REVIEW COLLECTION: DreamWorks Animation Filmography, Part 3 (Second Edition)

(Source: YouTube) 

[The following was originally posted on November 28, 2025, and December 12, 2025.] 

The Croods (2013) 

When DreamWorks Animation moved from Paramount to 20th Century Fox in the early-2010s, it was the dawn of another new era, both figuratively and literally. So, it was fitting that their first feature under this new partnership centered around a nuclear family of primitive Neanderthals, forced to leave their cave—and change their ways—when their world and everything they know is coming to an end. 

Said family, known as the Croods, consists of teenage daughter Eep (voiced by Emma Stone), who longs to see the world beyond her family’s cave; concerned and caring matriarch Ugga (Catherine Keener); cheerful son Thunk (Clark Duke), stubborn elder Gran (Gloris Leachman), and animalistic little girl Sandy. All are led by the well-meaning but overprotective patriarch Grug (voiced by Nicolas Cage), whose bedtime stories, for one, always end in death, in order to convince his small clan that anything “new” is always dangerous. One day (for what initially seems like culture shock from both sides), Eep meets a lone young man named Guy (Ryan Reynolds) and his otter companion Belt (“Cook, conversationalist, navigator; also, he keeps my pants up”), and slowly convinces the rebellious cave girl—and everybody else—that there is a better tomorrow on the horizon than today or yesterday. 

I find it ironic that The Croods was released during the same era that Fox’s Blue Sky Studios continued churning out one new movie each year. (Chris Wedge’s forest adventure Epic, based on William Joyce’s book series, came out the same year.) Nevertheless, writers-directors Chris Sanders and Kirk DiMicco presented a world that combined Land of the Lost with Journey to the Center of the Earth. As something of an added bonus, Monty Python alum John Cleese is credited for co-writing the story. The result is a creative, colorful and imaginative adventure that is visually eye-popping and wonderful, with many constant discoveries and surprises, including some of the most unique screen creatures since Avatar. 

This may be the most popular cave family since The Flintstones. As a clever homage to that iconic Hanna-Barbara series, The Croods plays with how they would’ve done “snap shots” back then, how they hunted together (funny, energetic, and communal), and how they piled up in their sleep. For a clan whose patriarch tells them to “never not be afraid,” they sure are fearless, exemplifying relatable family dynamics as well as very physical, sometimes macabre, dysfunctions and conflicting ideals (i.e., brawn versus brains). A 2D prologue gives a brief but cohesive backstory on who they are and how they got to where they are. The small cast (especially Cage and Stone) really invest in their respective characters. 

In a scene where he talks like Spicolli from Fast Times at Ridgmont High, Grug’s attempts to show his “ideas” prove to run contrary to his family’s growing fascination with everything from new stories to fire, stars in the sky (mesmerizing), and other new concepts and places. Parallel themes of surviving versus living further reveal how Grug’s worry and pride come crashing down, what he’s lost sight of, and how he grows in strength and self-sacrifice. Not to mention his relationship with his teenage daughter. Spiritual parallels and metaphors are equally powerful and profound, with the sun as a representation of hope, optimism, a better/new tomorrow, and even echoes of eternity. As Guy tells us, “Don’t hide. Live. Follow the light. Go after tomorrow.” 

Turbo (2013) 

After voicing Guy in The Croods, Ryan Reynolds headlined DW's next feature as the voice of an ambitious garden snail named Theo, who dreams of racing in the Indianapolis 500, under the name Turbo. An unlikely underdog story if ever there was one, this crazy-on-the-surface premise (directed by studio veteran David Soren) gets rocking and rolling when the titular mollusk gets in a freak accident one night on the highway, after landing in a racing vehicle (reminiscent of The Fast and the Furious), and gains superpowers via nitrous oxide. 

