landlord, Calvin Fischoeder (Kevin Kline).  

Created by Lauren Bouchard, whose series Home Movies is a gem of the early ’00s Adult Swim animation boom, The Bob’s Burgers Movie was produced at just the right time, with the writing staff at the top of their game and the core voice-cast still intact. Of course, it’s easier to keep your voice-cast intact when multiple parts are played by voice acting legend H. Jon Benjamin. He has provided the deadpan voice for everyone from the hapless Coach McGuirk on Home Movies to the dipsomaniac super spy Archer, and his perpetually exhausted but ever hopeful Bob provides the emotional core of the show. 

All three of the kids have distinct personalities, but they are believably siblings. Tina, the oldest, is an eighth grader obsessed with boys, but not really sure what to do with them. Gene, the middle child, is the most creative, and the master of one-line quip. Louise, with her trademark bunny hat, is the ringleader, but also the most insecure. 

While there are some expanded set pieces and fancier-than-normal animation, the film mostly plays like an extended episode of the show. In this case, that’s not a left-handed compliment. The writers deftly juggle individual story lines for the family, as well as Teddy and the Fischoeder family, which includes Zach Galifianakis as brother Felix and David Wain as cousin Grover. I’m not sure this is a full-fledged musical comedy, but music has played a bigger and bigger part of the show for the last few seasons, and the film leans into the welcome trend with standout songs, including a major number by a crew of carnies from the nearby boardwalk amusement park. 

The Bob’s Burgers Movie represents a rare success in translating TV animation to the big screen. It’s universal and big-hearted enough to serve as an intro to the excellent series, but if you’re already a fan, it’s a must-see. 

Categories
Film Features Film/TV

The Last Of Robin Hood

Nobody epitomized Old Hollywood like Errol Flynn. He was the original action star whose performances in The Sea Hawk and The Adventures of Robin Hood remain among the genre’s greatest. He was elegant, debonair, and inhumanly charming. He was also an egomaniacal, hard-drinking, hard-living morphine addict whose posthumously published autobiography was titled My Wicked, Wicked Ways. But Flynn’s biggest vice was women. “In like Flynn” was coined because no woman could resist the advances of Hollywood’s biggest star.

Kevin Kline as Errol Flynn in The Last Of Robin Hood


The Last Of Robin Hood
tells the story of Flynn’s final female conquest, Beverly Aandland (Dakota Fanning), an aspiring actress, singer, and dancer whom Flynn met on a set in 1957. The birth certificate Aandland gave to the studio said she was 18, while in reality she was only 15. But as her mother Florence (Susan Sarandon) says, “She can play 20.” 

Flynn is played by Kevin Kline, whose performance is the highlight of the film. Kline is one of the few people to ever win an acting Academy Award for a comedy, 1988’s A Fish Called Wanda, and once played Douglas Fairbanks opposite Robert Downey Jr. In Chaplin. He transcends imitation to bring out the deep sadness in the aging star trying to the party going even as his health fails.

Flynn starts the affair by summoning Beverly to his dressing room to “audition” for a part in a Broadway play he is starring in. The audition moves to a swanky restaurant, then to the luxury lodge where he is staying after being kicked out of his home by his third wife. He instantly and effortlessly seduces Beverly, telling her to “face her destiny” before deflowering her and sending her on her way.

Beverly is young, but she is no fool. Her mother was a dancer until she lost a leg in an auto accident, so Beverly grew up in show business, making her first appearance as a model when she was five years old. Fanning portrays her as, if not quite a schemer, at least an opportunist. She cries as she is being driven home from her first night with Flynn, but she is used to being taken advantage of and seems to chalk it up to experience. After all, who wouldn’t want a date with Errol Flynn? Expecting to be dumped, she is completely unprepared when an obsessed Flynn comes back for her.

One of the strengths of The Last Of Robin Hood is also its greatest weakness. It is based on a book called The Big Love, written by Florence two years after Flinn’s death in Beverly’s arms, and Sarandon is terrific in a series of flash-forwards that should serve to frame the story. But the writer/director team of Richard Glatzer and Wash Westmoreland repeatedly refuse to pass judgement on their characters, which means the film is not really from Florence, or indeed anyone’s, point of view, leaving the story to meander into some disturbing territory. Scenes of Flinn plotting with his lawyer to get away with statutory rape can’t help but make you feel queasy, but Kline as Flinn, makes the whole thing sound charming. Unlike the swashbuckling films that made Flinn famous, The Last Of Robin Hood lacks heroes and villains.