REVIEW COLLECTION: DreamWorks Animation, Part 4b

(Source: YouTube) 

The Boss Baby: Family Business (2021) 

As if DreamWorks hadn't made their weirdest movie to date, it seemed like they would present an even more bizarre one with a sequel to their 2017 fantasy-comedy, starring Alec Baldwin as the voice of a suit-wearing infant. At first, the trailers alone had me convinced The Boss Baby: Family Business would be terrible, with a plot centered on grown siblings who decide to turn into babies again in order to help a new "Boss Baby" save her company from a global crisis. Did I mention it clocks in at 1 hour and 47 minutes, setting a surprise new record for a DreamWorks animated movie? But from the first few minutes (double surprise), I didn't expect it to actually be this good. 

Granted, this 2021 follow-up still has a strange premise. Its weirdest moment finds grown brothers Ted (voiced by James Marsden) and Tim (Baldwin) drinking a prototype formula and de-aging through various stages of growth, despite maintaining their respective adult voices in child/baby form. This, after Tim discovers his baby daughter Tina (comedian Amy Sedaris) is an employee at Baby Corps. Hence, carrying on the "family business." The movie is also funnier, cleverer, and filled with heart, primarily from its dynamics between fathers and daughters, as well as between siblings. That goes just as well for its familial narrative involving the same imagination and creativity that one generation passes down to the next, even if it is a little too much. Honestly, this is the first DW sequel that exceeded my expectations since Shrek Forever After. And it really works. 

Simultaneously released in theaters and on the Peacock streaming service (half of its post-production was completed during COVID-19), returning director Tom McGrath presents a rare sequel that improves on its predecessor in every way, including colorful set pieces. Some of the craziest gags involve baby ninjas, while one of the funniest nods references The Shawshank Redemption. Hans Zimmer and Steve Mazzaro return to compose the adventurous and wild score, while popular tracks by Run DMC, Enya, and Salt 'n Pepa pervade the soundtrack; the end credits benefit from a touching song. Family Business also marked Alec Baldwin's most recent starring role in a mainstream film. I also wasn't expecting the studio to make a direct reference to one of their previous movies; in this case, the 2D animated Spirit, what with a pet pony as part of Boss Baby 2's supporting cast. 

Tim's second grade daughter Tabitha (voiced by Arianna Greenbalt) is apparently growing up fast—and growing apart from her dad, similar to how Tim and his brother (the latter of whom she prefers more) became estranged. Evidence of Tina's mission leads to Tabitha's alternative school, run by an eccentric principal (voiced by Jeff Goldblum), filled with competitive (not to mention snooty, spoiled, and bullying) classmates and robot screens (emphasizing the dangers of technology and screen time), and a 48-hour window to stop a silly but sinister plot to rid the world of parents. WARNING: one character with an excessive sugar addiction may make you feel sick; although, soda combined with Mentos, for the sake of science, is a bit cathartic. 

What could've been an easy cash-cow to play off of an idea that didn't work that well to begin with, is instead, as mentioned, an opportunity to present a better and more resonant story about family, generational bonds, and imaginative fun. The central plot turns out to be a chance for our main characters to try childhood again, for brothers to reconnect (and learn about loneliness versus being alone, both at home and in the office), and for Tim to see his daughter's hard work and potential. He even encourages her to overcome her fears and insecurities, including her worries that she’s not like her dad. (“Let’s not grow up too fast,” one character tells us.) Family Business feels more contemporary than its dated 1950s predecessor. It's both wild and sweet, with fast-paced humor and slapstick that's hysterical. Talk about putting a new spin on maturing. 

The Bad Guys (2022) 

In the early-2010s, DreamWorks was developing a CGI comedy that would also use hand-drawn animation titled, Me and My Shadow. Although that project has since been shelved, the studio was able to resurrect a similar concept the following decade, when they decided to adapt Aaron Blabey’s children’s book series about a group of storybook villains—a wolf, a snake, a shark, a piranha, and a tarantula—who are expert thieves. Not since the Kung Fu Panda series has the studio taken advantage of utilizing both 3D and 2D effects in the same movie. But The Bad Guys may have been the first to do it for an entire feature, creating its own visual identity and language to present something unique and thoroughly entertaining. 

