REVIEW COLLECTION: DreamWorks Animation, Part 2b

(Courtesy YouTube) 

How to Train Your Dragon (2010) 

Author Cressida Cowell’s 2003 children’s book, How to Train Your Dragon, opens with young Vikings-in-the-making sent to an island to snatch dragon eggs to train for a period of months after they hatch. The 2010 film adaptation from DreamWorks Animation takes a significantly different approach than the source material (save for character names and personalities a la Disney’s The Jungle Book or Sony Animation’s Cloudy With a Chance of Meatballs). From the get-go, writers-directors Chris Sanders & Dean DeBlois soar right into action to present a generation-spanning battle between Vikings and dragons, and a search for the latter’s unfound “nest.” 

At its heart is an unlikely friendship that develops between a human boy and a non-human creature. It’s a story that’s been told many times before, from E.T. to The Iron Giant and Lilo & Stitch (the latter of which Sanders and DeBlois previously made). So what is it that makes this blockbuster stand out from the crowd? For one thing, it’s easy to commend it for its colorful array of the titular creatures, from their distinct designs to their personalities and abilities. Ditto the cast of well-rounded human characters, led by Hiccup (voiced by Jay Barachel). Other standouts include Scottish actors Gerard Butler (as the imposing but layered Stoick, Hiccup’s father) and Craig Ferguson (as the eccentric dragon trainer Gobber, who insists that Hiccup “stop trying so hard to be something [he isn’t]”). 

When Hiccup first discovers the mysterious “Night Fury” breed of dragon that he caught and brought down in the forest, he can’t bring himself to kill it. Instead, he secretly starts a sketchbook journal, regarding what he learns about the creatures—things the books before that never discovered. He soon befriends the reptilian-looking beast and names him Toothless, who, at times, acts more like a curious puppy than a monster; the moment when they first truly bond, hand to head, is touching. What Hiccup finds and tests—seeing what doesn’t work and what does (like Shifu learned with Po, in terms of not using a one-size-fits-all mentality)—and how he uses his intellect, is what makes him stand out. Although he hides Toothless for most of the story, Hiccup eventually doesn’t hide who he is or what he’s become (“I need you all to see this”), leaving everyone else speechless and awed.  

How to Train Your Dragon has amazing and atmospheric art direction and production design, along with believable simulations of fire effects, clouds (including an updated studio logo, which made its debut with this film), and live-action-inspired camera lenses and lighting. Veteran DP Roger Deakins was brought on board as a visual consultant, and his contributions help the film transcend its medium, making us forget that we are watching an animated movie. After Monsters vs. Aliens the year before, Dragon marked the studio’s second 3-D release, which, I can only imagine, came in handy for the fantastic flying sequences. (I have yet to see the movie in this format, as of this writing.) Such moments (and the film in general) are carried by an epic and amazing score by John Powell (his first solo effort for DreamWorks after collaborating on several features for the animation studio). 

As the wise turtle Oogway believed in Po, there is more to Hiccup than people give him credit for, even as he doubts himself, yet challenges what a “Viking” is or can be. Also like Oogway, Hiccup sees what nobody else does and does what everybody else apparently won’t, impacting those around him in extraordinary ways, through leadership, teamwork, friendship, bravery and sacrifice. This leads to “enemies” becoming friends, seeing through the “differences” between the two, and/or us, as audiences, seeing ourselves in others. The studio made what may have been their best cinematic effort up to that point. (It currently ranks as their most-acclaimed film to date.) It’s a transcendent experience that brilliantly balances action and heart. Plus, it speaks not only to families who struggle with raising their children (“You can’t stop him, you can only prepare him”), but also to people with disabilities, from Gobber’s wooden arm and leg, to Hiccup’s prosthetic tail made for Toothless. Cowell reportedly gave the filmmakers her approval when she saw the ending of the movie. Despite references to Norse mythology and worship, it’s a compelling, intense, and emotional roller coaster that soars. And not just for DreamWorks. 

Shrek Forever After (2010) 

I must admit, I had low expectations for a fourth—and reportedly “final chapter”—in DreamWorks’ animated fairy tale franchise. Since the last movie was mediocre compared to its predecessors, I believed Shrek Forever After (the studio’s first in-house installment sans PDI) would be another poor cash grab sequel. In this story, the ever-popular green ogre has a midlife crisis, wishing he could go back to being the fearsome creature he once was. His daily life with his wife Fiona and three children, times with friends, and unannounced visits from fans and local villagers, start feeling like Groundhog Day to him, until he hits a breaking point. 

