Clown wars

>> Death to Smoochy takes on the perverse world
of children’s entertainment

by MARK SLUTSKY

When a movie is as outlandish as Death to Smoochy, when its characters and its plot exist as over-the-top satirical absurdity, it’s probably not a good idea for the movie’s visual style to be equally outrageous. When you’re dealing with murderous kiddie-show hosts and Mafia-sponsored ice shows, does the audience really need to be reminded, with every crazy camera angle, that the movie takes place in a wacky universe?

Death to Smoochy’s out-of-control, expressionist ha-ha style is the biggest flaw in a movie with many flaws (but some very intriguing ideas). The film, directed by Danny DeVito, is set in the bloodthirsty, money-driven world of kiddie TV shows, and as a satirical target, it’s pretty ripe. One of the movie’s best conceits is that the insane profitability and aggressive goofiness of children’s entertainment is irresistibly corrupting and dementing.
We see this early on with the public humiliation of popular entertainer Rainbow Randolph (Robin Williams), convicted of taking bribes from parents in exchange for prominent placement of their kids on his show. Williams is somewhat annoying in the part, but it’s perfectly tailored to his mania; if he keeps taking dark roles like this he might just save his blemished career. Network VP Catherine Keener (good as always) finds Williams’ replacement in Sheldon Mopes (Edward Norton), a true blue do-gooder whom she tracks down doing his act at a methadone clinic. Norton’s rhino alter-ego, Smoochy, becomes a huge hit, and he finds himself trying to negotiate the trappings of fame and merchandising. Meanwhile, Williams is trying to kill him and the Parade of Hope foundation, a sinister children’s charity, isn’t too happy with Smoochy’s idealistic ways either.

On paper there’s a lot to like about Smoochy. Take it from someone who had to sit through See Spot Run—the kiddie entertainment industry is pretty perverse. And the kids’ shows themselves, when we see them, have an admirably psychedelic craziness. But the movie doesn’t really hold together; apart from the irritating visual style, the script really peters out and most of the performances are played way too broadly. The potential is so clearly there, but not lived up to. :

Death to Smoochy opens Friday, March 29