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[Frida Kosofsky]

NoteI first saw "The Road" in September at the Toronto Film Festival, as one of eight films I saw in three days. I wrote a draft of a review at the time and sent it. That review accidentally found its way into sight in October, long before the film was scheduled to open. I yanked it offline as quickly as I could.

I saw the movie a second time at a press screening on Oct. 27 in Chicago. I see festival films again whenever I have the chance. I find the second viewing makes the good ones better, and the bad ones worse. Such is the case with "The Road."

"The Road" evokes the images and the characters of Cormac McCarthy's novel. It is powerful, but for me lacks the same core of emotional feeling. I'm not sure this is any fault of the filmmakers. The novel itself would not be successful if it were limited to its characters and images. Its effect comes above all through McCarthy's prose. It is the same with all of McCarthy's work, but especially this one, because his dialogue is so restrained, less baroque than usual.

The story is straightforward: America has been devastated. Habitations have been destroyed or abandoned, vegetation is dying, crops have failed, the infrastructure of civilization has disappeared. This has happened in such recent memory that even The Boy, so young, was born into a healthy world. No reason is given for this destruction, perhaps because no reason would be adequate. McCarthy evokes the general apprehension of post-9/11. The Boy and The Man make their way toward the sea, perhaps for no better reason than that sea has always been the direction of hope in this country.

The surviving population has been reduced to savage survivalists, making slaves of the weaker, possibly using them as food. We've always done that, employing beef cattle, for example, to do the grazing on acres of pasture so we can consume the concentrated calories of their labor. In a land where food is scarce, wanderers seek out canned goods and fear their own bodies will perform this work for the cannibals.

Although we read of those who stockpile guns and ammunition for an apocalypse, weapon stores on the Road have dwindled down. The Man has a gun with two remaining bullets. He is a wary traveler, suspecting everyone he sees. He and The Boy are transporting a few possessions in a grocery cart. He encourages his son to keep walking, but holds out little hope for the end of their journey.

I am not sure the characters could be played better, or differently. Viggo Mortensen portrays The Man as dogged and stubborn, determined to protect his boy. Kodi Smit-McPhee is convincing as a child stunned by destruction, depending on his father in a world where it must be clear to him that any man can die in an instant. The movie resists any tendency toward making the child cute, or the two of them heartwarming.

Flashback scenes star Charlize Theron as the wife and mother of the two in earlier, sunnier days. These sequences show the marriage as failing, and these memories haunt The Man. I'm not sure what relevance this subplot has to the film as a whole; a marriage happy or sad -- isn't it much the same in this new world? It has a lot of relevance, however, to The Man and The Boy. In times of utter devastation, memories are what we cling to.

The external events of the novel have been boldly solved, and this is an awesome production. But McCarthy's prose has the uncanny ability to convey more than dialogue and incident. It's as dense as poetry. It is more spare in The Road than in a more ornate work like Suttree; in The Road, it is as evocative in the way Samuel Beckett is. If it were not, "The Road" might be just another film of sci-fi apocalypse. It's all too easy to imagine how this material could be vulgarized, as Richard Matheson's novel was in the 2007 version of "I Am Legend."

How could the director and writer, John Hillcoat and Joe Penhall, have summoned the strength of McCarthy's writing? Could they have used more stylized visuals, instead of relentless realism? A grainy black-and-white look to suggest severely limited resources? I have no idea. Perhaps McCarthy, like Faulkner, is all but unfilmable.

The one great film of his work is the Coens' "No Country for Old Men," but it began with an extraordinary character and surrounded him with others. The Road is not fertile soil, providing a world with life draining from it. McCarthy's greatest novels are Suttree and Blood Meridian. The second, set in the Old West, is about a fearsome, bald, skeletal man named Judge Holden, who is implacable in his desire to inflict suffering and death. ("Blood Meridian" is being prepared by Todd Field, director of "In the Bedroom.")

Hillcoat's earlier film, "The Proposition" (2005), written by Nick Cave, seems almost McCarthy-like. Something in McCarthy's work draws Hillcoat to it, and you must be a brave director to let that happen. Writing this, I realize few audience members can be expected to have read The Road, even though it was a selection of Oprah's Book Club. Fewer still will have read McCarthy's other works.

I've been saying for years that a film critic must review the film before him, and not how "faithful" the film is to the book -- as if we're married to the book, and somehow screen adaptation is adultery. I realize my own fault is in being so very familiar with Cormac McCarthy. That may affect my ability to view any film adaptation of his work afresh. When I know a novel is bring filmed, I make it a point to not read the book. Yet I am grateful for having read McCarthy's.

