REVIEW COLLECTION: DreamWorks Animation, Part 3b

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Home (2015) 

During its original theatrical run in 2014, Mr. Peabody & Sherman was preceded by a 4-minute animated short about an alien race, known as the Boov, who are constantly looking for a new planet to live on, and to run and hide from other extra-terrestrials that are apparently out to get them. The silly and humorously macabre Almost Home was based off of Adam Rex’s book, “The True Meaning of Smekday,” which was also the basis for a feature-length sci-fi adventure the following year. In fact, it turned out to be the only animated release from DreamWorks that year. 

The story of Home centers on an unlikely friendship between an outcast and neglected alien named Oh (voiced by Jim Parsons, famous for playing Sheldon on The Big Bang Theory) and a lonely teenage girl named Tip (voiced by music artist Rihanna), who has a pet cat ironically named Pig (the second appearance of a calico cat in an animated feature that season, following Disney's Big Hero 6 four months prior), and just wants to find her mom. Things really get going when Oh becomes a fugitive after accidentally sending a message out into the universe, leading him and Tip on a globe-trotting adventure that takes them to Paris and Australia, among other places. 

Directed by studio veteran Tim Johnson, Home has color and creative imagination to spare but lacks an enduring impression. It’s an odd approach that some may find irritating, maybe even cringeworthy. Others won’t mind. The movie does have some genuinely funny or amusing moments (Tip being a standout), including a restroom pit stop as an excuse to show off toilet gags. Some otherwise dark humor is played for silly laughs throughout. Steve Martin and Jennifer Lopez (who each, interestingly, appeared in one of DreamWorks' two inaugural animated films back in 1998) have supporting roles yet again, as the wacky Captain Smek and Tip’s mother, respectively. Rihanna contributes/sings several original songs on the movie’s fun soundtrack (as does Lopez for one other track). 

The Boov have a unique way of speaking. (Perhaps they're distant cousins of Yoda?) And the fact that they change colors based on emotions is clever visual storytelling, in and of itself. With that in mind, Home features characters that are not so much untrustworthy as they are misguided, in terms of what they think they know and believe, including what is “normal” and what they come to understand. As bizarre as the premise and plot are, the movie does have heart, is surprisingly endearing, and actually goes deeper and weirder than its marketing suggested. Not to mention quite a few turns of events, some touching. 

There are subtle themes of colonialism, as the Boov invade earth, relocate the human race, and claim the planet as their own. There are also endearing themes of family and friendship, what it means to be human, making connections, and caring/standing up for others instead of being alone and ignorant. There's a deeper theme about not judging others based solely on their mistakes. If you’re willing to give this otherwise odd and endearing flick a chance, you may be a little surprised. Plus, it has a pretty cool flying car that runs on a slushie machine. You don't see that every day. 

Kung Fu Panda 3 (2016) 

After helming the 2011 sequel, Jennifer Yuh Nelson returned to the director's chair for a third Kung Fu Panda, this time with help from studio animator Alessandro Cartoni. A co-production of the China Film Co. Ltd. and the Oriental DreamWorks division, and with most of the returning voice cast, Kung Fu Panda 3 was originally scheduled for release in December 2015, but delayed a month to avoid competition with Star Wars: The Force Awakens. Its January 2016 premiere, in retrospect, turned out to exceed any expectations of a theatrical release month normally reserved for awards contenders and holiday holdovers. (In fact, this has become something of a decent month for a few subsequent releases by the studio.) 

The plot of this third entry follows the titular "Dragon Warrior" Po (Jack Black) on the next phase of his journey, as he hesitates to be a leader for his fellow warriors (a connection he shares with Hiccup from How to Train Your Dragon 2). His wise master Shifu (Dustin Hoffman) challenges him, "If you only do what you can do, you will never be able to be more than you are." What follows is a surprise reunion with his long-lost father Li Shen (voiced by Bryan Cranston), the discovery of a secret village of pandas, and a mission to stop a powerful enemy. Along the way, Po has to teach his newfound community how to fight—and how to embrace who they are (including himself) with what they can do, rather than facing it on his and their own. 