Shrek gets his wish when he meets the diminutive and conniving Rumpelstiltskin, who tempts and persuades the ogre—who’s at his lowest and most arrogant—to sign a deal and create an alternate reality where the green creature never existed and his friends don’t know him. Now, he has before the day is up to find Fiona and convince her to share “true love’s kiss” and get their lives back. Imagine my surprise when the movie turned out to be a little better than I thought it would. A fairy-tale version of It’s a Wonderful Life? Sure. But it certainly was an improvement over Shrek the Third. Furthermore, Forever After represents a more full-circle entry to what made the first movie from 2001 so good. 

The returning vocal cast of Mike Myers (as Shrek, who regrets what he gave away), Eddie Murphy (as a scruffier Donkey), Cameron Diaz (as Fiona, who leads an ogre resistance), and Antonio Banderas (as a chubby, Garfield-esque Puss in Boots) still got it. John Cleese and Julie Andrews reprise their roles as King Harold and Queen Lilian, respectively, in a flashback that connects them to Rumpelstiltskin. The latter trickster (voiced by head of story Walt Dohrn, whose previous credits include writing episodes of SpongeBob SquarePants) may be the franchise’s best antagonist: witty, silly, creepy, envious, greedy, and a collector of colorful, theme-related wigs. Other side characters include a giant pet goose who recalls the Aflec mascot, a snooty boy who keeps pestering Shrek for a roar (“Hither are”), hench-witches who parody The Wizard of Oz (with voices by Lake Bell, Kristin Schaal, and Kathy Griffin), and a colony of warrior ogres (with voices by Jon Hamm and Craig Robinson). For the latter, imagine The Princess Bride-meets-Warcraft, complete with chimichangas. 

The movie isn’t great. But it’s far from “ri-donkey-lous.” Directed by Mike Mitchell and presented in a 2.39:1 aspect ratio (a first for the series), it benefits from roller-coaster action sequences, callbacks to the first movie (i.e., returning composer Harry Gregson-Williams’ iconic score, the dragon-guarded castle, Shrek’s swamp, and waffles; how could we forget waffles?), ogres making noises with their noses, and the Pied Piper making people dance to the Beastie Boys and Peaches & Herb. Shrek Forever After also has less crude humor than in the previous films. Still, this installment has such moments, including trademark toilet humor, some language, and a macabre moment involving Gingy. 

Thematically, the story emphasizes the differences between “Happily Ever After” and reality, and how harsh words have harsh consequences. Ditto losing what you have, losing faith in “true love” (“Where were you when I needed you?”), the life-affirming value of reuniting with friends and family again, and remembering what made those relationships what they are. (“The best part of today,” one character admits, “was getting the chance to fall in love with you all over again.”) On that same note, the film’s storybook credits give “heartfelt thanks to all the talented artists who worked on Shrek for the last decade!” The cast and crew members of this unforgettable series (at least at the time) sure went out on a good note. 

Megamind (2010) 

By 2010, Marvel Studios was still developing the first phase of its “Cinematic Universe.” Christopher Nolan already gave us two groundbreaking Batman flicks. Ditto Brad Bird with Pixar’s The Incredibles. And DC Comics was attempting to build its own franchise. In the midst of this growing pop-culture craze, DreamWorks Animation (in partnership with PDI) gave us a unique twist on the superhero-supervillain dynamic (namely, the Superman mythos) called Megamind. 

Released the same year as Illumination’s debut feature Despicable Me, Megamind was overshadowed by that movie’s surprise cultural phenomenon. (The titular blue supervillain even has a henchman named Minion.) And while I do enjoy Despicable Me (and its sequels), Megamind is arguably smarter, funnier, and underrated. Helmed by Madagascar co-director Tom McGrath, and with the roles of “hero,” “villain,” “sidekick,” and “love interest” (as well as “good” and “evil”) turned on their heads, one of this movie’s greatest strengths is its stroke-of-genius casting of Will Ferrell (at the height of his film comedy fame) as the wanna-be baddie. Ditto Tina Fey as a Lois Lane-type reporter, Brad Pitt as a dashing and crowd-loving superhero, Jonah Hill as a nerdy, Jimmy Olson-esque cameraman who inadvertently gets superpowers, and David Cross as the blue man’s pet piranha-turned-sidekick (complete with a robotic gorilla suit). 

With a soundtrack that includes songs by AC/DC, Ozzy Osbourne, Guns’n’Roses, and Michael Jackson; exhilarating flight/action sequences with real vertigo and scale; and human animation that, unlike previous DW flicks, doesn’t feel uncanny or weird, Megamind is clever and entertaining. One scene even recalls the action-comedy The Other Guys—released the same year and co-starring Ferrell, who pointed out the unrealism of walking/running away from explosions. More than that, Megamind takes a daring turn when it presents characters with existential crises, who lose themselves (including giving in to labels that others have placed on them), and/or find new meaning, for better or worse. (Some of these themes would later be seen in Disney’s CGI arcade comedy Wreck-It Ralph.) 

