Smoochy

I would be wrong if I said that Danny DeVito's films were made with full intent to capture the realisms of life, and it is because of his ability to portray an eccentric world (or relationship) that he is able to made the most original and entertaining characters known to film.

For example, although he didn't create the character Matilda, he was able to portray the girl with telekinetic ability in a very effective manner in the film of the same name. And also the characters in 'War of the Roses' were thoroughly over-the-top, but it was because of this that the films directed by the short man were so entertaining.

'Death to Smoochy' was no exception. It is because of the over-the-top characters that it is so funny. Edward Norton's character in particular is hilarious just because of the OTT reactions the 'atrocities' of the world draw out of him, and the overly-nice attitude he oozes.

There are other things that create humour. The lines are hilariously witty and even the facial expressions created by some of the characters give the film replay value. So IS there anything wrong with it?

I, personally, don't believe the dated storyline creates an obstruction, but I do feel that there is a problem with the dramatic character arcs. The biggest example of this is Robin Williams' character who goes, in one scene, from being ridiculously hateful, to wanting nothing more than to save his ex-arch-rival. This is where the over-the-top obstructs believability, although it doesn't do enough to make me dislike the film even partially.

The film, although flawed only by the very dramatic character arcs, is thoroughly enjoyable, and DeVito sprinkles just enough dramatic camera angles to support the extremity of the storyline. It is a rare gem, battered at the box office, but very safe in my collection of favourite DVDs.

Enjoy.

-Stoate.

It figures that Death to Smoochy didn't get too much advertisement and recommendations...it handles about a sensible and often occurring topic. Entertainment programs for children that are turned into big business, rules and controlled by people who don't care about anything but money, fame and commercializing. Death to Smootch shows how it's perfectly possible to cover up a world of bribery, fraud and blackmail behind the curtains of a colorful and jolly kid-show. Edward Nortons stars as Smoochy the Rhino. His character is dragged head over heals into the business when old-timer Rainbow Randolph is convicted of illegal actions. Smoochy is a pure character and his only intentions are to educate children and enlighten them with some important values of life, but he soon gets faced with the facts that the producers don't care about this at all. Death to Smoochy really succeeds in critisizing the greed in the media-business and manages to portray the producers and sponsors as a real bunch of vultures. It also gives a good image of the downward spiral of insanity someone is going through when he's borne down on the lee shore. Certainly recommended for the intriguing story and surrounding but in the very first place, for the brilliant characters that are involved in this story. The Irish mobsters impress and entertain the most...The sequences where they're "taking care of everything" are the funniest parts in this movie. Director DeVito (his fifth movie as a director and maybe the best of them all) cast himself terrifically as the greedy shorty who introduces himself as the new impresario. Jon Stewart's character is memorable because he has the dorkiest haircut I've ever seen. And then there's Edward Norton of course...needless to say that he's a very solid actor who acts like a true professional, no matter if the production is huge or not. Give Death to Smoochy a watch...it'll certainly be one of the most sparklingly satires you'll ever see.

Death to Smoochy is one of the most unappreciated comedies of the last decade. When released, people hailed it to be absolutely god-awful. It topped Roger Ebert's list of the worst movies of 2002. It fell way under the radar, frequently aired on Comedy Central and then finally disappeared. Almost everyone involved in the production of this is ashamed for having released it. But why all the hate? Yes, this is a rather bizarre concept for a dark comedy and it changes the way you look at children's TV ever again. But more that often, its hilarious. Robin Williams delivers possibly his greatest performance as Randolph Smiley. He manages to capture a man whose bitter hatred grows to the point of insanity. Robin plays crazy in every comedy he does, why not actually make him actually crazy. Edward Norton is as charming as ever, especially when he's in that dopey purple rhino suit. Its a fine movie and I think a lot of people should give it a try.