As with the first two installments, there is highly stylized action and animation. With an emerald green color palette, the movie is gorgeous to look at. The sight of the aforementioned panda village, for one, is wondrous, as are moments in the spirit world. As another series trademark, 2D sequences reflect certain character backstories—in this case, that of the villainous Kai (who seems to be irritated that nobody has heard of him) and Master Oogway, complete with Chinese subtitles/inscriptions. In fact, the imagery and art direction are strong, with striking sequences that feature bold colors and silhouettes. Not to mention help from Hans Zimmer's dynamic score. Speaking of the mighty and intimidating yak adversary Kai, he was originally to be voiced by co-executive producer Guillermo del Toro but later replaced by J.K. Simmons. As an added bonus, his theme music incorporates portions of "I'm So Sorry" by Imagine Dragons. 

If the movie has a stumbling point, it could be that it revels in its brand of silliness a little too much. Po is still as funny as he is (as only Black could bring to the role), while his dad proves to be just as much, from the moment they have an awkward first impression and misunderstanding. Their dynamic creates jealousy in Po's adoptive goose father, Mr. Ping (James Hong), who suspects that Li Chen may not be who he says he is. It all leads to Po learning how to be a panda, from eating and rolling and living a different lifestyle with his cousins and extended family, leaving plenty of room for ridiculous and witty humor. The overall tone is more in line with the first movie than the second one. Still, the filmmakers manage to make the drama and stakes sincere, recalling Po's backstory from the second film, as well as the central father-son dynamic with Mr. Ping. Ditto themes of community, which are profound and heartwarming here. 

Aside from that aspect, Kung Fu Panda 3 is much more of a spiritual journey. The story emphasizes the mystic power of Chi, with the prideful and power-hungry Kai obsessed with being unstoppable. Those elements notwithstanding, it is, for Po, a battle of the mind and not just brawn. It culminates in what is, perhaps, a more unlikely and subversive battle than the first movie had, but as (if not more) communal than the second chapter, bridging the past and the present seamlessly. Talk about shining bright together. (A visual metaphor that popped up in DreamWorks’ next feature as well.) 

Trolls (2016) 

Danish designer Thomas Dam’s ever-popular toy line of woodland creatures with colorful wavy hairstyles has been a worldwide phenomenon since the 1960s, so much so that it's like a rite of passage for anybody who grew up in the eras since then. The "Good Luck Trolls" franchise was given new life in the 2010s when DreamWorks adapted it into a colorful song-and-dance, CGI musical extravaganza, in the same league as Warner Bros’ Happy Feet and Illumination’s Sing. Not to mention making the Smurfs look like preschoolers and giving those blue creatures a run for their money. 

On the surface, directors Mike Mitchell and Walt Dohrn present art direction and animation that combine scrapbook materials and plushy, huggable character designs, even if they look different than their real-life predecessors. And considering both Mitchell and Dohrn were involved with 2010's Shrek Forever After, Trolls could easily exist in that same world. The movie's voice cast includes Zooey Deschanel, Jeffrey Tambor, Christine Baranski, Russell Brand, James Corden, Gwen Stefani, and Christopher Mintz-Plasse. Dohrn even voices a scene-stealing cloud character, who loves hand signals and fist bumps. The film's infectious and bubbly soundtrack includes pop tracks by everyone from Simon & Garfunkle to Lionel Ritchie, Gorillaz, and Cyndi Lauper. 