The story does emphasize genre cliches. But that’s mostly during the first 20 minutes of the 95-minute runtime, which showcases what happens when the “villain” beats the “hero.” What follows is a subversive, hilarious, and surprisingly deep narrative about what it means to be misguided, and what it means to be good. In other words, an unexpected turn of events that supposedly go against (in the late Chris Farley’s Bennet Brower quotations) “the norm.” Some of those conventions and subversions include a Clark Kent-like museum curator (voiced by Ben Stiller, who co-executive produced while his Tropic Thunder screenwriter Justin Theroux and visionary filmmaker Guillermo del Toro served as creative consultants) and a Marlon Brando-esque mentor (who looks more like a Las Vegas performer with a lisp). It’s enough to make certain citizens “cautiously optimistic and pleasantly confused.” 

Other themes deal with characters getting everything they want (including misguided "destinies" for personal gain), but still feeling empty, existential, and unhappy. Some of those same characters have regrets and desires to change (“If only the world had a reset button"), whether personal or selfless. They even represent a spectrum of qualities like arrogance, vulnerability, role playing, and sincerity. More importantly, Megamind highlights the power of choosing to do what’s right, echoing Peter Parker and Bruce Wayne in terms of how choices are what make us who we are. 

Kung Fu Panda 2 (2011) 

Po the panda continues the next phase of his journey as a kung-fu warrior, as he and the Furious Five (who have now embraced him) go up against a villainous peacock, an army of wolves, and a heavy supply of iron cannons that put kung fu--and all of China--at stake. The worthy Kung Fu Panda 2 reunites much of the original voice cast (including Jack Black as Po, Jackie Chan as Monkey, Seth Rogen as Mantis, Lucy Liu as Viper, and David Cross as Crane), while introducing new characters like kung fu masters Ox (voiced by Dennis Haysbert) and Croc (voiced by Jean-Claude Van Damme), who have lost faith and purpose at the hands of the aforementioned adversary. 

Viewers should know off the bat (especially families of younger children) that this sequel is a darker, more intense and emotional chapter than its predecessor, with themes of childhood trauma and an identity crisis (visualized in radishes), as well as off-screen deaths that include (in brief flashbacks) an implied genocide against a particular community. The story itself matures and raises its stakes, not just physically but also on a more personal level. This journey proves to be an emotional and psychological challenge for Po. 

Like the first movie from 2008, this 2011 sequel features sequences in 2D animation, including an opening backstory on a culture of peacocks (set to the engaging narration of screen legend Michelle Yeoh, who voices a soothsayer goat), and flashbacks/mysteries to when Po was a baby (stay through the credits on this one). For the latter, some viewers may not be prepared for how heartbreaking and powerful this subplot is, highlighting themes of upbringing, parentage, and adoption (James Hong reprises his role as noodle shop owner Mr. Ping, a goose). Meanwhile, the menacing peacock Lord Shen (voiced by Gary Oldman, a chameleon of an actor who excels at playing villains) is a complex piece of character animation, as well as a complex character, who will do anything to get what he wants, which is never enough. This is an adversary full of corruption, manipulation, pride, and a macabre sense of humor, who chooses despair and anger over peace and happiness. 

Even so, Kung Fu Panda 2 still manages to bring plenty of laughs and action, with high-octane fight sequences, impressive choreography and slapstick, and one-liners (my favorite: “Stealth mode”). Once again, Guillermo del Toro served as a creative consultant, which helps give the film colorful, stylized art direction. It also highlights themes of teamwork, skills and abilities. Plus, it's exciting and inspiring when all of the main fighters are together. It's a unique and steady balance of artistry and storytelling on an epic and intimate level, anchored by Hans Zimmer and John Powell's fitting and introspective score, as well as the direction of first-time filmmaker Jennifer Yuh Nelson (head of story on the original movie). All this helps elevate Kung Fu Panda 2 above other sequels in the DreamWorks Animation library. 

Eastern spirituality and mysticism turn up more than they did in the first movie, with the yin-yang symbol making frequent appearances. Then there's Shifu's passed-on teaching from his master about "inner peace" (Dustin Hoffman's rich and distinguished vocal work as the wise master clearly shows the character's maturity; ditto Angelina Jolie's more empathetic Tigress), and the Soothsayer's message about embracing the pain of our past to move forward. As the latter states, “Your story may not have such a happy beginning. But that doesn’t make you who you are. It is the rest of your story, who you choose to be.” 

