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    Movie Review

    Laziness dooms Paws of Fury: The Legend of Hank to also-ran status

    Alex Bentley
    Jul 15, 2022 | 9:31 am
    Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.play icon
    Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.
    Photo courtesy of Paramount Pictures

    Live-action remakes are all the rage at Disney, which has dedicated itself to redoing all of its classic animated properties. But it’s not often you see the reverse — an animated remake of a classic live-action movie — and of all the movies you might think would be remade, one of the ones least likely to come to mind would be Mel Brooks’ 1974 black comedy, Blazing Saddles.

    And yet, that’s exactly what the new animated film Paws of Fury: The Legend of Hank, tries to do, although the connection between the two films is tenuous at best. In the film, the narcissistic Ika Chu (Ricky Gervais) leads a land dominated by cats, one in which each town is protected by a samurai. One such town, which just lost its fraidy cat of a samurai, stands in the way a great view for Ika Chu, and he vows to eradicate it altogether.

    He attempts to make that easier by appointing a dog, Hank (Michael Cera), as the town’s new samurai, hoping the townsfolk will revolt against him. Naturally, everyone warms to him right away, especially after he earns an early victory with the help of an aging samurai, Jimbo (Samuel L. Jackson). Soon, Hank and the town prove to much more formidable than Ika Chu ever expected.

    Directed by a trio of filmmakers and boasting five credited writers (although three of them are the original Blazing Saddles writers), the film is one of the laziest mainstream animated films in quite some time. The film is full of cheesy one-liners, the breaking of the fourth wall on multiple occasions, and more that seem greatly out of place. What works in an adult-oriented comedy doesn’t fly in a kids movie because all of the bite is missing, leaving the jokes with no clear audience.

    The filmmakers and writers just don’t seem to know how to make a broadly entertaining film. There are several clumsy attempts at making the movie relevant, vaguely calling out actions of hate and/or racism, but they don’t land at all. They throw in lots of anachronisms, inserting modern-day aspects among the ancient days of the samurai, but those scenes mostly confuse matters.

    Worst of all is the storytelling decisions in general. If you didn’t know going in that it was based on Blazing Saddles, there would be little way to tell other than the presence of Mel Brooks in a small role. And the use of samurai instead of simply Old West figures is supremely odd, and in a way insulting, like they’re trying to steal from a culture they know nothing about. Perhaps they didn’t want to use guns, but writers who were more clever could have found a better way around this obstacle.

    It’s difficult to keep up with Disney, Pixar, Illumination, and the like in the animation field, but the work put forth in this film is still relatively shoddy. The characters look fine, but none of them are so appealing that you can’t wait for the film to get back to them. And the fine details like hair and water are noticeably lacking compared with the superb graphics other studios produce.

    The lackluster parts of Paws of Fury: The Legend of Hank, including the story, the writing, the animation, and the presence of celebrity actors no kid could ever name, provide no good reason for its existence. Even kids are smart enough to know when they’re being served something mediocre, and this film is so subpar it doesn’t even qualify as that level.

    ---

    Paws of Fury: The Legend of Hank is now playing in theaters.

    Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.

    Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank
    Photo courtesy of Paramount Pictures
    Hank (Michael Cera) and Jimbo (Samuel L. Jackson) in Paws of Fury: The Legend of Hank.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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