But the real headliners are Anna Kendrick and Justin Timberlake, as the endlessly cheerful and optimistic Poppy, and the pessimistic and grumpy Branch, respectively, who team up to find and save their community from the joyless and savage Bergens (led by Baranski's sinister and power-hungry Chef). Trolls is a terrific showcase for Kendrick and Timberlake's multi-hyphenate talents (i.e., singing, voice acting, comic timing, sincerity). Yet, if there's one thing this movie is most remembered for, it would probably Timberlake’s catchy and infectious hit song, “Can’t Stop the Feeling," which, in fairness, sort of rides the coattails of Pharrel Williams' worldwide phenomenon, "Happy" (from Illumination's Despicable Me 2). Either way, good luck not dancing or singing along, or both. 

There are characters who seem to have misguided or limited perspectives on "happiness," highlighting the difference between that and misery (or depression), positivity and negativity, and color versus the lack thereof. For one, Branch is overly sensitive and protective, and convinced the world is not all sunshine and rainbows. And he's not wrong. The dynamic between him and Poppy shows the differences between pretending and being real, with one turning point involving betrayal (out of selfish choices) and the heartbreak that comes from it. Nevertheless, the film highlights the importance of community, and how others can help bring out the best in us (profound themes of support and encouragement), even bringing life to a place that never truly had it before. 

A subplot involves a unique twist on the Cinderella story (a la Shrek), with Poppy and company helping a shy Bergen maiden learn how to be bright, confident, and self-accepting, and for others to see that there is more to "happiness" than they ever thought. A metaphor of "empty bellies and full hearts" shows how happiness is something already inside each of us, but must be embraces, creates development for so many characters--and for audiences. The result exceeds anything odd or strange. Like those original dolls, Trolls is sweet. 

The Boss Baby (2017) 

Seven-year-old Tim Templeton has an ideal childhood, two loving parents, and a big, wild imagination. That is, until he gets a shocking surprise one day, when his mom and dad bring home a new "baby brother." Upon discovering this strange new sibling can actually talk like a grown man, Tim tries to prove that this toddler isn't who or what he seems. Director Tom McGrath helms this adaptation of Marla Frazee's 2010 book, written as a unique perspective on childrearing and business. 

The prologue of The Boss Baby reveals how newborns are instantly placed into either family or management roles (a la "workers" and "soldiers" in Antz), while aubsequent plot points involve not only sibling rivalry, but also babies competing with puppies. It's a fun fact that Tim is voiced by Miles Bakshi (the grandson of adult animation director Ralph Bakshi) and narrated by Tobey Maguire as an adult, while the boy's parents are voiced by talk-show host Jimmy Kimmel and Friends alum Lisa Kudrow. Tim's wizard alarm clock may even be a subtle reference to his grandfather's animated Lord of the Rings film from the late-1970s. 

I'll admit, it is amusing hearing Alec Baldwin's voice coming out of a suit-wearing infant. One who even parodies the actor's famous role and speech from Glengarry Glen Ross. ("Cookies are for closers.") It'd equally amusing hearing him spew other motivational quotes commonly used in businesses and companies. Baldwin and Maguire previously worked together on the live-action/animated comedy Cats & Dogs, ironically voicing canines. Arguably, though, The Boss Baby's best scenes involve other toddlers in the neighborhood, including a chubby boy (Jimbo), a set of triplets, and a doodling little girl (Stacy). The latter are standouts in sequences involving a backyard faceoff against toy cars, as well as a climactic chase. 

The story does have some unique themes about sibling and family relationships, with John Lennon & Paul McCartney's "Blackbird" as a recurring motif. Characters predictably transition from rivalry to bonding, even representing a reversal of child and adult roles ("I may look like a baby, but I was born a grown up"). The titular Boss Baby even provides some sarcastic commentary on fairy tale storybooks, and it is fun to see appearances from famous kid’s toys and games, like Fisher Price telephones and "Mouse Trap.” 

