Tag Archives: Dreamworks

The Wild Robot (2024)

15 Tuesday Apr 2025

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(For Day 14 of NaPoWriMo, the prompt was for a poem describing a place in terms of the animals and natural sounds, so I thought of a certain humanless island from a recent animated film.)

The island was peaceful, no humans as kings,
Serene with the sounds of dying things.
Nature was spinning the circle of life
That ends with a cry and then silence.
The ocean was beating its breast on the rocks,
As the yelp of a whelp and the laugh of a fox
Echoed through trees as indifferent as death,
So soothing (ignoring the violence).

The geese were declaring their edge over ducks,
The does were all teases outrunning the bucks,
The woodpeckers gifted headaches to the squirrels,
And nothing was likely to change.
But then a new creature came, bringing new noises,
The whirring of servos, the shock that a voice is,
No fur and no feathers, just a fool metal jacket,
A new kind of racket, exciting and strange.
________________________

MPA rating: PG

My favorite film of 2024, The Wild Robot is further proof that DreamWorks can match and even surpass Disney at its best. Based on a 2016 children’s novel by Peter Brown, the first in a trilogy, this animated adventure set in the future sees an unprogrammed robot, ROZZUM Unit 7134 or “Roz” (Lupita Nyong’o), wash up on an unpopulated island full of unfriendly wildlife. Seeking some meaningful service to offer, Roz stumbles into the care of a baby gosling eventually named Brightbill (Kit Connor), raising it with the aid of a crafty fox (Pedro Pascal) and gradually weaving herself into the ecosystem in a way none would have guessed.

The early scenes of Roz exploring the island, before she is able to communicate with the animals, bring to mind the beginning of WALL-E, near-wordless storytelling at its finest. And once she does make contact, the film is surprisingly candid about the dog-eat-dog nature of nature, slipping in some darker-than-expected humor for a kids movie. The film’s emotional core lies in Roz’s connection to Brightbill, a poignant bond of adoptive motherhood that is likely to draw out tears from the tenderhearted, especially when backed by Kris Bowers’ moving, instantly iconic score.

The animation is also a sheer joy to behold, a gorgeous watercolor style that puts other 3D animation to shame with its warmth and natural detail, and, although I quite enjoyed Flow too, it’s a crime that this didn’t win the Best Animated Feature Oscar. Nyong’o brings an excellent balance of robotic coolness and burgeoning emotion as the voice of Roz, while Pascal is a special delight as the wise-cracking fox she befriends. And did I mention the score? It still gives me goosebumps.

It’s true there’s nothing particularly new about The Wild Robot’s themes, borrowing from the likes of The Iron Giant and Wolf Children, and the latter half has some holes (the exciting climax feels a bit pointless by the end). But this fable of a robot learning humanity even without humans around is exceptionally well-crafted otherwise and will always hold a special place in my heart. I’m skeptical whether the planned sequel can match it, but I hope so.

Best line: (Roz) “Sometimes, to survive, we must become more than we were programmed to be.”

Rank: List-Worthy

© 2025 S.G. Liput
805 Followers and Counting

The Bad Guys (2022)

16 Sunday Apr 2023

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(For Day 16 of NaPoWriMo, the prompt was for a poem of negation, describing something in terms of what it is not. Since the main characters of this film struggle in being reformed, I wrote up a list of what good guys don’t do.)

A good guy doesn’t rob a bank
Or overflow a septic tank
Or steal a precious, priceless gem
Or cause unwarranted mayhem.

They do not blow up oil rigs
Or feast on captive guinea pigs
Or lead police on reckless chases,
Fleeing to their secret bases.

A good guy would not live off lies
As a master of disguise,
And they should not win a game
Based on whom they kill or maim.

A truly good guy won’t consent
To hack the grid or government,
… Well, unless they have a good reason,
No, nevermind, that could be treason.

But most of all, a real good guy
Does not cheat or steal or lie,
Even if they’re unsuspected
(Not unless they’ve been elected).
____________________

MPA rating: PG

While Puss in Boots: The Last Wish got well-deserved acclaim last year, the other 2022 film from DreamWorks Animation was also a pleasant surprise. Based on an Aaron Blabey graphic novel series for children, The Bad Guys features the titular posse of menacing animals – Wolf (Sam Rockwell), Snake (Marc Maron), Piranha (Anthony Ramos), Tarantula (Awkwafina), and Shark (Craig Robinson) – whose crime spree is brought to an end after a botched heist. Yet the criminal gang is given a chance to prove they can be reformed into good guys with the help of a do-gooder guinea pig (Richard Ayoade) and a foxy governor (Zazie Beetz).