Puss In Boots (2011) 

As a child, I remember my family owning a videocassette of a 2D take on Puss in Boots (which was technically my first introduction to the character). Since he practically stole the show in the first sequel in the Shrek franchise in 2004 (in full CGI form, that is), the dashing but diminutive Hispanic feline has been one of the most iconic characters in the pantheon of DreamWorks Animation. Seven years later (when Disney released a fourth Pirates of the Caribbean, and the European hand-drawn feature A Cat in Paris gained critical acclaim and accolades), the orange cat got his own solo outing with a swashbuckling adventure-comedy. 

Shrek the Third director Chris Miller helms this standalone feature, in which the outlaw Puss (voiced by the irreplaceable Antonio Banderas) reluctantly teams up with the aptly named Kitty Softpaws (voiced by Salma Hayek) and egg man Humpty Dumpty (voiced by Zack Galifianakis). They embark on a quest to stop siblings Jack & Jill (Billy Bob Thornton and Amy Sedaris, presenting radical, scary, and bombastic interpretations) from a dastardly plot involving magic beans, a beanstalk, and a golden goose. 

Epic landscapes and art direction are presented in a 2.35:1 aspect ratio, filling the screen with colorful, cultural flavor. While the world presented here is populated by humans, animals, and fairy tale creatures, the tone of Puss in Boots is different from the Shrek movies that preceded it. That's not to say it isn't devoid of fantastical characters or elements, or Puss’s famous big eyes, or even some suggestive references and dialogue that will easily fly over kids’ heads. Still, the movie features other clever surprises and storybook references that are subverted, including a witty and rhythmic dance fight, a giant's castle in the sky (a fantastical set piece), a backstory on how Puss got his famous name (and what his boots represent), and what his connection with Humpty Dumpty is (the egg man sure has some creative contraptions). 

Speaking of which, each character has different reasons as to why they’re there. Puss wants to repay a past debt and get his dignity back, even showing honor among thieves in the process. Humpty apparently wants to mend a past broken friendship and a heartbreaking backstory—or does he?—with Galifianakis displaying some surprising vocal depth. Kitty, meanwhile, just wants the loot. 

Although the movie itself isn't great, it is serviceable and entertaining, with a deeper narrative than expected, as well as conflicting worldviews and ideals, some questionable choices, and an unexpected resolution. Themes of belonging, imagination, choosing to do the right thing, and believing in others in spite of their flaws, are key in this story. Ditto what happens when others choose to be led by betrayal, anger and jealousy, and who choose to remain stuck in their failures and past lives. As Puss admirably tells his old friend, "We are better than this." 

Madagascar 3: Europe’s Most Wanted (2012) 

Last we left the ever-popular zoo animals Alex the Lion, Marty the zebra, Melman the giraffe, and Gloria the hippo (along with a trio of lemurs), they were in Africa. With memories of zoo life and home sickness, the seven animals continue their escapades and head to Monte Carlo, where an attempt to rescue the equally-popular Penguins—and to head back to New York City—turns into a chase from a team of officers hot on their tails. To keep their cover, they join a traveling performance troupe and soon turn the circus world upside down.  

Madagascar 3: Europe’s Most Wanted marked another collaboration with PDI, with returning directors Tom McGrath and Eric Darnell being joined by Shrek and Monsters vs Aliens co-director Conrad Vernon. (Darnell and Noah Baumbach are credited as writers.) Likewise, the returning voice cast (Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sasha Baron Cohen, Cedric the Entertainer, Andy Richter) are now joined by the likes of Bryan Cranston (as a Russian tiger), Jessica Chastain (as an Italian jaguar), Martin Short (as an Italian sea lion), and Frances McDormand (as a relentless animal control officer and animal collector; imagine if Cruella de Vil looked like Lucille Ball, but with a French accent). 

Speaking of which, the over-the-top Captain Chantal Debois (who sings Edith Piaf in one scene) acts animalistic herself, while Cohen’s larger-than-life King Julien falls for a circus bear (complete with weird, suggestive dialogue). Nevertheless, the movie’s zany style benefits from not only Hans Zimmer’s fun score, but also from camerawork and filmmaking that really explores (and has fun with) the environment, almost giving Walt Disney’s Dumbo a run for its money. (One great shot, featured in the marketing, finds the main characters emerging from the Atlantic Ocean a la “Mission: Impossible.”) And while Madagascar 3 is first, foremost, and thoroughly a cartoon, it has some surprisingly strong themes behind the scenes. 