Engaging from its opening (uncut) scene of Mr. Wolf and Mr. Snake going from a diner to a bank heist, audiences are in for a roller coaster of fun and hilarity. With homages to films like Ocean’s Eleven, Reservoir Dogs, Pulp Fiction, and The Blues Brothers, first-time director Pierre Perifel (who made the 2018 short Bilby) helms an animated heist comedy that looks like it could've been made by Steven Soderberg or Quentin Tarantino. A fitting and fully-realized cast of characters equally benefit from great respective voices, including Sam Rockwell (Mr. Wolf, spewing sly fourth wall narration), Marc Moran (sneaky Mr. Snake), Awkwafina (computer-hacking Ms. Tarantula), Craig Robinson (“master of disguise” Mr. Shark), Anthony Ramos (fish-with-an-attitude Mr. Piranha), Zasie Beetz (the aptly-named Governor Foxington), and Richard Ayote (guinea pig Professor Marmalade). 

Credited as the first "DreamWorks Animation Studios" release (a jab at Pixar?) under Universal Pictures—with Mr. Wolf crashing the iconic moon in the logo—The Bad Guys takes many liberties with its source material, including its main cast. In the books (I’ve only read the first three, as of this writing), Tarantula is male while it's Wolf who suggests he and the gang try to be good to change the public’s perception of them, which the others are not on board with at first. I’m not sure if the books do this as well, but the movie’s story is set in a world where humans, anthropomorphic animals, and pet animals coexist. Plus, the PG-rated flick includes some mild toilet humor, and a silly (kid-focused) subplot involving mind control. Which is otherwise not to say there aren’t subtle homages to the first three books in the series; those who’ve read them may already know the twists this movie’s story will take. 

In a move reminiscent of One Flew Over the Cuckoo’s Nest, the quintet pretends to be good to avoid going to prison after their latest heist goes south. This leads to several “goodness” lessons—recalling the SpongeBob episode where SpongeBob and Patrick try to teach supervillain Manray how to be a model citizen. As a result, Mr. Wolf starts losing his dignity while his friendships and loyalties get tested. Other themes these characters wrestle with and/or question include fear versus love, “normal” versus change (especially for those not used to positive or celebratory things), “hurting” versus “helping,” and believing in others versus doubting them. 

It would be an understatement to compare The Bad Guys to Pixar’s Zootopia or Illumination’s Despicable Me, if only for its satirical angle on those who go from bad to good, and the question of if they can or should. Everyone in the city is easily (and obviously) afraid of these guys, and that’s just fine with them. But one unexpected compliment starts to change one character’s mind, that being good may not/won’t be such a bad idea. Even better: it’s not a one-sided message, considering the strong narrative presents complex areas from both sides, including multiple perspectives on “goodness,” related to choices and emotions, as well as sincerity and maturity in owning up to mistakes. Whoever said movies this fun and funny couldn’t do that as well? 

Puss in Boots: The Last Wish (2022) 

In terms of sequels that apparently nobody asked for—a.k.a. those that seem like another cash grab—DreamWorks followed up The Boss Baby: Family Business one year later with a continuation of the 2011 spinoff in the Shrek universe, centered around the heroic and roguish feline, Puss in Boots. From The Croods: A New Age director Joel Crawford and co-executive produced by Chris Meledandri (the CEO of Illumination, owned by parent company Universal), I’ve heard nothing but good things about Puss in Boots: The Last Wish. With a distinct animation style that proceeds the techniques used in The Bad Guys months prior (evoking paintings and fairy tale storybooks), and action sequences that use the same frame rate that Sony Animation’s Spider-Verse utilized, the movie actually succeeds. 

The story follows the titular feline down to his last life, and starting to see (possibly for the first time, considering his age and experience) that his swashbuckling days—loved and celebrated by the people, while an outlaw to everyone else, and full of himself either way—may be coming to an end. More than that, the narrative is not just about Puss on a quest to find a giant Wishing Star (in order to get his lives back). Others include an old flame, a new friend, and some dastardly villains, who each have different reasons and objectives, whether involving magic, power, life, or family. 