First off, as an animation fan, I thought this film’s visual style was an absolute treat! It partakes in the now-familiar fusion of 2D and 3D ushered in by Into the Spider-Verse yet uses it for a distinct comic-book look that has a delightful smoothness to it, both in character design and movement. It’s probably best not to think too hard about the world of mostly humans, a few sentient animals, and otherwise normal animals, but the main troop have a great dynamic as their unique skills complement each other during heists, particularly the inventive uses of Snake’s long body despite lacking limbs. Wolf and Governor Foxington have an amazing amount of chemistry between them, while a police chief (Alex Borstein) intent on capturing the Bad Guys has some clear parallels with Inspector Zenigata of the Lupin III series, especially during the opening car chase.

DreamWorks has made some questionable creative choices, like focusing way too much on The Boss Baby, but movies like this and Puss in Boots have reignited my interest in what they’ll do next. Puss had weightier themes, but The Bad Guys is suave, cartoonish fun, incorporating the plotting and intrigue of heist movies with a believable redemption arc that stresses responsibility and the difficulty of earning back trust. Add in a catchy song for Anthony Ramos and some thrilling action scenes, and it’s the kind of animated film I would have loved growing up. Considering DreamWorks put the main characters in their recent updated logo sequence, I’m hoping this will become a worthwhile series.

Best line: (Diane Foxington, when Wolf insists no one will accept them as good guys) “Maybe they will believe you, maybe they won’t. But it doesn’t matter. Don’t do it for them. Do it for you. This is a chance to write your own story, to find a better life for you and your friends. Come on, what have you got to lose?”

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

Puss in Boots: The Last Wish (2022)

26 Sunday Mar 2023

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Why waste your youth on worry?
Why brood on doubt and death?
When in your prime,
You have the time
To not count every breath.

It’s normal to be stupid,
Or so the stupid say.
The less you heed,
The less you need
To care about each day.

But age, regret, or wisdom
Eventually take hold
To some degree.
Stupidity
Dies out before it’s old.

It’s up to each what value
Upon their life is placed.
But when the fun
And games are done,
Don’t let it be a waste.
_____________________________

MPA rating: PG

I would not have expected one of my favorite films from last year to be a sequel separated from its franchise by eleven years, from a studio I thought I had stopped caring about. In 2022, DreamWorks Animation delivered two of their strongest films in recent years, first with The Bad Guys and then with the long-neglected sequel Puss in Boots: The Last Wish. Both clearly took inspiration from Spider-Man: Into the Spider-Verse in their dynamic, painterly animation style merging 2D and 3D, but Puss in Boots also managed to integrate it with the existing style of Shrek, to masterly effect. You may have heard others singing this film’s praises in recent months, and yep, I’m one of them.

The first Puss in Boots film was a fun standalone adventure, a spin-off of the Shrek universe focusing on Antonio Banderas’ fan-favorite character Puss in Boots, the dashing outlaw/legend of the fairy tale world. Whereas that was an origin story, The Last Wish focuses on the latter days of Puss’s illustrious career, after he’s frittered away eight of his nine lives and has grown complacent laughing in the face of death. When a mysterious wolf proves to be too much for him, the feline swordsman feels he has no choice but to retire. Yet the promise of a wish sends him rushing to find a fallen star, alongside his old flame Kitty Softpaws (Salma Hayek Pinault), an incessantly friendly dog (Harvey Guillén), and a collection of more cutthroat wish-seekers.

Puss in Boots can seem like the kind of character better suited for a sidekick role, his self-aggrandizing personality most appealing in small doses. Yet The Last Wish uses that to its advantage in making the preservation of that façade Puss’s driving goal while simultaneously poking holes in it through the other characters. Kitty is the only returning character from the prior film, and she represents what Puss has given up for the sake of his ego. And Guillén’s nameless mutt, nicknamed Perrito, is the kind of character that promises to be annoying yet is infectiously nice enough to win anyone over, even his begrudging feline comrades who aren’t used to unbridled sincerity.

The villains are a special highlight, an entertaining mix of characters and motivations, from Big Jack Horner (John Mulaney) as the straight evil mastermind to Goldilocks (Florence Pugh) and the Three Bears (Ray Winstone, Olivia Colman, and Samson Kayo) as a Cockney crime family with more sympathetic edges. And then there’s the Wolf (Wagner Moura), one of the best animated antagonists in recent memory, who has such an effectively chilling presence that it’s no wonder the ever fearless Puss in Boots quakes at his stark whistle. All these characters clashing periodically on the way to a shared goal may seem overly frenetic at times, but their distinct motives and the way they bounce off each other make for a highly enjoyable quest, kept unpredictable by genius creative touches like a map that changes the terrain depending on who holds it open.

