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THE ROAD TO EL DORADO, directed by Eric “Bibo” Bergeron and Don Paul, written by Ted Elliott and Terry Rossio. Running time: 83 minutes. Rated PG.
We’ve been down this road before.
In Dreamworks’ “The Road to El Dorado,” directors Eric “Bibo” Bergeron and Don Paul do their best to recapture the tone, energy and feel of the Hope and Crosby road films of the 1930s and 1940s.
They don’t stop there. They’ve also infused their main characters — 16th century Spanish con men Tulio (Kevin Kline) and Miguel (Kenneth Branagh) — with a dash of Marx Brothers zaniness, and Bud Abbott and Lou Costello madness.
Initially, these influences come together so nicely you almost forget you’re watching an animated rendering of a holocaust.
That’s right, kids — this film’s heart is steeped within one ugly bit of history. Just as Disney has done for years with films such as “Pocahontas” and “Mulan,” Dreamworks follows its own historical film, “Prince of Egypt” with a movie based on historical fact.
This time out, children are treated to a spectacularly colorful, witty, and musical rendition of the looting and slaughtering of a culture. Oh, the tomfoolery!
The film is based on Spanish explorer Hernando Cortes’ bloody conquest of Mexico, which ended with thousands dead from small pox, beheadings, disembowelments and other gruesome ends.
Naturally, that nastiness is neutered here — why alarm children with the truth? Instead, they’re treated to the fictional adventures of Tulio and Miguel, who go in search of the legendary city of gold with a map they won and a funny, bumbling horse they inherited.
Along their travels, they do come upon Cortes, but he’s only viewed fleetingly in a film that doesn’t want to deal with him.
To be fair, “The Road to El Dorado” is mostly worth the trip in spite of the dark road it traveled to get to theaters, a pace that lags midway through and the appearance of the scantily clad Chel (Rosie Perez), whose outfits might be too sexy and revealing for younger children. But the film’s animation is first rate, the dialogue is often inspired, Elton John and Tim Rice’s songs move the action nicely, and there isn’t one talking animal to be found.
Still, parents should take note: If your child paid attention in history class, be prepared to do some explaining. Grade: B-
HIGH FIDELITY, directed by Stephen Frears, written by D.V. Devincentis, Steve Pink, John Cusack and Scott Rosenberg. Based on the book by Nick Hornby. Running time: 120 minutes. Rated R.
In spite of its alterations, which include moving the story’s location from London to Chicago, Stephen Frears’ new comedy, “High Fidelity,” retains its sourcebook’s wit, finely drawn characters and insight into Bohemian culture.
That’s terrific, but what’s even better is how the film mines pop culture just as neatly as Nick Hornby did in his book.
That proves intoxicating.
But where “High Fidelity” becomes sublime is in how it goes beyond standing as a mere appreciation of trash art while making a case for it. This film also presents itself as trash art through the charmless vessel of Rob Gordon (Cusack), a part-time DJ and record store manager who’s forever looking the camera — and us — in the eye.
Clearly mirroring the popularity of such cultural phenomena as Jerry Springer, Montel Williams, Sally Jesse Raphael and “the confessional” used on MTV’s “The Real World,” “Fidelity” asks Rob to gaze into the lens and tell us his problems — every one of them, warts and all.
The effect is mesmerizing — and smart. As Rob bitterly shares his disappointments, his mistakes, his Top 5 lists of loves won and loves lost, the film doesn’t just become pop culture driving pop art, but pop art driving pop culture.
“High Fidelity” is, in fact, a film about pop culture; it not only wallows in it, it also features characters who are as accessible as the art they love. It follows Rob and his two music-fanatic clerks, Dick (Todd Louiso) and Barry (Jack Black), who are as smug as Rob is in their fierce knowledge of pop lore.
But these men — particularly Rob — use that knowledge to hide behind their insecurities. They’re stuck between the refuge of adolescence and their overwhelming fears of becoming adults. They use pop songs to categorize their otherwise structureless lives, while also leaning on those songs to give their lives some sort of meaning.
Rob proves the exception. Initially, he seems as superficial as the songs he admires, but like those songs, a closer examination reveals depth.
With Catherine Zeta-Jones, Lili Taylor, Joan Cusack, Iben Hjejle and Tim Robbins in strong supporting roles, “High Fidelity” is never static. It’s pop art that shouldn’t be missed. Grade: A-
Christopher Smith is the Bangor Daily News film critic. His reviews appear Mondays and Thursdays in the NEWS, Tuesdays and Thursdays on “NEWS CENTER 5:30 Today” and “NEWS CENTER Tonight,” and Saturdays and Sundays on NEWS CENTER’s statewide “Morning Report.”
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