FuzzyTagz
If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.
Kodie Bird
True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.
Janis
One of the most extraordinary films you will see this year. Take that as you want.
Edgar Allan Pooh
. . . with this 1940s animated short, THE BIG SNOOZE. Bugs Bunny takes on the Humphrey Bogart part, which of course leaves the Lauren Bacall role to Elmer Fudd. Though Mr. Fudd looks better in a green cocktail dress than Ms. Bacall, that may be a moot point, given SLEEP's monochromatic nature. Whereas the live-action Bogart flick involved him and Bacall telling each other an increasingly complicated bedtime murder mystery in which even the Real Life movie director admitted he could not figure out exactly who killed whom, SNOOZE finds Bugs invading Elmer's retirement dreams with packs of bunnies and wolves until Elmer's not sure which bathroom to use in North Carolina. Since Elmer logs on and off to Reality here like a schizophrenic on an LSD trip, there's no need for SNOOZE to introduce such tomfoolery as SLEEP's hidden cameras. Elmer appears totally nude from 5:08 through 5:11 of SNOOZE, which is a lot more daring than you can credit Bacall for anything she doffs in SLEEP. However, both efforts boil down to yawners.
utgard14
Bob Clampett's final short for Warner Bros. is a classic Bugs & Elmer cartoon. Elmer's tired of the routine they're in where he chases Bugs but never wins. So he tears up his contract and quits the cartoon! Bugs, determined to get Elmer back, invades his dreams (like Freddy Krueger) leading to some surreal and wacky imagery. The music is bouncy and cheerful. The voice work from Mel Blanc and Arthur Q. Bryan is expectedly flawless. The animation is beautiful with well-drawn characters and backgrounds and lovely Technicolor. The dream stuff is amazing. Funny gags, lines, and fourth-wall breaking makes this one any Looney Tunes fan will want to see.
MartinHafer
This is a very funny and very unusual Bugs Bunny and Elmer Fudd cartoon. It starts off typically--with Bugs repeatedly tormenting Elmer. Finally, however, Elmer announces he's had enough and he takes out his Warner Brothers contract, tears it up and announces he's done with cartoons! Bugs makes a comment to the audience and then decides that he MUST bring Elmer back into the Warner fold--otherwise he, too, might be out of work. When Bugs finds Elmer, he's sound asleep, so Bugs takes a sleeping pill and enters Elmer's dream in order to torment him (much like a recent Spongebob cartoon). It's all very funny--and filled with a lot of nudity, as Elmer, inexplicably, runs about in fig leaf underwear. Most importantly, however, it is very funny, fast-paced and I love how the cartoon lets you know that the characters know they are cartoons. Really weird and fun.
ackstasis
'The Big Snooze (1946),' a Looney Tunes short directed by Robert Clampett, is basically seven minutes of cultural references: the title is derived from Howard Hawks' classic Bogart-Bacall film-noir, 'The Big Sleep (1946),' and there are throwaway mentions of Bette Davis, Laurel and Hardy, Abbott and Costello, Damon Runyon and Mr. Jack L. Warner himself. The film's premise, in some eerie twist of Einstein's space-time continuum, even appears to reference Freddy Krueger and 'A Nightmare on Elm Street (1984),' though greater minds than mine could undoubtedly arrive at a more sensible conclusion. The opening sequence was recycled from the 1941 Bugs Bunny cartoon, 'All This and Rabbit Stew (1941),' with Elmer Fudd substituted for the black hunter from that film. 'The Big Snooze' wanders quite aimlessly through its scenario, but the idea itself is clever enough to last the total running time. As usual, Mel Blanc voiced the wabbit, but Arthur Q. Bryan (uncredited) is responsible the characterisation of Fudd.In a shrewdly self-referential twist on the usual formula, Elmer, after being outsmarted by the mischievous Bugs for the last time, angrily tears up his Warner Bros. contract and decides to spend the rest of his days fishing. Fearing for his own career, Bugs attempts to frighten Elmer back into acting, and does so by entering into his dreams and systematically turning them into a string of terrifying nightmares, plagued by horrific armies of annoying "wabbits." With the realisation that retirement isn't quite as peaceful as he'd anticipated, Elmer promptly returns to the film set and accepts that it is simply his duty to be consistently suckered by a rascally rabbit. Just as the classic 'Duck Amuck (1954)' derived humour from its self-referential nature, Clampett's film {ironically enough, the last that he made for Warner Bros.} has some fun with the conjecture that Elmer Fudd is a contracted actor on the studio's payroll. The dream sequence is colourful, chaotic and suitably threatening, and Bugs appears to get a lot of enjoyment from tormenting the hapless little hunter.