Puss in Boots: The Last Wish is a triumphant return for the long-dormant Shrek universe. It excels in that rare balance of light entertainment for kids and subtler serious themes for adults, such as the looming specter of mortality or the easily missed value of a found family. Banderas steps into the role with panache, like he never left it; Mulaney sounds like he’s having a blast hamming it up as a power-hungry villain; and Guillén brings a perfect adorability to Perrito, who is the true heart of the film. And the beautifully rendered action is top notch, using the Spider-Verse similarities to its own stylistic advantage rather than just being a copycat.

I distinctly remember watching Shrek 2 as a kid because my mom surprised me with a visit to the movies after school, and it just happened to be a great one. Somehow, I got the feeling that some kid today is going to look back on Puss in Boots: The Last Wish with the same fondness. As much as Guillermo del Toro’s Pinocchio deserved its accolades, I really wish that it hadn’t overshadowed DreamWorks’ best film in years. But, as this movie testifies, there are more important things than wishes anyway.

Best line (showing great comedic interactions):
(Goldilocks) “I thought you were on a spiritual retreat.”
(Kitty Softpaws) “Namaste.”
(Goldilocks) “And you’re supposed to be dead!”
(Puss) “I got better.”

Rank: List-Worthy

© 2023 S.G. Liput
784 Followers and Counting

How to Train Your Dragon: The Hidden World (2019)

29 Wednesday Apr 2020

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(Today’s NaPoWriMo prompt was for a poem praising pets, so I went a bit mythological to extol a dragon as a pet.)

Cats are cute and dogs are dear,
And yet the pet without a peer
Is easily the rarest kind,
The least beloved and most maligned,
The lizards born of myth and lore
That few have ever seen before,
Who ride the winds and skim the waves
And send the bravest to their graves,
Who’ve earned renown as hoarders, wyrms,
Monsters, fiends, and harsher terms
Yet are perhaps misunderstood
And might spice up the neighborhood.
For, given love, like any beast,
A dragon can be tamed, at least.

So Mom and Dad, you have to let
Me get a dragon as a pet.
I’ll take him out on flights each day
And teach him how to roar and slay.
He’ll never singe the rugs, I swear.
Oh, please, let’s have a dragon lair!
______________________

MPA rating: PG

I wasn’t sure what to expect from the third installment in the How to Train Your Dragon series. I loved the first film, while the second left me rather cold, and angry honestly at the way Hiccup’s father was torn from his family. I still consider myself a fan of the series, so I was hopeful The Hidden World would end the trilogy on a better note. Thankfully, it managed to deliver both an entertaining adventure and a satisfying conclusion to the story of Hiccup the Viking and Toothless the Night Fury.

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Like many a DreamWorks film, The Hidden World does feel a tad recycled. Expanding the first film’s culture of dragon-hunting, the new villain is the famous and feared dragon hunter Grimmel (F. Murray Abraham), who, like Drago in the second film, employs his own dragons for his purposes. And since the first film’s dragon nest and the second film’s dragon sanctuary weren’t impressive enough, we learn that Hiccup’s father was also searching for an even bigger “Hidden World,” the original home of the dragons. When Grimmel threatens the village of Berk and the peace between Vikings and dragons, Hiccup and his friends evacuate everyone to search for a new safe haven in this Hidden World.

Thanks to ever-improving technology, The Hidden World is probably the best looking of the three films, with lighting, shading, and fire and water effects adding greatly to the atmosphere and the thrilling action scenes. Abraham’s voice also makes Grimmel a dignified but menacing antagonist. The dire threat reinforces the slightly darker epic tone of the second film, while some well-played running gags successfully lighten the mood with doses of humor.

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As I watched The Hidden World, I was trying to figure out what was lacking between this (one of DreamWorks’ best franchises) and the likes of Disney or Pixar. In addition to a few mixed messages (like calling dragons pets in the first film yet treating them as equals here), I think a main issue is the side characters; Astrid (America Ferrera) and Hiccup’s mother (Cate Blanchett) fare well, but Hiccup’s other friends are hastily introduced in an opening action set piece yet never make much of an impression beyond a few gags. Despite this, Hiccup and Toothless are a lovable pair to make up for other faults, and it’s genuinely sad as they start to drift apart when Toothless becomes enamored of a female “Light Fury.” Like Ash and Butterfree in Pokemon, it’s clear right away where the story is going with the relationship between dragon and rider, but, even if it didn’t bring a tear to my eye like it might well have when I was ten years old, it was still a touching and beautiful conclusion to an inconsistent but ultimately satisfying trilogy.

