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Directors: Eric Darnell, Conrad Vernon & Tom McGrath
Release Date:
June 8, 2012
Rating:
 ★★★
Review:

I’ve never really cared for the Madagascar series. I was pretty unimpressed by the characters, the rather forced angular character designs and the odd unconvincing story lines. In that respect, ‘Madagascar 3: Europe’s Most Wanted’ arguably is the best of the three films.

Not only does it round up nicely the story lines of the first two films, but it does also so in a pleasantly unpredictable way, with its free-flowing story making surprising turns here and there. Thus, I’ll try to reveal as little as possible about the film’s story below. Apart from that, there’s plenty of action, with the first chase scene already appearing at the 13th minute.

It surely does help that the film introduces some new stars besides the regular heroes Alex the lion, Marty the zebra, Melman the giraffe, and Gloria the hippopotamus. The new characters somehow are far more interesting than the four main characters, let alone the lemurs, chimps, and penguins, who never transcend comic relief. The Italian sea lion Stefano (superbly voiced by Martin Short) is a delight, combining naive optimism with a scent of sadness and insecurity. Even better still is the Russian tiger Vitaly. He gets a surprisingly tragic background story, which makes him far more interesting than the usual antagonist. In fact, Vitaly and Stefano completely outplay the four principal characters, whose character traits aren’t deepened, at all. Their best moment comes – spoiler! – at the end of the film – when they discover how much they’ve outgrown their former home.

Unfortunately, the same cannot be said of the film’s main villain, Captain Chantel DuBois, leader of French animal control. She’s depicted as a supernatural, unhuman woman, willing to go far outside her country and duty to get her prey. As she is a French officer this is pushing the edges of believability way too far. Moreover, her antics hinder the more interesting plot parts which focus on the characters’ emotions. I dare to say that Madagascar 3: Europe’s Most Wanted’ could have been a really good film instead of an average one if the film makers would have focused on the emotional story more, and not on the mostly nonsensical antics of chimps, penguins and lemurs. Especially because the character animation at those more emotional moments is in fact very good.

The pushing of believability is a problem of ‘Madagascar 3: Europe’s Most Wanted’ anyway. The film completely throws the laws of physics out of the window, with characters jumping, flying, riding, and falling in complete disregard of plausibility (this is a waxing problem in American animation film, anyhow – for example, it’s also my main problem with the complete Kung Fu Panda franchise and with e.g. ‘Missing Link’ from 2019).

But worse, the film also pushes the boundaries of plausibility story-wise. We must accept that the four animals and their three lemur friends traveled Africa and the Mediterranean unhindered and that their problems only start in Europe. As said, we must accept that DuBois acts way out of her administration. We must accept that Marty and co. can acquire circus skills in no time solely because they follow their passion. Even worse, we are to believe that they can set up a complete circus show in seemingly one day (there’s not even a montage scene to suggest passing of more time). We must accept that one motivational speech by Alex can clear a lifetime of trauma in Vitaly, and we have to accept that Vitaly, after years and years without training can perform his prize act again at the highest level, without any rehearsal.

These story elements are all preposterous, and they are an abomination and an insult to all real artists. I wonder what got into the film makers to install messages like these into the minds of their audience. By all means, these elements push the all too American “you can do everything you want if you devote yourself to it” message way beyond its limits, and turn it into a downright lie (which, sadly enough, Dreamworks repeated without blinking in ‘Kung Fu Panda 3‘ from 2016).

The film also features an obligate break-up scene, one of the more irritating tropes in American computer-animated cinema, troubling a wide range of films from different studios, like ‘Up’ (2009), ‘Cloudy with a Chance of Meatballs 2’ (2013), ‘Kung Fu Panda 3’ (2016) and ‘The Secret Life of Pets’ (2016).

Story problems are not the only problems troubling ‘Madagascar 3: Europe’s Most Wanted’. The design, too, is unconvincing. The character designs are a mixed bag. For example, the bear Sonya occupies a completely different design space than the angular Alex. The rendering is often pretty ugly, with a high level of unreality. Again, the angular character designs of the characters are at odds with their decors, a problem that persists throughout the Madagascar series. Highlight, design-wise, is the first performance by Alex’s new Cirque du Soleil-inspired circus. This is a series of very colorful images, hardly rooted in reality, and looking more like coming from a dream. I wouldn’t be surprised if these images are a conscious attempt to emulate the same trippy feeling as the pink elephant scene, the most wonderful piece of that most famous animated circus film, ‘Dumbo’ (1941). The end titles, too, seem to be a homage to the classic Disney movie.

It may be clear that Madagascar 3: Europe’s Most Wanted’ never reaches the height of that classic film – it’s simply too flawed and too nonsensical for that. But the film certainly is entertaining, and a surprisingly pleasant finale to the Madagascar series.