Considering the controversies that real-life circus troupes have faced over the years, it’s interesting to see how this central gang of animal performers gets run by those same animals—and not human beings. Also suggesting how times (and audiences) have changed, viewers come to understand what this traveling circus used to be, what it lost, what they got caught up in (pride and ego), and remembering why they loved doing what they do to begin with. (The character arc for Cranston’s Vitaly resonated with me the most. As Alex tells him, ”You may have given up on yourself, but your friends haven’t given up on you.”) Alex and company eventually inspiring the others to bring out qualities they never knew they had, take risks, and believe in the impossible, instead of just going through the motions. The same could be said for this movie, which makes it stand out as the best entry in the series. 

Madagascar 3 is a real ensemble piece that gives each character moments to shine. While the last entry seemed overstuffed and unfocused, this one really balances characterizations and comedy in an effective and entertaining way. The filmmakers even make great use of Katy Perry’s “Firework,” and put a new definition to the term “grand finale.” The comic slapstick and pursuits throughout are a great showcase of both action and comedy, with constant surprises and laughs, and a few sweet and hopeful moments. Good luck getting that “Afro Circus” tune out of your head. Third time is definitely the charm here. It certainly is the wittiest and the most fun, not to mention colorful and creative. Madagascar 3 really brings the series full circle in maturing and engaging ways, with new perspectives that reveal how far these characters (and DreamWorks) have come. Bravisimo! 

Rise of the Guardians (2012) 

Best described as a holiday-bending fantasy-adventure (maybe the first of its kind since The Nightmare Before Christmas, but with much more enchantment), Rise of the Guardians brings together an Avengers-like teamup of holiday figures. These include Santa Claus a.k.a. North (voiced by Alec Baldwin, in an unrecognizable Russian accent), the Easter Bunny a.k.a. Bunnymund (Hugh Jackman, in his native Australian tongue), the Tooth Fairy a.k.a. Tooth (Isla Fisher), the mute Sandman, and the carefree, reckless winter-starter known as Jack Frost (voiced by Chris Pine). All come together to stop a dark, shadowy, nightmare-fueling entity known as Pitch Black a.k.a. the Boogeyman (voiced by Jude Law). 

Marking the directorial debut of story/board artist Peter Ramsey, this is one of the studio’s most daring, weirdest, and underrated films in their animated library. As a co-executive producer (along with author William Joyce, whose book series, Guardians of Childhood, were the basis for this film), visionary auteur Guillermo Del Toro’s stamp is clearly all over this one. The filmmakers had a big budget here, resulting in camerawork and attention-to-detail that is creative, energetic, and contemplative. (Veteran DP Roger Deakins served as a visual consultant.) Tooth’s palace, Bunny’s underground tunnels, and the North Pole all represent colorful and lively realms, seamlessly balanced by Alexandre Desplat’s magical score. Granted, some of the CGI and effects are rather dizzying. Plus, some scary action and a few surreal or sad moments may be too much for younger children. 

Sandman steals his scenes with clever pantomime acting, while Pine’s Jack Frost is arguably the best interpretation I’ve seen of this character to date. His loneliness, wanting to be seen and believed in, and his pursuit of the truth behind his mysterious past, is symbolic and engrossing, putting a new spin on the metaphor of feeling cold and isolated. On the flip side, he does speak, at times, to parental/adult figures who seem to spend more time working than connecting (“When was the last time you guys hung out with kids?”). 

The story takes on a quieter, more melancholy tone at times, centering on Jack longing to discover his rather sad backstory (sort of recalling Po’s from Kung Fu Panda 2). “How can I know who I am,” he asks, “until I find out who I was?” Other characters have to learn to overcome fear, doubt, and even temptation with hope and joy (as well as memories and the power of believing), in order to protect the children of the world. (Or is it children in the world?) Said wonder and excitement from a child’s perspective is reflected in human character Jamie (voiced by Dakota Goyo), who believes in other mythological figures like Bigfoot. 

While this is essentially a secular worldview (the “Man in the Moon” is a key visual reference throughout), the themes and imagery throughout Rise of the Guardians are sure to generate numerous theological discussion. There’s the spiritual battle between good and evil, as well as darkness and light. There are certain, self-aware characters questioning or going against their callings or “centers.” Life, death, rebirth, and restorations of faith are other powerful themes throughout this story, including Bunny’s statement in how Easter represents “new beginnings and new life.” Adds North (as sort of an unintentional Scripture parallel), “As long as one child believes, we will be here to fight fear.” While Rise of the Guardians clearly wasn’t the end of childhood innocence, it did mark the last DreamWorks Animated film to be distributed by Paramount. The following spring, the studio started a new partnership with 20th Century Fox, beginning back at the Stone Age.