Best line: (Stoick, in a flashback) “But with love comes loss, son. It’s part of the deal. Sometimes it hurts, but in the end, it’s all worth it. There’s no greater gift than love.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
684 Followers and Counting

Abominable (2019)

24 Friday Apr 2020

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(Today’s NaPoWriMo prompt was to write about a fruit. While I haven’t watched any big fruit-related movies lately, I went with the humble blueberry, which was featured in this movie.)

A humble fruit of pie and scone,
The blueberry is barren-grown
In berry fields from East to West
And happy, though it sounds depressed.

With belly-buttons on both ends,
One out, one in, this fruit transcends
The fact it’s on the tiny side
By filling pints in stores worldwide.

If you should drip a drop of juice
Upon your shirt, farewell its use.
Its stain is deep; its flavor sweet,
The M&Ms of nature’s treats.
__________________________

MPA rating: PG

From the trailers, Abominable looked like a been-there-done-that kind of movie, one more example of Dreamworks splicing together pieces of better animated films. Now that I’ve seen it, I’ll admit… it is exactly that, but that’s not to say it’s bad. In fact, I’d say it’s one of the studio’s better films of late, albeit overshadowed by the third How to Train Your Dragon last year.

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Abominable is mainly notable for its Chinese setting, ranging from the metropolis of Shanghai to the gorgeous countryside to the snowy peaks of the Himalayas. A teenage violinist named Yi (Chloe Bennet), still grieving from her father’s death, discovers a young Yeti on the roof of her urban apartment and is whisked away as it flees from a wealthy industrialist (Eddie Izzard) attempting to collect it. Along with her two friends, she accompanies the creature she names Everest on a western journey to its mountain home, pursued by Everest’s would-be captors.

As I said, Abominable has plenty of familiar elements: the gentle-giant-bonding-with-kid dynamic (E.T., The Iron Giant), the bad-guy-trying-to-redeem-himself-from-ridicule cliche (Up, Paddington), the hurt-kid-learning-to-move-on-via-friendship trope (The Good Dinosaur, Lilo & Stitch, Next Gen). The waters are well-charted, but the trip and destination are still comfortable. Plus, it’s not entirely predictable, such as making one of the villains not as bad as they seem, and the characters are consistently likable as they grow on their journey. Like Coco’s Latin cast, care was taken to hire mostly actors of Chinese descent to match their characters, though it doesn’t do much to dive into Chinese culture, and I enjoyed hearing Chloe Bennet of Marvel’s Agents of S.H.I.E.L.D. as the main heroine Yi.

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Best of all, the animation is a visual feast. Everest proves to have magical powers that grow and manipulate the natural environment, and some of those scenes were stunning to behold. The best is probably the interlude where Yi plays her violin as flowers grow all around; both the visuals and Rupert Gregson-Williams’ music are lovely, and for some reason, they throw in a bit of Coldplay’s “Fix You,” which was random but fine by me. Abominable doesn’t reinvent any wheels – heck, with three Kung Fu Panda films, it’s not even Dreamworks’ first set in China – but it’s an enjoyable, family-oriented ride nonetheless.

Best line: (Mr. Burnish) “I’m so used to looking down on the world, it’s amazing how small one feels just by looking up.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
684 Followers and Counting

Kung Fu Panda 3 (2016)

21 Friday Jul 2017

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Between one parent and one child,
Their love is uncomplicated,
Even if they’re not related
Or may feel somehow exiled.

Will it change, their love compiled,
If a parent is located
From which they were separated
And the two are reconciled?

Some may fear they’ll be reviled
At reunions long-awaited,
Yet how can love be ever faded
Between a parent and their child?
________________

MPAA rating: PG

It may have seemed that DreamWorks was just planning to milk its past success with minimum effort when it released a third Kung Fu Panda in the usually lackluster month of January last year. However, Kung Fu Panda 3 managed to exceed expectations and end the franchise on a surprisingly solid note, building on its prequels with a satisfying conclusion.

After the final scene of Kung Fu Panda 2, where Po’s real not-dead father Li Shang (Bryan Cranston) realizes his son is alive, we get to see father and son reunite early on, only to be threatened by a new adversary named Kai (J.K. Simmons), a yak from the Spirit World who drains others’ chi energy. While Kai builds an army by turning kung fu masters into jade zombies (yes, jombies), Po (Jack Black) follows his father to his home in a distant village of pandas, where Po hopes to train but ends up enjoying the life among his own kind that he never knew.

