Swift) sets out to find an actual, living tree.
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(The grandma is voiced by the meme of the moment Betty White a villain added for the movie is voiced by Rob Riggle.) It tells parallel stories, one about a young boy named Ted (Zac Efron), who in order to impress a girl (Ms. What do the kids want? Car chases! Kooky grandmas! Pint-size villains flanked by thuggish minions! Things that fly! Taylor Swift! The simple fable of the Lorax and the Once-ler is wrapped in gaudy, familiar business and festooned with grim, forced cheer. The movie’s silliness, like its preachiness, is loud and slightly hysterical, as if young viewers could be entertained only by a ceaseless barrage of sensory stimulus and pop-culture attitude, or instructed by songs that make the collected works of Up With People sound like Metallica. Seuss’s distinctive, trippy drawing style, treats his sensibility as, at best, a decorative element. “The Lorax,” while it nods in the direction of Dr. Seuss’s Horton Hears a Who!” and now this one). Seuss’ The Cat in the Hat”) and animated (“Dr. Seuss’ How the Grinch Stole Christmas,” “Dr.
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But in his lifetime Geisel exercised strict quality control, a practice that his estate has abandoned, authorizing a series of cinematic abominations both live-action (“Dr. He started out in advertising and built his middle name into a formidable brand that, like the Once-ler’s empire in “The Lorax,” grew bigger and bigger and bigger. “Wall-E” is a transcendent example, brilliantly embracing its own contradictions, but there are plenty of other movies, animated and not, that manage to pay tribute to the beauty of the natural world even as they revel in giddy, merchandising-friendly artifice.Īnd Theodor Seuss Geisel, it should be noted, was hardly averse to commerce. The corporate entertainment system has shown itself perfectly capable of injecting soul into what it sells, and at inflecting some of its products with a critical spirit. This is not a matter of hypocrisy or corporate green-washing on the part of the filmmakers, nor of reflexive Loraxian dogmatism on my part. The movie is a noisy, useless piece of junk, reverse-engineered into something resembling popular art in accordance with the reigning imperatives of marketing and brand extension. Seuss’s book is precisely that of the synthetic trees that line the streets of Thneedville to the organic Truffulas they have displaced. Despite its soft environmentalist message “The Lorax” is an example of what it pretends to oppose. At times the imagery takes on a dark, almost apocalyptic cast as it surveys the smogged-up, denuded landscape where the trees used to be and the shiny, commercialized pseudo-utopia (called Thneedville) that an alienated humanity, having lost the memory of nature, now calls home.ĭon’t be fooled. Thematically the movie, directed by Chris Renaud and Kyle Balda from a script by Ken Daurio and Cinco Paul and made under the auspices of the Illumination animation studio, dutifully lectures its audience on the folly of overconsumption and the virtue of conservation. Having donned recyclable 3-D glasses and seen the thing for myself, I’m not sure whether to mock the enemies of “The Lorax” for their cluelessness, to offer them reassurance or to compliment them for being half-right. Seuss’ The Lorax,” which is supposedly part of a left-wing Hollywood conspiracy to brainwash America’s children into hating capitalism and loving trees. In our own globally warmed, ideologically fevered moment there has been a minor flurry of predictable, pre-emptive bloviation aimed at Universal’s movie version, “Dr. Seuss, has occasionally been caught up in squalls of controversy, most of it cooked up by people choosing to be outraged by the book’s mild allegorical moral of ecological responsibility. Since its publication in 1971 “The Lorax,” by Dr.
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