Paul Giamati voices Theo’s impatient and stubborn brother Chet, who believes in the rules of nature and that his younger sibling is in way over his head. (“A snail cannot race in a competition meant for cars!”) When a raven subsequently kidnaps them both, they end up in the city, where they meet a taco vendor with big dreams of his own. Theo amazes everyone with what he can do—all except Chet, who calls his brother “a freak of nature.” Talk about a fish-out-of-water story. (Or should I say a snail-out-of-the-garden story?) 

The lighting and detail in this movie is impressive. Three specific communities are represented, beginning with the snail garden—filled with greens, tomatoes, unsurprisingly slow pacing (for the little creatures, that is), and occasional macabre humor. Then there’s the mini mall in the city, where at least four different businesses reside. Not to mention diverse cultures represented onscreen. And there’s the race track in Indiana, with detailed rubble and visual and aural speed that is exciting and immersive. (Ron Howard’s own racing drama, Rush, released the same year.) Former cinematographer (and Christopher Nolan regular) Wally Pfister served as a visual consultant; he retired from that role the previous year, last working on The Dark Knight Rises. A few standout sequences in Turbo include a garden race against a lawn mower for fresh produce, a face-off with a tricycle-riding neighbor kid, and Theo’s shell first acting like a radio while his eyes work as headlights. 

Turbo is a rather ridiculous premise that doesn’t sound that good on paper. But on screen, it works. This is a fun movie to watch—and a better one than I remember. For one thing, the soundtrack isn’t overwhelming a la Shark Tale, although some moments do feel a little too materialistic. Overall, with help from Henry Jackman’s score, the movie produces sincere drama that is also engaging, deep, and cheer-worthy. And let’s not leave out the colorful, unconventional crew of racing snails (with voices by Samuel L. Jackson, Maya Rudolph, Snoop Dogg, Ben Schwartz, and Mike Bell), complete with Transformers-like jetpacks. 

One of its secondary themes is that, sometimes, our heroes aren’t what we think they are or what they seem. (Bill Hader voices an arrogant French-Canadian racer.) Primarily, Turbo is about believing in others and what they are meant for, and about taking risks, no matter how outlandish they seem—at least, until they’re seen in action. “We have a chance to change our lives for the better,” the taco-selling Tito (voiced by Michael Peña) tells his own stubborn brother. The narrative also highlights how much is “good enough,” persisting against all odds, and giving it your all to finish the race. Good luck getting that “Snail Is Fast” meme out of your system along the way. 

Mr. Peabody & Sherman (2014) 

Based on Jay Ward’s popular cartoon short, Peabody’s Improbable History (from The Bullwinkle Show of the late-1950s), a smart canine and his adoptive human boy go on numerous time-traveling adventures and learn about world history, while also poking fun of it. Previous big screen adaptations of Ward’s work include the live-action, Brendan Fraser-led vehicles, George of the Jungle (1997) and Dudley Do-Right (1999). But Mr. Peabody & Sherman marks the first fully-CGI adaptation of any of Ward’s credits, as well as a co-production of his Bullwinkle Studios and Pacific Data Images (PDI). 

Just like their hand-drawn counterparts, the titular duo visit such moments and figures in time as Ancient Egypt and King Tut, the French Revolution and Marie Antoinette (and her love of cake), the Italian Renaissance and Leonardo Da Vinci (along with his flying machines), and the Trojan War with Agamemnon and his army, courtesy the ever-popular WABAC machine. (One hilarious moment involves a statue decoy in Egypt.) But this movie’s main plot involves Sherman going to public school for the first time, and Peabody having to come to terms with what it really means to be a parental figure. 

Things get complicated when a social worker who doesn’t think that a canine should be a surrogate parental figure (echoing Ms. Hannigan from Annie) enters the picture. Things really get going, however, when Peabody invites a family over to his sky-high penthouse to make amends between Sherman and a spoiled classmate after an incident at school, and the young boy eventually spills the beans about the time machine, which eventually causes disruptions in the space time continuum a la Back to the Future. Not to mention scientific (and personal) complications leading to an unexpected turn of events, where past and present collide. 