Image result for kung fu panda 3 li mr. ping

Kung Fu Panda 3 continues the strengths and weaknesses of its predecessors, including some stellar fight choreography and animation, as well as a lack of character development for Poe’s comrades, the Furious Five, except for Tigress (Angelina Jolie). Where it excels in the character department is Po and his two fathers, adoptive goose father Mr. Ping (James Hong) and his biological father Li. I love how Mr. Ping has grown from an eyebrow-raising gag in the first film to a real source of heart for these movies. Here, he finds himself jealous of Po’s excitement at finding his father and wrestles with how to react to this new monopolizer of Po’s attention. Meanwhile, Li may seem selfish or unwise at times, but it’s easy to sympathize with both fathers. In addition, the fact that Li seeks out Po after realizing he’s alive makes his absence a whole lot more understandable than, say, the willing separation of Hiccup’s mom in How to Train Your Dragon 2.

Kung Fu Panda 3 does a lot to bring the franchise full circle, particularly in the return of the deceased Master Oogway (Randall Duk Kim). True, it sidelines formerly major characters like Shifu (Dustin Hoffman) and bears similarities to the first film, but Po’s family dynamic and the Spirit World villain help it stand apart. The village full of Po’s fellow lazy pandas was also cute and endearing for the most part, where I expected it to be lame and silly. Aside from the action sequences, I especially admired one underplayed sacrifice that was easily Poe’s most heroic moment of the series.

Image result for kung fu panda 3 kai

All in all, Kung Fu Panda 3 is a worthy and funny finale for a series I didn’t expect to like when the first film was released back in 2008. DreamWorks has maintained its quality in both animation and story, creating a trilogy where it’s hard to say which of the three is the best, though I’m partial to the second movie. Why it was released in January, I don’t know, but Kung Fu Panda 3 is one of DreamWorks Animation’s stronger sequels.

Best line: (Shifu) “If you only do what you can do, you’ll never be better than what you are.”

 

Rank: List-Worthy (joining the other two)

 

© 2017 S.G. Liput
497 Followers and Counting

 

#15: The Prince of Egypt (1998)

23 Friday Jan 2015

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(Best sung to “When You Believe”)
 
In captivity,
In Egypt, Hebrews send their prayer
Waiting for their God above
To free them from their yoke.
Young Moses grows up free,
Adopted into Pharaoh’s care,
Till the past he knew not of
Cannot help but provoke.
 
He can’t live as a fraud
And sadly flees.
He finds refuge
And life anew.
Sent by his awesome God
To Rameses,
He has unease but follows through,
Though Pharaoh disagrees.
 
Brothers long ago,
The prophet and the Pharaoh clash.
All the plagues sent from the Lord
Demand his people freed.
The Pharaoh’s hardened “No”
Requires death to end the lash.
No such cost can be ignored,
And Pharaoh has to heed.
 
God’s people thus depart
To promised land,
Until the sea
Lies in the way.
Pharaoh, more sore than smart,
Makes his last stand
Until the hand of God that day
Provides salvation grand.
__________________
 

Hollywood isn’t known for remaining faithful where Biblical source material is concerned, but the greatest proof that it is possible is The Prince of Egypt, one of the first animated films of Dreamworks’ filmography. While Dreamworks Animation’s lineup has ranged from excellent (How to Train Your Dragon, Chicken Run) to mediocre (Shark Tale, Bee Movie), not since have they reached the high mark they set right from the beginning.

No Moses film yet has stuck completely to the Book, often downplaying Aaron’s involvement and Pharaoh’s vacillation during the plagues. Though this one too takes its liberties, it indeed remains faithful to the “essence, values, and integrity” of the source material, as stated in the prelude note that reveals the filmmakers’ respect for the story they’ve undertaken. The film does borrow a few aspects of The Ten Commandments, but improves upon every one. Rather than making Moses and Rameses rivals from the beginning due to a contrived love triangle, it makes them close friends and brothers pitted against each other in a tragedy of pride and divine intervention. Rather than Moses’ murder of the Egyptian being violent but somehow justifiable, in this version it is instead portrayed as an accident, allowing Moses to remain righteous while providing the shame to propel him to self-banishment. (I realize it was no accident in the Bible, but I like this kind of change.) All this improvement also comes with masterful abbreviation; events that took The Ten Commandments half an hour to portray are depicted in mere minutes of concise storytelling, sometimes funny but often of surprising depth.

Enhancing both plot and entertainment, the film’s soundtrack by Stephen Schwartz is inspired, with every song memorable and perfectly spaced in the film’s runtime. From Israeli singer Ofra Haza’s impassioned “Deliver Us” at the beginning to the Oscar-winning “When You Believe” as the Hebrews depart Egypt, the music serves the story rather than replacing it, just as the CGI flourishes enrich the beautiful hand-drawn animation. I’ve often hummed Jethro’s “Through Heaven’s Eyes” whenever speed is required (somehow it seems to make me move faster), while “The Plagues” has a dreadful majesty reminiscent of the music in Disney’s Hunchback.