Watch the trailer for ‘Madagascar 3: Europe’s Most Wanted’ yourself and tell me what you think:

‘Madagascar 3: Europe’s Most Wanted’ is available on Blu-Ray and DVD

Directors: Jennifer Yuh Nelson & Alessandro Carloni
Release Date: January 23, 2016
Rating: ★★★ ½
Review:

‘Kung Fu Panda 2’ had suggested a background story for Po, an extermination of all Pandas by the evil peacock Lord Shen. So, it would have been logical to expand this story line in ‘Kung Fu Panda 3’.

And indeed, this is the movie in which Po finally meets more pandas, not to say even his very own family. And yet, virtually nothing is done with the plot elements of ‘Kung Fu Panda 2’. Po’s natural father pops up in Po’s village, virtually out of nothing – there’s no quest whatsoever.

Instead, ‘Kung Fu Panda 3’ introduces a completely new background story, involving the spirit realm, and introducing Po’s most powerful opponent thus far, master Oogway’s former friend, the bull Kai. Kai returns from the spirit world to the mortal world, creating havoc and changing all kung fu masters into his own mindless army of jade. And being immortal he’s a tough one to take. It’s up to Po to fight off this formidable foe.

Despite this splendid super villain, ‘Kung Fu Panda 3’ is quite a disappointing sequel, stretching the all too American dream-like messages of ‘believe in yourself’ and ‘if you want to, you can achieve everything’ way beyond believability. Po’s transition of his lazy, food-loving parent village into a gang of fearless fighters, able to battle the greatest kung fu masters of China, in only a matter of days, is stretching the imagination, to say the least. Traditional wuxia cinema emphasizes that true mastery only comes with hard and long training, but in the American Kung Fu Panda universe, you get it for free if you only believe in yourself. If only. One wonders what entered the makers’ minds to send off a phony message like that.

Unfortunately, there are more story problems. There’s an all too obligate break up scene, when Po’s father appears to have lied to Po. Moreover, for a village that is supposed to be secretly hidden, the Panda settlement is found surprisingly easily by both Tigress and Kai. And the story line of the pandas having forgotten how to use Qi, only to remaster that in an instant, is, again, quite unconvincing. True, Po never was an entirely convincing character, but he certainly isn’t in this film.

Meanwhile, Po’s former co-stars are reduced to minor players, uttering only a few lines, if any, while none of the new players, save Kai, show the same charm. Only Po’s duck father, Mr. Ping (voiced by James Hong) thrives as the jealous father.

No, the main attraction of ‘Kung Fu Panda 3’ is not its story, or its characters, but its design. The film makes great use of wuxia imaging, including gravity defying runs and jumps. Even better, the feature at times becomes surprisingly graphical: for example, the film occasionally uses the split screen to a great effect, Oogway’s story is rendered in gorgeous 2D, and the learning sequence employs a bold and very beautiful color scheme.

In addition, ‘Kung Fu Panda 3’ is noteworthy for introducing the utterly Chinese concept of Qi to Western audiences. Qi roughly translates as ‘life energy’ and forms the central theme of the film, making ‘Kung Fu Panda 3’ an interesting blend of Western (the individualistic tropes stated above) and Eastern concepts. Nevertheless, one cannot help but feeling that there could have been more to ‘Kung Fu Panda 3’, and that it in fact is more run-of-the-mill than the film could have been.

Watch the trailer for ‘Kung Fu Panda 3’ yourself and tell me what you think:

‘Kung Fu Panda 3’ is available on Blu-Ray and DVD

Directors: Tim Johnson & Karey Kirkpatrick
Release Date: May 19, 2006
Rating: ★★★½
Review:

Over The Hedge © DreamworksBased on a comic strip, ‘Over the Hedge’, Dreamworks’s sixth computer animated feature, is a charming, if unassuming film, which belongs to the better half of the Dreamworks features, if barely so.

Unlike the unappealing movie ‘Shark Tale’ (2004) for example, all the actions of the characters have their origin in real animal behavior: they hibernate, they forage and they’re threatened by a human environment to which they have to adapt.

The film’s story is original in that it’s not found in the comic strip on which the movie is based. However, at the same time the story is not too original as it contains some standard, almost obligatory scenes, a feature that hampered more and more American animated feature films from 2005 on.

Nevertheless, the film’s story is well executed: the storytelling is lean, the contrast between the two likable protagonists, the brazen raccoon RJ and the cautious turtle Verne, is well-played, as are the two villains: the mafia-like bear Vincent and the Verminator. Even the side-characters are developed enough to like and to care for them (unlike the many personas in Blue Sky’s ‘Robots‘ (2005), for example).

Even though it contains some very realistic effects, like the animation of fur, the animation generally is not very lifelike, and more akin to the jerky animation of Tex Avery films than to the flow of Disney. Especially, the animation of the ADHD-squirrel Hammy is frantic. This character is also responsible for the highlight of the film, in which Hammy, on caffeine, has sped so much that he sees the world practically motionless.

‘Over The Hedge’ is by no means a classic, but it’s entertaining and well-told. In the world of American computer animated features this is already a plus.

Watch the tailer for ‘Over the Hedge’ yourself and tell me what you think:

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