The Lion King co-director Rob Minkoff helms this 2014 flick, filled with eye-popping animation, quirky characters, fourth wall breaking, thoroughly silly humor, and nice homages to the original cartoon designs. There’s also a fun score by Danny Elfman. Fittingly, 7-year-old Sherman doesn’t pick up on Peabody’s clever puns, reflecting today’s children whose parents and grandparents will understand this humor much more. Speaking of generations, the movie’s voice cast consists of screen veterans and relative newcomers, including Ty Burrell (Peabody), Max Charles (Sherman), Ariel Winter (the snooty Penny), Patrick Warburton (Agamemnon), Leslie Bibb & Stephen Colbert (Penny’s parents), Allison Janney (social worker Ms. Grunion), Stanley Tucci (Da Vinci) and Mel Brooks (Albert Einstein). 

But the movie isn’t all fun and games. And it is a fun movie, despite its sporadic and episodic narrative, occasional toilet humor, and globe-trotting, roller coaster action and pratfalls—some intense, but within the cartoon nature of the original shorts. Similar to Minkoff’s film adaptations of Stuart Little (from 1999 and 2002, respectively), Mr. Peabody & Sherman has worthwhile themes about adoptive parenthood, as well as families and friendships (including making amends with people we don’t like and vice versa) being more important than knowledge, hobbies, and/or accomplishments. “Every great relationship,” the intelligent dog tells his young lad, “starts from a place of conflict and becomes something greater.” One touching and stylized montage is set to John Lennon’s “Beautiful Boy.” As I once wrote about Shrek, whoever said cartoons couldn’t be sincere as well? 

How to Train Your Dragon 2 (2014) 

Following the release of How to Train Your Dragon in 2010, co-director Chris Sanders went off and helped make The Croods while longtime creative partner Dean DeBlois took solo writing and directing reigns for a second chapter to the former. (Sanders remains credited as a co-executive producer.) Bigger, more epic, and just as (if not more) emotional, this 2014 follow-up to one of DW’s best films was released the same year as the studio’s 20th anniversary, as well as the first and only installment released by 20th Century Fox. 

Set five years after the events of its predecessor, How to Train Your Dragon 2 finds the kingdom of Berk now embracing dragons. “Life here is amazing,” we’re told, “just not for the faint of heart.” Opening with a sequence of dragon racing against a partly cloudy/partly sunny backdrop—and some scared or bored sheep—protagonist Hiccup (voiced by Jay Baruchel) leads a group of young warriors against a new enemy, one who has a dark history with Hiccup’s chief father Stoick and his people, as well as characters subsequently discovering things they didn’t even know about themselves or about others. 

On the surface, the film has striking art direction and design, set primarily in winter, with visual poetry in lighting and locations. Returning composer John Powell presents an incredible, sweeping score. Each Viking and their respective dragon have clearly distinct and fitting personalities, qualities, and flying techniques. And wait until you see the Alpha species. (Talk about beast mode taking on beast mode.) Speaking of flying, one highlight includes the clever and resourceful Hiccup and Toothless’s first flight—a work-in-progress on solo gliding that is awe-inspiring, and strong visual storytelling. 

The returning voice cast brings their A-game with maturing and complex characters (some now with facial hair). The primary villainous rogue leader Drago (voiced by Djimon Hounsou) and his army of beasts and trappers are very intimidating and controlling. “Men who kill without reason,” Stoick tells us, “cannot be reasoned with.” Ironically, this is one of the reasons that Dragon 2 is a darker, more intense chapter. One that develops and expands the world of Vikings and dragons on a grander scale, and not just from Hiccup and company building a map and discovering new places. And yet, it’s massive spectacle—with battle sequences on par with The Lord of the Rings—that never loses its heart. The thematic question of redemption, and if/whether certain people can really change or not, also plays into the character of Valka (voiced by Cate Blanchett), Hiccup’s long-lost mother thought to be dead, who has been secretly saving and protecting dragons of all shapes and sizes. 