Likewise, The Prince of Egypt is a perfect example of star power applied judiciously. The voice actors are all big names, including Val Kilmer as Moses, Ralph Fiennes as Rameses, Patrick Stewart as Seti, Sandra Bullock as Miriam, and Michelle Pfeiffer as Tzipporah. In each case, the voice so fits the character that I don’t just hear Jeff Goldblum but a believable Aaron, not just Danny Glover but a jolly Jethro. I could hardly recognize Steve Martin and Martin Short as Pharaoh’s magicians, who nonetheless have fun with their own song, “Playing with the Big Boys.” It’s interesting to note that, just as Kilmer also voiced the powerful yet personal depiction of God (with background whispers from the rest of the cast), Charlton Heston also voiced God in The Ten Commandments.

The most moving part (pun intended) is rightly the parting of the Red Sea, just as much a wonder to behold as it was in DeMille’s 1956 film. A shot of some enormous fish in the wall of water, lit by distant lightning, has an eerie power best suited to this animated outlet. The Prince of Egypt combines high studio quality with an earnestness unseen in many Biblical films, eschewing dark revisionism and modernist explanations in favor of faithful and profound filmmaking. It’s one of the few animated films that I feel should have been nominated for Best Picture, a brilliant example of how cartoons can be elevated to dramatic excellence.

Best line: (Miriam, singing “When You Believe”) “Many nights we’ve prayed, with no proof anyone could hear. In our hearts a hopeful song we barely understood. Now we are not afraid, although we know there’s much to fear. We were moving mountains, long before we knew we could….”

 
Rank: 60 out of 60
 

© 2015 S. G. Liput

282 Followers and Counting

Shrek 2 (2004)

03 Friday Oct 2014

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Fiona and Shrek, ever since true love’s kiss,
Are living the good life in marital bliss,
But soon they’re invited to Far Far Away
To meet with her parents, in spite of Shrek’s nay.
 
The journey is long and the company grates,
And when they arrive, the whole welcome deflates.
The king is disgusted by Shrek’s ogre ways,
And Shrek gives an equally ornery gaze.
 
A Fairy Godmother then visits Fiona
And isn’t much thrilled with her ogre persona.
The Godmother planned all along for her son
Prince Charming to wed her, till Shrek jumped the gun.
 
She urges the King, who is under her thumb,
To get rid of Shrek, so her own prince can come.
The King hesitantly obeys and recruits
A famed mercenary known as Puss in Boots.
 
The cat doesn’t win but befriends the main pair
And guides them to Godmother’s potion-filled lair.
One potion that guarantees beauty and joy
Transforms the two ogres to a real girl and boy.
 
The Godmother sees this as her perfect chance
For Charming to woo the princess at a dance,
But Shrek, with the help of his fairy tale friends,
Attacks the King’s castle before the night ends.
 
Redeeming himself, the King sticks up for Shrek
And thwarts the corrupt fairy pain-in-the-neck.
Both parents and son-in-law now get along,
And Donkey and Puss sing a toe-tapping song.
__________________
 

Shrek 2 ranks on my list as DreamWorks Animation’s best CGI film, as well as their most successful.  It also holds a special place in my heart thanks to my mom.  I was only 10 when my mom picked me up from school one day, but instead of driving home, I suddenly realized we were entering the parking lot of our local movie theater to see what else but Shrek 2.  The unexpected surprise (and enjoyable film) became one of those indelible childhood memories, even if she herself barely remembers it.

The film itself was a joy to watch, bringing back all the lovable players from the first film and introducing new classic characters.  It builds on the original story and doesn’t repeat itself.  Nearly every joke hits its target, and there are so many details and parodies that repeated viewings are definitely rewarded.  At the very beginning during the Oscar-nominated song “Accidentally in Love,” there are references to From Here to Eternity, Spider-Man, and The Fellowship of the Ring, and countless others follow, including spoofs of Alien, E.T., Beverly Hills Cop, Frankenstein, The Mask of Zorro, Mission: Impossible, Hawaii 5-0, and even the O. J. Simpson chase footage.  The Zorro resonances are especially ingenious since Antonio Banderas plays his feline counterpart Puss in Boots with enough gusto to give Donkey a run for his money as best animal sidekick.  (I’m a sucker for those big dark eyes.)  Yet, in addition to all these parodies, the film retains its own brand of humor:  Donkey’s annoying are-we-there-yets, the clever exchanges that both Shrek & Fiona and King Harold & Queen Lillian share before their rendezvous, the glimpses of the villains’ pub and the red carpet night.  As with the first film, a soundtrack of contemporary songs complements several thrilling action scenes; Jennifer Saunders’s rendition of “Holding Out for a Hero” as Shrek storms the castle is easily the best sequence of the whole film and my favorite version of the song.

