The Addams Family 2: Creepy Madmen Still So Fun | Bega District News

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The Addams Family 2 (PG, 93 minutes). The happily macabre characters of Charles Addams seem invincible. They started in a cartoon series in The New Yorker from 1938 and in 1964 came the first television series, a sitcom with an indelible “click click” theme song. Although the show only lasted two seasons, it has endured in popular consciousness. Then came a Hanna-Barbera cartoon series in the 1970s, two live-action movies in the 1990s with Raul Julia and Anjelica Huston and a Canadian sitcom version as well as a Broadway musical. There may be more, but you get the idea: this family is not leaving. Maybe the fact that they’re the Addams Family is the key to the franchise’s success: As “creepy, wacky, mysterious, and scary” as the Addams are, they care about each other: it is often them against the world. They know they’re seen as different, and they don’t care. In 2019, the first computer animated feature film was released. It was a success and inevitably came this sequel, with two directors, two co-directors and four credited writers. Fortunately, it’s not the mess of too many cooks that could have been dreaded: it looks good and it’s fun, with lots of clever gags to appeal to older audience members as well as more humor. wide for the youngest. As in the musical, although in a different way, a change in the daughter of the family is the center of attention. At the start of the film, Dark and Unmoved Wednesday (voiced by Chloe Grace Moretz) feels estranged from her family, and not in a good way. It is not that she subjects her younger brother Pugsley (Javon Walton, replacing Finn Wolfhard from the previous film) to inventive tortures: this passes for normal. Nor is it just teenage angst, though she displays embarrassment at the displays of affection from her father Gomez (Oscar Isaac) and is grieved when the whole family shows up at his science fair. Wednesday is experimenting with how people can be “made better,” which leads to ever-increasing changes in Uncle Fester (Nick Kroll) and attracts the attention of scientist Cyrus Strange (Bill Hader). Discussing his concerns about Wednesday with his wife Morticia (Charlize Theron), Gomez discusses what he believes is the perfect fit: a family trip to places like Salem, Massachusetts. Leaving Grandma (an underused Bette Midler) in charge of the house, the Addamses, along with Butler Lurch (Conrad Vernon) and practical help Thing leave – but not before a mysterious visitor arrives with information that could both explain why Wednesday feels the way she does and change the family forever. Parents hide this from children – even if they realize they are being pursued – as they continue their adventures, visiting sights such as Niagara Falls and Miami, the latter being where the shaggy cousin He joins them. The worry about Wednesday gives the story a common thread and an emotional core. A real treat throughout is the constant flow of visual and verbal humor (aside from some jokes from Gomez’s dad). Road signs that refer to places familiar to horror lovers – Crystal Lake and Elm Street, anyone? – from Wednesday’s regular attacks on his brother to a weird interlude at a bike bar where Lurch reveals an unexpected talent or two, there’s a lot to enjoy. I’m sure I missed a few. One of the more subtle moments was when Fester quoted Lawrence Oates’ last words on Robert Falcon Scott’s doomed Antarctic Expedition (look, that’s pretty heroic). If you wanted to be picky, you could point out that the Salem “witches” were not burned at the stake (19 of the defendants were hanged) and – less important – that the family should have traveled to Canada for sight. the most spectacular of Niagara Falls (although they may have encountered border issues). The running gag involving Fester (of all people) trying to advise Pugsley on how to approach girls isn’t as fun as it could have been and, perhaps due to its episodic nature, the movie makes it look like it’s gone a bit by the time it reaches its climax. Still, there is no need to focus on the gaps. It’s funny, even when I was watching him alone in Dendy. A responsive audience would only have improved the experience.

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