But, in retrospect, this has to be the weirdest thing that DreamWorks ever made as an animated movie. Its 1950s Dick & Jane aesthetic presents characters with big heads and big eyes, while a bizarre plot device involves pacifiers, as well as baby formula that keeps these toddlers ageless. Then there’s a crazed company CEO (voiced by Steve Buscemi) with a strange, creepy bodyguard. (“Scary Poppins," what’s the deal?) Naked rear ends are a frequent visual gag. There’s a lot of slapping (and I mean a lot), while at least one moment goes too far, in terms of child endangerment. Overall, it’s an intriguing but bizarre approach that hasn’t aged well. 

Captain Underpants: The First Epic Movie (2017) 

Dav Pilkey's bestselling, popular, and controversial kids' book series about a goofy superhero who wears large tighty whities, and a bath towel for a cape, was first published in 1997. According to IMDb, the first book was immediately put into development as a live-action movie, with the author envisioning the late Chris Farley as the titular "do-gooder." (That same year, Farley had recorded dialogue for the original version of Shrek.) After the beloved comedian's death at the end of that year, the project was shelved. Fast forward two decades, and studio veteran David Soren helmed what would be the company's first superhero flick since Megamind, but with a wackier and much more cartoonish sensibility. 

With Captain Underpants: The First Epic Movie, the filmmakers seem to have been inspired by John Hughes from the 1980s—and, perhaps, the kid's movies he wrote and produced in the following decade, like Dennis the Menace. The story follows two troublemaking best friends in fourth grade, Harold and George, known for their wild and creative imaginations (including fourth wall narration and meta commentary on lowbrow humor), as well as causing all sorts of silly and rude pranks at school, and creating their own comic books. They primarily go toe-to-toe with a strict, joyless principal at an equally joyless grade school. When the overbearing Mr. Krupp (who seems to be cut from the same cloth as Richard Vernon from The Breakfast Club or Ed Rooney from Ferris Bueller’s Day Off) threatens to separate them, Harold and George accidentally hypnotize him into becoming their titular comic book creation. Things get even more complicated when an evil scientist masquerades as a schoolteacher and plots to rid the world of laughter. 

The hilarious voice cast includes Ed Helms as Krupp/Captain Underpants ("Tra-la-laaaaa"), Kevin Hart as George, Thomas Middleditch as Harold, Jordan Peele as nerdy snitch Melvin ("I don't get it"), and Nick Kroll as the villainous Professor PoopyPants (you read that right). The film’s eye-popping animation style a la The Peanuts Movie brings Pilkey's comic-book illustrations—in all their over-the-top action and silliness—to life, while also paying homage to them with select 2D sequences. ("Flip-o-rama," anybody?). There’s even a segment involving live-action sock puppets. And it’s fitting that the movie’s theme song is sung by none other than parody artist “Weird Al” Yankovich. 

 

Unlike most animated movies that pertain to the lowest common denominator of comedy and entertainment, Captain Underpants is actually a clever and hysterical script (written by Nicholas Stoller, who also co-directed Warner Animation Group's equally funny Storks the previous year), with sendups of superheroes, supervillains, sidekicks, and secret identities. Not to mention goofy twists and puns. On the other hand, as funny as it is, it's also the kind of kiddie flick that could send the wrong message. I know some people who think the Kung Fu Panda series teaches children how to be violent. Likewise, Captain Underpants (when not seen as a parody or a silly meta commentary on laughter) could easily instruct kids how to be rude, much like Ferris Bueller was a textbook example of playing hooky. 

Frequent toilet humor and references to bodily functions throughout aren’t exactly on the same level as, say, Ren & Stimpy. But it's still potty humor, nonetheless. To be fair, Harold and George do realize they've gone too far (to a degree), with visual statements about loneliness and friendship, and about laughing at ourselves. Captain Underpants would be the last DreamWorks Animation movie to be distributed by 20th Century Fox, as well as the last to use this version of the company logo. After working with Universal, Paramount, and Fox over the course of two decades, the company came full circle—or, in their case, full moon—by rejoining with former for a new era. Stay tuned for the latest issue.