Shrek 2 was a high point for DreamWorks that was quickly lowered by the likes of Madagascar and Shrek the Third.  The third Shrek film was an uninspired, unfunny mess focusing on all the wrong things and was only partially redeemed by the decent Shrek Forever After.  Perhaps it would have been better if Shrek and the gang had been left singing “Livin’ La Vida Loca.”  As far as satirical comedies with a romantic heart of gold go, DreamWorks has yet to do better.

Best line: (Fiona, unsure what Shrek’s new form looks like, questioning Puss) “Shrek?”  (Puss, eyeing her) “For you, baby, I could be.”

 
Artistry: 8
Characters/Actors: 10
Entertainment: 10
Visual Effects: 9
Originality: 9
Watchability: 10
Other (I like other films more): -5
 
TOTAL: 51 out of 60
 

Next: #107 – Captain America: The First Avenger

© 2014 S. G. Liput

215 Followers and Counting

 

Shrek (2001)

15 Monday Sep 2014

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Within his swamp, the ogre Shrek
Desires just to be alone,
Content to occupy his wreck
And scare invaders of his zone.
 
But then a Donkey who can talk
Annoys him with his friendliness,
And later, to the ogre’s shock,
He’s forced to share his home address.
 
A bunch of fairy tale rejects
Are dropped outside his home’s facade,
So Donkey eagerly directs
The way to Duloc’s Lord Farquaad.
 
Farquaad has plans to be a king
But needs a princess far away,
So he commissions Shrek to bring
Fiona back without delay.
 
To get his swamp back, Shrek relents,
And Donkey joins him on his quest.
The task before them is immense;
A dragon keeps out every guest.
 
They find and rescue their princess
And narrowly escape the beast.
She’s startled by Shrek’s ugliness
As well as glad to be released.
 
Along the way back to Duloc,
She seems disheartened by the night,
Yet she makes Shrek and Donkey gawk
At how this girl can burp and fight.
 
Unlikely romance starts to brew,
And late that evening Donkey learns
Fiona’s made an ogre too
Until the bright sunlight returns.
 
Next morning, Shrek delivers her,
Misunderstanding a remark,
While, eager for her curse’s cure,
Fiona wants to wed ere dark.
 
Since nobody is pleased at this,
It’s Donkey who convinces Shrek
To dare to be her true love’s kiss
And fight for her, ‘cause what the heck?
 
When Farquaad’s less than sympathetic,
Donkey’s new date makes him chow.
Fiona’s ugly curse poetic
Keeps her ogreish somehow,
And she and Shrek live less ascetic,
Happy ever after now.
____________________
 

Shrek is DreamWorks Animation’s golden boy, having won his own star on the Hollywood Walk of Fame. The un-jolly green giant launched their new wave of computer-generated comedies and initiated their unique brand of irreverent, pop-culture-laced humor. An instant classic, the film eclipsed Pixar’s Monsters, Inc. to win the very first Best Animated Feature Academy Award. Will Smith’s recitation of a whole scene from Shrek in I Am Legend illustrates the film’s impact on young and old moviegoers alike.

Mike Myers found his most iconic role as the Scottish-accented ogre, as did Cameron Diaz as Princess Fiona. The rest of the voice actors are perfectly cast, from Eddie Murphy’s frenetic, amiable Donkey to John Lithgow’s hilariously narcissistic and overcompensating Lord Farquaad. It was the lovable cast that kept the franchise going for four films, even when it perhaps should have stopped while it was ahead.

“Fractured fairy tales” were nothing new, but Shrek’s mish-mashing of known Disney properties and original characters gave it a mocking edge that was well-tempered by the strangely engaging romance and the don’t-judge-a-book-by-its-cover lesson. The rousing score by Harry Gregson-Williams and John Powell is instantly recognizable, and the film also boasts a rocking soundtrack of contemporary pop songs. Both songs and score complement the action and romance beautifully, particularly in the case of the slow-motion castle escape scene and John Cale’s cover of “Hallelujah” during a dramatic montage.

Despite some mild language that set it apart from Disney’s films, Shrek remains one of the high points for DreamWorks Animation. It’s an original fairy tale that offers a fresh take on familiar material.

Best line: (Donkey, complimenting Shrek’s swamp with a line I’ve used countless times since) “I like that boulder. That’s a nice boulder.”

VC’s best line: (Donkey, crashing the wedding) “All right, nobody move! I’ve got a dragon, and I’m not afraid to use it! I’m a donkey on the edge!”