The overall plot through the series follows the adventures of four anthropomorphic Central Park Zoo animals who have spent their lives in blissful captivity and are unexpectedly shipped back to Africa (to Madagascar initially). Now they must struggle to survive while attempting to return to New York City with the help of a crafty cadre of penguins and with many other characters along the way. The franchise's films have received mixed-to-positive critical reviews.

Madagascar is a 2005 animated comedy film and the first film in the series. Directed by Eric Darnell and Tom McGrath, the film tells the story of four Central Park Zoo animals: Alex the lion (Ben Stiller), Marty the zebra (Chris Rock), Melman the giraffe (David Schwimmer) and Gloria the hippo (Jada Pinkett Smith). These animals have spent their lives in comfortable captivity and are unexpectedly shipwrecked on the island of Madagascar.

Madagascar: Escape 2 Africa is a 2008 animated comedy/adventure film and the sequel to the 2005 film Madagascar. Directed by Eric Darnell and Tom McGrath, the film continues the adventures of Alex, Marty, Melman and Gloria, who try to fly back to New York, but they crash-land in Africa, where Alex is reunited with his parents Zuba (Bernie Mac) and Florrie (Sherri Shepherd). However, a lion named Makunga (Alec Baldwin) is planning to overthrow Zuba and become alpha lion.

Madagascar 3: Europe's Most Wanted is a 2012 animated comedy film, and the third installment in the series, directed by Eric Darnell and Tom McGrath, along with Conrad Vernon. Alex, Marty, Gloria and Melman are still struggling to get home to New York. This time, their journey takes them to Europe where they purchase a failing traveling circus as they become close friends with the staff like Stefano the sea lion (Martin Short), Vitaly the tiger (Bryan Cranston), Gia the jaguar (Jessica Chastain) and Sonya the bear (Frank Welker), King Julien's (Sacha Baron Cohen) true love. Together, they spectacularly revitalize the business even as the fanatical Monaco Animal Control officer Captain Chantel DuBois (Frances McDormand) relentlessly pursues them. In the end, the zoo animals finally get back to New York, only to find that they have grown too much in spirit to return to captivity and decide to stay with the circus instead.

A spin-off film featuring the penguins had been in the works since 2005, when the first Madagascar film had been released, with a release date planned for 2009.[8] In March 2011, it was announced that the penguin characters would be given their own feature film, similar to the 2011 Puss in Boots movie,[9] to be directed by Simon J. Smith (the co-director of Bee Movie), produced by Lara Breay and written by Alan J. Schoolcraft and Brent Simons (the writers of DreamWorks' Megamind).[10] In July 2012, at Comic-Con, it was announced that the film, titled The Penguins of Madagascar, would be released in 2015.[11] Robert Schooley, one of the producers of The Penguins series, said that the film will be unrelated to the TV series of the same name, but he did say that could always change.[12] In September 2012, 20th Century Fox and DreamWorks Animation announced the release date for March 27, 2015, and a new pair of writers, Michael Colton and John Aboud.[13] In August 2013, it was reported that Benedict Cumberbatch would voice Agent Classified from the North Wind and John Malkovich the film's charming villain, Dr. Octavius Brine/Dave.[14] On May 20, 2014, the film's release date was moved up to November 26, 2014, switching places with DreamWorks Animation's other film Home.[15]

The Penguins of Madagascar is an animated spin-off television series that aired on Nickelodeon. The series follows the adventures of the four penguins: Skipper (the leader of the group), Kowalski (the smartest), Rico (the craziest) and Private (the youngest) in New York City's Central Park Zoo. The penguins rule the roost at their Central Park habitat, carrying out secret missions in the heart of the city. At times, their missions beckon them to venture outside the zoo. King Julien is also a resident of the zoo (though it is unknown how he, Maurice, and Mort got there) and the penguins must compete against him to maintain order in the zoo. While Tom McGrath, John DiMaggio, Conrad Vernon and Andy Richter reprised their roles as Skipper, Rico, Mason and Mort respectively, Jeff Bennett replaced Chris Miller as Kowalski, James Patrick Stuart replaced Christopher Knights as Private, Danny Jacobs replaced Sacha Baron Cohen as Julien and Kevin Michael Richardson replaced Cedric the Entertainer as Maurice. The series also features a new character, Marlene, an otter voiced by Nicole Sullivan.

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