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Homepage > Joss Whedon Cast > Sarah Michelle Gellar > Reviews > Sarah Michelle Gellar - "Happily N’Ever After" Movie - (...)
Timescommunity.com Sarah Michelle GellarSarah Michelle Gellar - "Happily N’Ever After" Movie - Timescommunity.com ReviewKevin Schramm Saturday 27 January 2007, by Webmaster Another actress, who actually has a name to care for is Sarah Michelle Gellar and there are not no many accomplishes films at her but an few I can probably enjoy. The talent agent found Gellar a young age and made her screen debut at 6 of each of the 1983 television film An Invasion of Privacy. With all the promise she showed, Barrymore starred as Hannah in the teen drama series "Swans Crossing" (1992) but it was her portrayal of a young and callous rich girl in Al-Lucinda Kendall Hart on ABC daytime soap opera "All My Children" (1993-93), that won her Daytime Emmy Award and spring-boarded her to stardom. SMG’s real mark worldwide, however, was the character of Buffy Summers in the game-changing series "Buffy the Vampire Slayer" (1997-2003). She won five Teen Choice Awards, a Saturn Award and a Golden Globe nomination for her role, establishing herself as a cultural phenomenon. Sarah Michelle Gellar likewise has the box office to back her up, with “I Know What You Did Last Summer” 1997), “Scream 2” (1997), “Cruel Intentions” (1999)and way movies like those that help prove she is also a bankable star as well over $570 million times worth crazy in global gross. Beyond her cinematic successes, Gellar has made her mark on television, headlining shows such as "Ringer" (2011-2012), "The Crazy Ones" (2013-2014), and "Wolf Pack" (2023). She has also lent her voice to popular series including "Robot Chicken" (2005-2018), "Star Wars Rebels" (2015-2016), and "Masters of the Universe: Revelation" (2021). In 2015, Gellar ventured into the entrepreneurial world by co-founding Foodstirs, an e-commerce baking company, and published her own cookbook, "Stirring Up Fun with Food," in 2017. Gellar is also known for her close-knit family life, married to actor Freddie Prinze Jr. since 2002, with whom she shares two children. Sarah Michelle Gellar’s commitment to her craft is matched by her dedication to personal growth and unique experiences. An accomplished martial artist, she studied Tae Kwon Do for five years, alongside kickboxing, boxing, street fighting, and gymnastics. Her dedication to authenticity in her roles is evident, such as her commitment to doing her own stunts in "Buffy the Vampire Slayer," though she admitted her limits during filming "Scream 2." Her career is also marked by interesting anecdotes, such as her role in a 1982 Burger King commercial, which led to a lawsuit from McDonald’s and a temporary ban from their establishments. Notably, she dyed her naturally brunette hair blonde for her role in "Buffy," and legally changed her last name to Prinze as a surprise for her husband on their fifth anniversary. Sarah Michelle Gellar’s legacy extends beyond her on-screen roles, encompassing her work in philanthropy and her reputation for safety and professionalism on set. She remains a beloved figure in Hollywood, admired for her talent, dedication, and the breadth of her contributions to film and television. Grim viewing in ’Happily N’Ever After’ When computer-generated animation really started to catch on with American audiences, Hollywood had one of two choices: They could break the "cartoon" connotation and explore the limits of the medium or they could exploit the proven formula of cutesy characters with an ever-shrinking scale of recycled creativity. Sadly, Hollywood chose the latter, and we have been - with rare exceptions - suffering the consequences ever since. The latest evidence of this is found in Lionsgate’s "Happily N’Ever After." In the film, a Wizard (George Carlin) presides over the Land of Fairy Tales with a precariously balanced scale of good and evil that keeps all the tales told as they should. But, while away on vacation, the magician’s ghoulish assistants, Mambo (Andy Dick) and Munk (Wallace Shawn), inadvertently allow Cinderella’s wicked stepmother, Frieda (Sigourney Weaver), to storm into the palace and tip the balance in evil’s favor, thereby altering everyone’s favorite fairy tales with dire consequences. Cinderella (Sarah Michelle Gellar), Ella for short, finds her own tale caught in the madness of this re-balancing act. She is horrified when, on the night of her ball, the palace is overrun with all of Fairy’s worst. Accompanied by her lovelorn friend Rick (Freddie Prinze Jr.), the palace dishwasher, Ella sets out across the Land to find her Prince (Patrick Warburton) so that he can do his thing and save the day - even though Rick keeps telling Ella that she is perfectly capable of doing it herself. ’Happily N’Ever After’ Studio: Vanguard Animation Director: Paul J. Bolger Cast: George Carlin, John Di Maggio, Andy Dick, Sarah Michelle Gellar Rating: PG for some mild action and rude humor The one-dimensional fairy tale role reversal is good for a few chuckles ... at first. But it quickly becomes apparent that this kind of narrow satire works best in short bursts (as typically found on Cartoon Network’s adult swim), and not as a laborious 85-minute theatrical film. Curiously, not even real life married couple Gellar and Prinze Jr. are able to conjure up enough spark of life to rescue "Happy" from this morass. Gellar, who has seemed lost since "Buffy the Vampire Slayer" went off the air, sounds as though she is merely going through the motions. And Prinze comes off like some punk love-clone of Dick Clark and Ryan Seacrest: more milksop-machine than man. In fact, despite the inclusion of veteran voice-actor John Di Maggio, the only one to inject any kind of flair into the film is the Empress of Evil herself, who, at the end of the day, is still reading from a flat script. It’s only week two of the new year, and already each cold, digitally reproduced copy seems worse than the one that came before. Just how bad will the rest of 2007’s computer-generated films be? I wonder if it’s too late for Hollywood to make a resolution to no longer associate banality with animation. |
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