 
Artistry: 8
Characters/Actors: 10
Entertainment: 10
Visual Effects: 8
Originality: 9
Watchability: 9
Other (I like other films more): -4
 
TOTAL: 50 out of 60
 

Next: #120 – Jesus Christ Superstar

© 2014 S. G. Liput

207 Followers and Counting

 

Spirit: Stallion of the Cimarron (2002)

05 Tuesday Aug 2014

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(Can be sung to Bryan Adams’s “Where I Belong”)
 
A horse was born so long ago,
Out in the West where free things grow,
An unfettered mustang, an ace in his prime,
Free to run, as they have for all time.
 
Leading his happy herd, defending each foal,
This Spirit’s unrestrained, till he falls under man’s control.
His homeland’s behind him; his future’s unknown,
Yet he keeps on fighting to live on his own.
 
He shows up his captors and earns their distaste,
But, helped by an Indian, he breaks out in haste.
Persistent young Little Creek tries riding in vain,
But he introduces his fair mare named Rain.
 
Though Spirit is shocked that the human and she
Display some connection that lets her run free,
He sees for himself that the Two-Legs possessed
More room for kindness than he had first guessed.
 
Though Spirit could run home, he opts to go back
And rescues the boy from a sudden attack.
Though poor Rain is injured, he still finds his hope
As he helps drag a train up a slope.
 
He halts all their efforts, escaping from flame,
Relieved loyal Little Creek thankfully came.
They flee from pursuers and leap for their lives;
Spirit’s glad when a healed Rain arrives.
 
Goodbyes are not easy when trust has been earned,
But they know it’s time that the mustang returned.
With Rain by his side, Spirit’s now free to roam
And at last he again embraces his home.
____________________
 

Spirit: Stallion of the Cimarron was one of my favorite movies growing up. As I’ve said, movies that have made me cry hold a special place in my heart, and Spirit is one such Childhood Tearjerker. DreamWorks knew from the start that most adults and kids alike love horses, and seeing such a wild and free creature dragged from his home was enough to get my waterworks going. It still touches me, though I don’t weep like I used to.

The animation is absolutely stunning. While some of the CGI from the opening is obvious, still lovely but paling in comparison to that of Dinosaur, the rest of the Western landscapes and the hand-drawn horses are gorgeous (especially the gorges). I’m no artist, but most agree that horses are among the most difficult creatures to draw: after all, Maurice Sendak illustrated Where the Wild Things Are with assorted beasts only because he realized he couldn’t draw horses. Not only are the horses arrestingly beautiful and convincing, but their facial features evoke the full spectrum of emotions without ever lapsing into anthropomorphic talking animal territory. Spirit himself has some inward monologues, provided by Matt Damon, who could have varied his voice more, but the rest of the animal interaction is done skillfully with emotion-filled neighs, whinnies, wickers, nickers, brays, and countless other equine ejaculations. So well is the wordless interplay handled that much of Damon’s voiceover, which ranges from stirring to funny, seemed unnecessary, though my VC felt it served to break up all the whinnying.

Then again, that is why Bryan Adams’s excellent anthems were included. Along with a rousing orchestral score that once again proves Hans Zimmer’s musical facility, Adams’s songs provide the melodious heart of the film. Though some critics decried the soundtrack as “whiny” or “insipid,” I felt they added so much to the film. It may not be on the level of what Phil Collins provided for Tarzan, but every song strikes the right chord of emotion, from free-wheeling liberty to depression to rekindled hope. “Don’t Let Go,” which features Sarah McLachlan with a haunting harmony, certainly deserves a place in my End Credits Song Hall of Fame.

Over the years, I have still seen some flaws: the intruding humans are uniformly bad because of their enslavement of horses, and I don’t usually like to feel guilty for wanting to ride a horse. Since all the Indians’ horses appear happy, the film seems to imply that only they built any relationship with their ponies. All the soldiers’ horses seem to hate their masters and frequently sabotage them, not allowing for the fact that I’m sure plenty of cowboys shared a connection with their steeds. After all, even broken horses can be happy.

Spirit: Stallion of the Cimarron is nonetheless a lovely, G-rated adventure with fantastic music and some genuinely exciting action sequences. It was DreamWorks Animation’s second-to-last hand-drawn film (before Sinbad) and causes me to miss the days before CGI became the only animation style successfully used in film.

Best line: (part of Spirit’s opening monologue) “I was born here, in this place that would come to be called the Old West. But, to my kind, the land was ageless. It had no beginning and no end, no boundary between earth and sky. Like the wind and the buffalo, we belonged here; we would always belong here. They say the mustang is the spirit of the West. Whether that west was won or lost in the end, you’ll have to decide for yourself….”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 7
Visual Effects: 10
Originality: 7
Watchability: 8
Other (crying effect): +1
 
TOTAL: 47 out of 60
 

Next: #156 – As Good As It Gets

© 2014 S. G. Liput

172 Followers and Counting