The Producers (2005)

Based on the multi-Tony Award-winning musical, which itself was based on the 1967 film written and directed by Mel Brooks, this film tells the story of two men and their crazy scheme to make millions of dollars.

Broadway producer Max Bialystock (Nathan Lane) is at his wits' end. He hasn't had a successful show in years; every single show he produces seems to fail. His latest show, Funny Boy - a musical-comedy retelling of William Shakespeare's Hamlet - closed on its opening night.

Public accountant Leopold Bloom (Matthew Broderick) is assigned to look over Bialystock's accounts. He notices that there is a discrepancy in the books for Max's latest show, to the tune of two thousand dollars: funds raised that were not spent on the show itself, given that it closed so quickly. He mentions to Max that under the right circumstances, a producer could make more money with a flop than he could with a hit, as the show would close long before it cost the full amount of investment.

Max Bialystock (Nathan Lane) and Leo Bloom (Matthew Broderick).

At this, Max's ears prick up, and he and Leo hatch a plan to make a lot of money in a short amount of time. They decide to find the worst script they can - a show that is sure to close as quickly as possible - hire the worst director and the worst actors, raise much more money than the show will require, open - and quickly close - the show, taking their money and heading to Rio.

The script they come across is titled 'Springtime for Hitler' - basically a love letter to Adolf and Eva Peron - written by former Nazi soldier now living in New York, Franz Liebkind (Will Ferrell), who is over the moon that they have shown interest in his script, believing he can finally clear the Führer's name.

They hire the worst director they know, Roger DeBris (Gary Beach), who wants to make the show 'as gay as possible', as he believes this is what a Broadway show needs to succeed. DeBris, his personal assistant Carmen Ghia (Roger Bart), and the rest of his production team set about bringing the show to life.

Franz Liebkind (Will Ferrell).

The first actor hired is Swedish beauty Ulla (Uma Thurman), who is hired as Leo and Max's secretary/receptionist, and later cast as Eva Peron. Max and Leo both think they have a chance with Ulla romantically, which is technically the only reason they hired her in the first place.

Everything seems to be going to plan, until the show proves to be the biggest hit on Broadway in years.

The screenplay, written by Mel Brooks and Thomas Meehan, is basically identical to the book of the Broadway musical; indeed, it was these two who wrote the book, and the film is basically a screen realisation of the show. There are one or two songs - and scenes - missing from the film, but these are cut primarily for length and cinematic flow (these songs/scenes do feature in the supplementary material on the DVD of the film). As you might expect if you are familiar with Mel Brooks - and certainly if you have seen the musical, or the original film - the screenplay is absolutely hilarious.

The songs were all written - both music and lyrics - by Mel Brooks, and are likewise hilarious, and very well-written. The film's soundtrack also features underscoring, written by Glen Kelly, which utilises themes and motifs from the show's score, expanding and re-using them in a more traditional cinematic context.

Ulla (Uma Thurman).

One of the most enjoyable aspects of this film - aside from the comedy itself - is the choreography of the numerous big dance numbers. Choreographer Susan Stroman - who also was the film's director - has done an incredible job bringing these songs and dances to life. They are all well-matched to the tone of the rest of the musical, and have a very 'Mel Brooks' feel to them.

The cast performances are also good, with the definite standouts being Lane and Broderick. These two Broadway alumni - who also premiered their same roles on Broadway when the show opened - are truly in their element here. Having worked together numerous times before, they have a great chemistry together, and play off each other exceptionally well. Will Ferrell also does very well as Liebkind (he did not play the role on Broadway, but certainly has made it his own here), his excellent comic timing and delivery are perfect for the character.

Director Susan Stroman has made a wonderfully enjoyable film here, a fantastic adaptation of a very successful Broadway musical. No matter how many times I watch this film - and it has been a few at this point - I enjoy every single moment of it. If you haven't seen it yet, you absolutely must watch it soon (also check out the original 1967 film, which stars Zero Mostel and Gene Wilder as Bialystock and Bloom).

8 out of 10.

Hercules (1997)

The classic Greek myth gets the full Disney treatment in this film from directing duo Ron Clements & John Musker.

From high on Mount Olympus, Zeus (Rip Torn) and his wife Hera (Samantha Eggar) have just given birth to their son, Hercules. Blessed with god-like strength even as a baby, he is set to become one of the greatest gods ever.

But when god of the underworld Hades (James Woods) learns that in eighteen years time, the planets will align just right to allow him to release the Titans (whom Zeus imprisoned centuries before) and overthrow the gods of Mount Olympus and rule himself, he enlists the help of his servants Pain (Bobcat Goldthwait) and Panic (Matt Frewer) to kidnap the baby god.

You see, in learning of the aligning of the planets, he also learns of the fact that if Hercules fights with the gods, then Hades will fail. His plan is to turn Hercules mortal so that he can be killed.

But when Pain and Panic try to turn Hercules mortal by giving him a potion that will strip him of his godlike strength, their plan goes slightly awry when he doesn't quite drink the whole thing. Even though there is only one drop left in the bottle, it means Hercules retains his godlike strength while at the same time becoming mortal.

And since he is now mortal, he cannot return to Mount Olympus and so must live out his life on earth.

So Hercules (voiced by Josh Keaton as a teenager, and Tate Donovan as an adult) now finds himself in a world in which he doesn't fully belong. He doesn't fit in anywhere, and is in fact an outcast, as his enormous strength coupled with his incredible clumsiness always results in disaster.

When Zeus tells Hercules that he can one day return to Mount Olympus if he can prove himself a true hero, Hercules seeks out the satyr Philoctetes (Danny DeVito) to train him in the ways of a hero.

But when his adventures bring him across the path of a beautiful woman named Meg (Susan Egan) - who may be more than she seems - it might just be enough to bring him undone.

The script, by Ron Clements & John Musker and Donald McEnery & Bob Shaw and Irene Mecchi, is actually quite good. The writers have incorporated numerous references from Greek mythology, while also making the story their own. I love all the small little in-jokes that pop up every now and again, such as a young boy in an emergency shouting to his friend 'Somebody call IX-I-I!"

The music - by Disney regular Alan Menken - is fantastic, perfectly supporting the film at every turn, in the same way as all of Menken's scores do. There is a small handful of songs, with music by Menken and lyrics by David Zippel, and these are also very well written, with very clever rhymes in the lyrics, and unique melodies that work very well.

The voice cast are all superb, but the clear standout has got to be James Woods as Hades. His ability to convey so much with subtle little changes in intonation and expression is wonderful.

Oh, and a note on Hercules here, too. When he sings his big 'I want' number (see some of my other reviews for discussion on this concept), it is actually the voice of Broadway performer Roger Bart (who has also appeared in films and television, but it is on Broadway that he really shines). And his performance is magnificent, and well worth a mention here.

All in all, this is a very enjoyable film that I have probably watched a few more times than some of Disney's other animated films, purely because it is so much fun, and the script so clever.

Directors Clements and Musker have done a great job, and if you haven't seen it yet - or even for a while - I would recommend you check it out.

7 1/2 out of 10.