FLINTSTONES IN VIVA ROCK VEGAS
SYNOPSIS:
Flintstones, meet the Flintstones before they were a family. Fred (Mark Addy) is about to
earn accreditation as a brontosaurus operator at the Bedrock rock quarry, and has not yet
met Wilma, the spoilt but miserable heiress to the fortune of Colonel (Harvey Korman) and
Pearl Slaghoople (Joan Collins). We know that Fred will marry Wilma, and best friend
Barney will tie a prehistoric not with Betty, but in winning their true loves they must
first overcome the devilish designs of Chip Rockefeller (Thomas Gibson) – with a
little help from pint-sized alien The Great Gazoo (Alan Cummings).
"OK, let's get this straight. Last week I reviewed Dinosaur, a computer-animated
film that tries to simulate the look of real dinosaurs (if we knew what real dinosaurs
looked like) while having them behave as though they're in a cartoon. This week, I'm
reviewing Flintstones in Viva Rock Vegas, a live-action film based on a cartoon, where
computer animation tries to simulate the look of cartoon dinosaurs, except in real life.
Confused? Don't worry, the filmmakers seem pretty lost as well. For example, presumably
this film is aimed at children, but why would children be interested in the unpleasant,
moralistic plot, structured mainly round scenes of social humiliation? Why would adults be
interested either? Why is the direction so cramped and awkward - is this because of the
huge number of digital effects? Why hire a little-known English guy to play Fred
Flintstone? Why hire Stephen Baldwin for anything? Why is the miniature alien voiced by
Alan Cumming ('The Great Gazoo') so incredibly annoying? Why are there two cast members
returning from Eyes Wide Shut? Above all, why labour to recreate a forgettable '60s
cartoon show as a big-budget movie - and once you've done that, why make a sequel? Viva
Rock Vegas is Hollywood at its most chaotic yet creatively barren; the only compensation
is that almost anything goes in terms of cartoon gags (for example, when Fred is made to
'feel small,' we see him literally shrinking). The pantomime flavour, plus the frequent
use of rewritten rock songs (including the title tune) makes you wonder why they didn't go
that extra mile and make it a musical. The actors struggle not to embarrass themselves -
the exception is bitchy camp diva Joan Collins, who's as self-assured as ever. Why doesn't
she make more movies? Questions, questions."
Jake Wilson
"If you consider a brontosaurus breaking wind to be champagne humour you’ll
love this movie. Everyone else be warned: it reeks so badly, a dinosaur fart would smell
like a perfume factory in comparison. Harsh criticism for a kids flick? It isn’t. In
both ways. It isn’t harsh criticism, and the film isn’t only aimed at kids. For
a while I was at a loss to explain what send ups of Mick Jagger and nudge-nudge sexual
innuendos were doing in the land of Bedrock. Then the boulder dropped. It’s also
aimed at original Flintstone fans. Bad move. Five-year-olds will complain at the
film’s banality; Hanna-Barbera-philes will feel like stoning the screenwriters. I
thought that co-writers Kaplan and Elfont couldn’t do worse than 1998’s
Can’t Hardly Wait; they could hardly wait to prove me wrong. The jejune jokes and
pedestrian plot seem like they’ve been dug up from a prehistoric rock quarry. The
drivel posing as dialogue was hardly likely to inspire brilliant performances, and a
dazed-looking Baldwin plays Barney not so much as a dimwit of the Stone Age, but a drongo
of the Stoned Age; while Kirsten Johnston’s facial expressions suggest she thought
she was playing the alien rather than Alan Cumming – whose dual roles as Gazoo and
Mick Jagged are rare positives in this dinosaur-sized disaster. Even some fun with the
obligatory anachronisms – we still don’t know which came first, the dinosaur or
the egg, but turquoise nail polish was apparently popular long before shoes and stockings
– doesn’t provide much relief. The first Flintstones movie was bad. This prequel
is a lot worse. Three words of advice if they’re planning a third
live-"action" adaptation: Yabba Dabba Don’t!"
Brad Green
"It's difficult to know the intended audience for this latest Flintstones
installment. Visually it looks like a kiddie flick - lots of bright colours, dinosaurs as
fun park rides, and cute little creatures. The actors ham it up just as cartoon characters
always have. Yet the premise is largely an adult one. Gazoo (Alan Cumming) has been sent
from another planet to observe the mating rituals of earthlings. As an adult concept there
would have been plenty of material to mine here, but as family entertainment this material
is off limits and so the premise is unable to drive the movie. What we are left with is
lots of colour and movement, few jokes that work, a less than engaging story, and Dino
(Fred and Wilma's pet dinosaur) as a baby. Puppy Dino rates right off the 'awwww how cute
is that' scale. Unfortunately, the human cast doesn't hold the same appeal. Apparently
production was delayed to ensure Mark Addy's availability as Fred, yet he never quite
captures the character. It may be something as simple as the Englishman's near miss on the
American accent. But something doesn't gel, nor does his relationship with Kristen
Johnston's Wilma. There appears to be no chemistry between the two and, uncomfortable as
it is to suggest a Hollywood actress should be younger when the fight has always been for
parts for older actresses, 3rd Rock from the Sun's 32 year old Johnston is too old for the
part. She exudes a worldliness (to put it politely) that is not appropriate for the young
Wilma. This casting error is symptomatic of the rest of the movie: lots of valid attempts
and lots of misses."
Lee Gough
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CRITICAL COUNT
Favourable: 0
Unfavourable: 2
Mixed: 1
TRAILER
SOFCOM MOVIE TIMES



FLINTSTONES IN VIVA ROCK VEGAS (G)
(US)
CAST: Mark Addy, Stephen Baldwin, Kristen Johnston, Jane Krakowski, Thomas Gibson, Joan
Collins
PRODUCERS: Bruce Cohen
DIRECTOR: Brian Levant
SCRIPT: Deborah Kaplan, Harry Elfont, Jim Cash, Jack Epps, jnr.
CINEMATOGRAPHER: Jamie Anderson
EDITOR: Kent Beyda
MUSIC: David Newman
PRODUCTION DESIGN: Christopher Burian-Mohr
RUNNING TIME: 90 minutes
AUSTRALIAN DISTRIBUTOR: UIP
AUSTRALIAN RELEASE: June 22, 2000
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