PETER RABBIT – Review

Though we’re still months away from the end of the school year, the studios still hope to entice the lil’ ones into the multiplex on the weekends with big screen adventures based on their beloved characters. Disney, for the last eighty years or so, has had a pretty strong lock on the classic storybook characters, many from the (often twisted) works of the Brothers Grimm, the ole’ “once upon a time” reliables. This has left the other studios to go after other inspirations, grabbing up the rights to lots of fairly recent “kids lit” best sellers. In the last decade we’ve had a franchise with flicks based on the “Diary of a Wimpy Kid’ series (mainly live action). Just last Summer the first of a hopefully long series of “Captain Underpants” CGI movies was released. Going back a bit further, Universal has grabbed a big chunk of the all ages market by acquiring the screen rights to the impressive lists of works penned by Theodore Geisel (AKA Dr. Seuss). While those go back nearly 70 years, a beloved star of a children book series that turns 60 this year, Michael Bond’s Paddington Bear, is now a box office and critical darling (his latest flick is still at 100% at Rotten Tomatoes). Now, just a few weeks after the lauded PADDINGTON 2 (and also mixing live-action actors with computer-animated critters), another children’s book animal “superstar’, still spry at 106, hops into theatres, that scourge of gardeners, it’s PETER RABBIT.

The gentle quiet of an idyllic British countryside is once again shattered by another battle in an ongoing war between Peter Rabbit (voice of James Corden) and old Mr. McGregor (Sam Neill). The ill-tempered fearsome farmer has a oppulent garden, really a bountiful buffet for the fearless furball. Peter’s now the main “bread-winner” (or is it “veggie-winner”) for his siblings, triplet sisters Flopsy (vo:Margot Robbie), Mopsy (vo:Elizabeth Debicki) and Cotton-Tail (vo:Daisy Ridley) along with cousin Benjamin Bunny (vo:Colin Moody), after the recent peaceful passing of their Mum and the violent demise of their Pop via McGregor’s deadly rake. Fortunately for the bunny brood, across the way resides the nature-loving artist Bea (Rose Byrne), who tries to protect Peter’s posse from her volatile neighbor. But on this day, Bea is not there to stop McGregor from grabbing Peter by the ears (he just had to retrieve his Dad’s old blue jacket). Before Peter becomes a tasty pie (his father’s fate), time, and a very unhealthy lifestyle, catches up with the gardener. Many miles away, in the heart of London, young Thomas McGregor (Dominhall Gleeson), oversees his staff before the lush department store Harrods opens his doors. Just as he is about to check the bathrooms (uh, you don’t wanna’ know), Thomas is called into the office of the general manager (Marianne Jean-Baptiste). Is it is his long-awaited promotion? Nope, that’s going to a neer-do-well relative of the owner (nepotism triumphs). Of course, Thomas doesn’t take it well, so he’s dismissed and security escorts him out of his beloved store. Alone in his flat, he gets a registered letter saying he has inherited the McGregor estate from an uncle he never knew existed. When he arrives at his new country home, Thomas is annoyed that it’s been taken over by Peter and his forest folk (talk about your “animal house”). Before Thomas can sell the place, he must make sure it’s spotless, with the garden safe and secure from the “vermin”. Ah, but then he meets his lovely neighbor Bea. Though the brief armistice has ended, can Thomas resume the war and defeat Peter’s crew, while wooing the beautiful Bea?

Dividing the cast between voice and live, Corden leads the pack at the microphone. His Peter’s a bit of braggart, often referring to himself as the hero, but he’s often trying to convince himself that he can survive his feats of “derring do”. It’s in the quieter moments, reflecting on the loss of his parents or calming his siblings, when we get Corden’s contagious charm and energy. Robbie, Ridley, and Debicki get to share in the fun as the squabbling sisters (a running gag has each one claiming to be the oldest, usually by mere seconds). As for those in front of the camera, Gleeson, like Hugh Grant in the last Paddington film, appears to be having a terrific time as the exasperated slapstick villain, literally bouncing off the walls at times. Though mainly known for his dramatic roles, Gleeson displays expert comic-timing (has there been a more regimented “floor-walker” at a retail hub) and graceful physicality during the manic action sequences. And he’s just as funny and more endearing as Bea melts his cold heart (and dissolves that stick up his “you-know”). Byrne lights up the screen , as the nurturing, patience but firm mother figure to all her neighbors, farmer and “furries”. She’s a paint-slinging Poppins trying to stop the mayhem outside her door. She didn’t have much luck with the elder McGregor who played by Neill as a ball of beet-red fury, a charging nightmarish monster. Back in the city, Jean-Baptiste is a most understanding supervisor, even as Gleeson’s rage stomps out his better judgement.

Director Will Gluck (EASY A) working from the screenplay he co-wrote with Rob Lieber brings the classic Beatrix Potter characters into the 21st century in a brash, chaotic style. In the first few seconds he thumbs his nose at “cutsey” critter capers by knocking down a quartet of sweetly singing birds, bowling pin style. At times, the hectic pace overwhelms turning the tale into a barnyard riff on HOME ALONE (you’d think that the McGregor line crossed the Fudd dynasty). And as with many “all ages” entertainment, they too often go for the easy “crude” gag (low-hanging britches plus carrot equals…). Yet somehow the film still has a good deal of charm. Another recurring joke concerns a rooster’s crowing (“Look! The Sun Came out again!Wow!”) and another that works concerns a refined pig who loses his manner around snacks. The countryside is dazzling as is the computer animation on Peter and company. A delightful bonus is the use of 2D animation for some flashback sequences, with the bunnies rendered in the manner of Potter’s original book illustrations (the watercolor effects are lovely). But this film comes up short being released just weeks after the glorious wit of that sweet British bear cub (the former has more consistent logic, since Paddington can converse, but Peter and his clan are hazy with sharing words with humans). The lil’ ones will squeal at the “knock-about” antics, and hopefully revisit the literary legacy of PETER RABBIT. That will make all the hare hi-jinks well worthwhile.

3.5 Out of 5