Antonio Banderas returns to arguably his most famous role as Puss, maintaining the character’s trademark debonair and charm, while also revealing some unexpected vulnerability and depth. Salma Hayek reprises the role of his on-and-off partner, Kitty Softpaws. Harvey Guillem voices homeless dog Perrito, who has an upbeat if naive outlook on life. Other characters that show us include an amusing Jiminy Cricket-esque bug with a Jimmy Stewart accent (voiced by Kevin McCann), while a sinister and scary Wolf a.k.a. Death (voiced by Wagner Moura) is both unsettling and creepy. But its crime family Goldilocks (Florence Pugh) and the Three Bears (Ray Winstone, Olivia Colman, and Samson Kayo) that are arguably the film's biggest highlight. Subversive, witty, and engaging altogether, Goldie's arc, in particular, reminds me of Gabby Gabby from Pixar's Toy Story 4. 

Viewers should know a few things about this otherwise entertaining and distinct animated feature. Like the Shrek franchise (a few familiar faces make cameo appearances, along with some iconic big eyes), this installment takes jabs at classic fairy tales (including Disney adaptations), primarily from the antagonistic and gluttonous Big Jack Horner (voiced by John Mulaney). It also features some unexpected language choices that made the 2001 original—and earlier DW releases like Antz and The Road to El Dorado—more adult-oriented. Most of said words are censored, but leave a lot to the imagination. 

Puss in Boots: The Last Wish also includes a few macabre elements, with glimpses of how Puss lost his eight previous lives. The feline’s famous catchphrase, “Fear me if you dare,” takes on more than one meaning here. It’s also (ironically enough) not afraid to get serious. The Dark Forest (where most of the action takes place) is an unpredictable environment where anything can happen—even things you don’t see coming, with various conflicts, confrontations, and trust issues colliding. Is it a bright realm, or just an illusion, our characters wonder. It's a unique perspective in the film industry’s current “multiverse” era—and, perhaps, no coincidence that the updated studio logo (which premiered with this movie) features numerous DW characters interacting with the boy-in-the-moon mascot. Puss actually fears for his final life, coming face-to-face with his past selves, realizing how much he didn’t value them, and decides to make the most of his one remaining life. It puts a new spin on the meaning of lives. Not to mention friendships and family. 

Ruby Gillman: Teenage Kraken (2023) 

Original flicks are rare to come by, including animated ones. Writers Brian C. Brown and Elliott DiGuiseppi conceived of a modern twist on the mythology of giant sea creatures known as krakens (Pirates of the Caribbean may spring to mind), but through the lense of a teenage girl having an identity crisis. Released the same year as Disney's live-action Little Mermaid remake and WB/DC’s Aquaman sequel, Ruby Gillman: Teenage Kraken presents a big and bright undersea world, contrasted with a seaside town above water. 

The title character (voiced by Lana Condor) is an online influencer and math-wiz in high school. With prom coming up, the shy and awkward teen wants, more than anything, to go and to fit in. The problem: her family has lived on land for fifteen years and is not allowed in the sea. Her mom is in real estate, while her dad makes online videos about ships in bottles a la Bob Ross, and her younger brother is a dodgeball champion. Part of their cover is pretending to be a normal family from Canada. 

Directors Kirk DeMicco and Faryn Pearl fill this oceanic flick with fluid and lively animation, with many examples of squash and stretch. Ditto photorealistic lighting effects and creative art direction. Select 2D segments resemble sketchbook drawings in the style of 60s/70s psychedelic artwork (something the studio would use in their next feature film release). The voice cast includes Toni Collette and Colmon Domingo (as Ruby’s parents), Will Forte (as a kooky sea captain on the hunt for giant sea critters), and Jane Fonda (as Ruby’s undersea queen grandmother). Annie Murphy is a standout as “new girl” Chelsea, who turns out to be both a layered and complex character, putting an antagonistic spin on mermaids. (Is it no coincidence that she resembles Ariel from The Little Mermaid? I think not.) 