After children's TV host Randolph "Rainbow Randolph" Smiley (Robin Williams) is publicly disgraced following a bust in an FBI sting operation, Children's TV network Kidnet swiftly cancels the show with a plan to replace it with someone who's lacking in the baggage of negative publicity. Hardened producer Nora Wells (Catherine Keener) and corporate yes man, Marion Frank Stokes (Jon Stewart) scramble to find someone "squeaky clean" eventually settling for Sheldon Mopes(Edward Norton) and his character Smoochy the Rhino, who sings songs at the Coney Island Methodone Clinic and is sincere and ethical almost to a fault. Sheldon soon finds himself fighting for integrity of both his show and his character as network executives, marketing departments, corrupt charities, even the Irish Mafia all develop an interest in Mopes and his Rhino persona. Meanwhile Randolph continually seeks and orchestrates elaborate revenge schemes against mopes becoming more and more unhinged.

A joint British-American co production between Warner Bros. And Film Four, the movie was written by Adam Resnick best known for his work on The Larry Sanders Show as well as his work on Chirs Elliot's TV series Get a Life and the Chris Elliot film Cabin Boy. The movie is a satire of the vapidness and cynicism of the children's entertainment, particularly inspired by Barney the Dinosaur, and takes great pleasure in tearing away the veneer of wholesomeness to reveal the cynical money hungry monster beneath the cuddly foam suit. The film is notable for being a box office disaster making back a mere $8 million of its $50 million budget and in combination with the failure of the following year's Duplex destroyed Danny Devito's directing career in feature films. Roger Ebert even declared the movie the worst of 2002 (it's not). The movie is certainly flawed, but I'd be lying if I said the movie's pitch black gleefully insane takedown of marketing icons masquerading as wholesome children's entertainment didn't raise a few laughs.

The movie from the get go is definitely and unapologetically a Adam Resnick project. From it's seemingly innocent framework that is loaded with uncomfortable and taboo subject matter, it's a similar approach to how Resnick took the Dennis the Menace format with Get a Life and got comedy from it by way replacing an 8 year old kid with a 35 year old man. Unlike Get a Life the movie does try to have a "good" character who we're supposed to root for with Sheldon Mopes. It's pretty clear that Resnick is in unfamiliar territory trying to write characters who are supposed to be principled and ethical and Sheldon at points feels more like a parody of someone principled and ethical rather than someone who's supposed to be principled and ethical. I'm not sure what exactly the issue is if it falls more on Resnick who doesn't usually write characters like this or if it falls more on Edward Norton who's not typically a comic actor (at least as it pertains to this very broad exaggerated style of comedy). There are moments where Norton's delivery in the character do work such as a scene where he's tricked by Rainbow Randolph into performing as Smoochy for an event that isn't what he was told it was, but the scenes of him playing for sincerity straight just come off as odd for reasons I can't put my finger on.

The movie's best asset is definitely in its unapologetically cruel take on its subject matter, showing the majority of children's TV hosts as being drug addicts, pedophiles, perverts, alcoholics, or subject to some other vice that rules their lives and the studio and network are happy to ignore so long as it doesn't spill over into the public eye. It's a stomach churning take that also manages to be darkly humorous thanks in no small part to a committed assortment of actors such as Danny Devito, Harvey Firestein, Danny Woodburn, Jon Stewart and Catherine Keener who all play their roles very well and create an intriguingly repellent world of foam covered hypocrisy. But easily the best performance belongs to Robin Williams, who plays a disgraced Captain Kangaroo style children's TV host who becomes more insane in his attempted takedowns of Sheldon and his Rhino persona Smoochy with his schemes and meltdowns being comedic highlights of the film.

The movie unfortunately loses its edge a bit in a third act that starts off well enough involving a smoochy centric ice show that starts off quite well with a retelling of many of the events of the movie as done by figure skaters that's very entertaining, but it loses its teeth in the final 10 minutes by offering redemption for Rainbow Randolph and not even having the guts to show the ultimate fate of our main antagonists. If I had to guess I'd say this was most likely a studio note to soften the edges of what I can only guess may have been a darker script.

Death to Smoochy is a flawed film, but it's also very entertaining with a decent skewering of Children's entertainment and a twisted sense of humor. While certain elements work better than others I think the film is a very well done dark comedy that doesn't pull its punches (mostly).

I've never seen a Danny De Vito film I didn't like, and Smoochy is no exception. Original and creative at every turn, with great performances from Edward Norton, Robin Williams, Catherine Keener, and everyone else in the cast. I smiled and/or laughed through the whole film. What more can you ask from a bent and twisted comedy, I ask you?