The main storyline centers on Hiccup not believing he can live up to leading his people as the new chief. He clearly struggles with remembering and searching for who he is or wants to be, even feeling conflicted about being a bridge between two worlds. The narrative gets deep with themes of control and abused power. Not to mention moments of unexpected sacrifice and loss. The film also has a few suggestive references (including a reportedly confirmed moment where one character subtlety comes out of the closet). Overall, How to Train Your Dragon 2 highlights what it truly means to be a leader, to earn loyalty, and how to shut out the negativity that tries to destroy it. As more than one key character says, “A chief protects his own.” We can only imagine, by this point, how much bigger this world will get from here. 

Penguins of Madagascar (2014) 

After three scene-stealing feature film appearances, the ever-popular quartet of globe-trotting, flightless birds from DreamWorks’ Madagascar series (and their own TV show) follow in the footprints of Shrek’s sidekick Puss in Boots and finally get their own movie. Franchise regular Eric Darnell and studio veteran Simon J. Smith had directing reigns in what turned out to be the animation company’s last collaboration with PDI before the latter closed in January 2015. 

Opening with a documentary film crew in Antarctica (narrated by German director Werner Hertzog) a la March of the Penguins, this 2014 spinoff presents the origin of how these unconventional oddballs came to be (beginning with leader Skipper, analyst Kowalski, and explosions expert Rico), including how they met their timid fourth member (Private). The real story—and Mission: Impossible-style plot—takes place after the events of Madagascar 3: Europe’s Most Wanted, where the Penguins get mixed up with a secret agency of Arctic animals (led by Benedict Cumberbatch, as the voice of wolf agent Classified) to stop an eccentric scientist squid named Dave (voiced by John Malkovich), who has a connection to their zoo days, from using a secret serum in a revenge-filled scheme. 

These characters always crack me up (as they do many others), and they certainly don’t disappoint in this laugh-a-minute action-comedy that goes from one sequence of slapstick hijinks and mayhem to another. Such moments involve Cheetos (a brilliant showcase for animating food coloring and chip paste), a video call miscommunication, and Dave’s puns on famous names (i.e., “Nicolas, cage them,” “Charlize, they’re on the run”). One impressive long shot finds the four main characters descending from a loaded plane and passing through others, ending with an inflatable funhouse. 

On the other hand, as this flick was released during the industry’s resurgent 3D craze, a few moments are deliberately shot in that format. A few other elements are mildly macabre, including a plot against all penguins and their cuteness (and they are cute) to turn them into despised mutant creatures. Malkovich’s voiceover work effectively combines layered depth and over-the-top villainy for an adversary driven by pride, ego, and jealousy. 

Themes of “family” and teamwork, especially between groups who don’t get along, are key, with the childish Private feeling undervalued and coming into his own. All leads to a climactic turn of events that subvert expectations—and with unexpected heart. The fun Penguins of Madagascar really puts a new spin on, “Who says a penguin can’t fly.” 

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 theatrical release from DreamWorks that year. 

The story of Home centers on an unlikely friendship between an outcast, neglected alien named Oh (voiced by Jim Parsons a.k.a. Sheldon from 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 suggests. Not to mention quite a few turns of events, some of which are 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 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 the highly-anticipated 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 meeting 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 cleverly 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, as well as 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 be Timberlake’s catchy and infectious hit song, “Can’t Stop the Feeling,” which, in fairness, sort of rides the coattails of Pharrell Williams’ worldwide phenomenon, “Happy” (from Illumination's Despicable Me 2 from three years prior). 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, 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 each other (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 embraced, 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 subsequent 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's equally amusing hearing him spew other motivational quotes commonly used throughout various businesses and companies. (Baldwin and Maguire had 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 another key 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 also 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), 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 on 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 (to a degree) tht they’ve gone too far, 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.