It goes without saying that Ruby can be rebellious behind her parents' backs. It’s clear there are complicated family dynamics, in terms of what Ruby knows or has been told, and what she doesn’t know or hasn’t been told. An accident that lands her in the ocean (complete with glowing neon lights) gives her an arc that sort of recalls Susan from DreamWorks’ Monsters vs. Aliens, as well as Mei from Pixar’s Turning Red; each main character going through changes, calming down to normal size. Ruby feels anxious and pressured between living a normal life on land (“Every single day, I try to hide all the ways I am different”) and succeeding her grandmother in the ocean (with a centuries-old war involving a powerful trident). 

To reiterate, is Ruby Gilman and original. Yes. Fun to look at? Sure. (One character even has a lovely and bright prom dress.) Filled with big action? It saves the most exhilarating stuff for later. (Laser eyes, anyone?) The film is unique in how it portrays young and older people with identity crises, standing up for what’s right, and embracing who you are. It’s also unique in its on-screen representation, despite some activism (and a pop soundtrack) that feels overplayed, dialogue that’s a little too talkative, and some brief LGBTQ references. While not terrible (far from it), the story in Ruby Gillman is familiar and the execution is fast, lacking much emotional investment. The trailers practically give away the movie, especially a third act twist. In short, it doesn’t make much of a splash. 

Trolls Band Together (2023) 

Like Warner Bros' Happy Feet and Illumination's Sing duologies, DreamWorks' Trolls movies run on a jukebox of pop songs. Yet, each respective installment has managed to carry its own visual and aural identity, with an emphasis on specific genres. With the original 2016 flick, it was popular tracks. With the 2020 sequel, it was at least five cultures, including rock'n'roll. With the 2023 entry, Trolls Band Together, it's boy bands of the 1990s. 

Returning director Walt Dohrn (with Tim Heitz) centers this third story on grouch-turned-happy troll Branch (Justin Timberlake), who reluctantly reunites with his long-lost brothers: former members of the sibling band BroZone. An opening flashback reveals the pressures to be perfect, as well as a disastrous performance that made each sibling/archetype leave and go solo. Branch’s one supportive, Floyd (voiced by Troye Sivan), is the one who ends up getting kidnapped—by talentless pop star siblings who steal from other artists instead of doing the work it takes to get there. Branch is doubtful, but Poppy (Anna Kendrick) is, as always, eternally optimistic. 

Returning characters include Tiny Diamond and his scene-stealing personality (as only his voice actor Kenan Thompson could give him). One of the movie’s key sequences introduces a community that resembles CGI Muppets. Ronda the armadillo-shaped mobile is central to a couple of select 2D segments that recall the psychedelic fever of the 1960s ("Too much hustle is a thing"), while a later chase sequence is inventive and subversive. The character designs of the mean and narcissistic Velvet and Veneer (Amy Schumer and Andrew Rannells, respectively) are homages to the Betty Spaghetty toy line from the ’90s. If there’s one new troll character that makes a big impression, it’s Viva (voiced by Camila Cabello), the sister that Poppy never knew she had. She’s just as cheerful and talkative, yet vulnerable about past trauma and not wanting to believe (at first) that certain things can/have changed. 

Part of the lure of this threequel is Timberlake's reunion with his former *NSYNC bandmates, who all contribute to some new original songs for the first time in twenty years. ("I Want You Back," from their debut album, even appears on this soundtrack's playlist.) Speaking of which, a few songs do include some questionable lyrics, while certain characters are clearly bossy or spew mildly suggestive banter. 

While not as universal or as creative as its predecessor (Trolls World Tour is my personal favorite in the series), Trolls Band Together still works as a colorful and more character-driven story about familial bonds and reunions, especially sibling dynamics, as well as the passage of time between old lives and new ones, and what it takes to be in harmony. It’s also a fun, nostalgic trip for 90s kids who grew up with this particular music. They’ll most certainly get a kick out of select wordplay on famous band names, while finding other opportunities to laugh at the trends and styles of this sub-genre. “It was an era,” Branch argues. He’s not wrong.