REVIEW COLLECTION: DreamWorks Animation Filmography, Part 2 (Second Edition)

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[The following was originally posted on June 25, 2025, and September 19, 2025. It’s a collection of reviews for DreamWorks Animation titles that were distributed theatrically under Paramount Pictures.] 

Over the Hedge (2006) 

For their first feature under a new distribution deal with Paramount Pictures, DreamWorks Animation adapted a little-known comic strip about a group of forest animals who wake up from hibernation, only to discover a suburban neighborhood behind a giant, long green hedge where the rest of their forest used to be. Meanwhile, a scheming raccoon coaxes the natural critters into pilfering food and other supplies in one week to pay back an angry, hoarding bear he stole from. 

Directed by Tim Johnson and Karey Kirkpatrick, Over the Hedge is one of the studio’s most underrated movies. Besides being charming, entertaining, and (like Madagascar) very audience-friendly, the film is a clever and witty commentary/satire on suburbia and consumerism; not so much on how that has affected nature (as Isao Takahata’s Pom Poko did so brilliantly), which may be the one area where this movie falls short. (Human characters in this story apparently hate forest animals.) 

The animators and artists incorporate translucent lighting effects and P.O.V. shots into the CGI environment, while offering up a tour de force of visual slapstick and comic mayhem (e.g., a dog-wagon chase, a climactic truck sequence). Ditto the use of fireflies as literal and figurative lightbulbs. Even excerpts of the original comic strip by Michael Fry and T Lewis can be seen over the credits. Okay, so some of the human animation is a little uncanny (like homeowner association president Gladys, voiced by Allison Janney), with the exception of pest control worker Dwayne (hilariously voiced by Thomas Haden Church). Plus, there are subtle gags and mild toilet humor, including hyperactive squirrel Hammy (voiced by a scene-stealing Steve Carrell) looking for his “nuts” for the following winter. 

One of the best parts of Over the Hedge is the fun, A-list voice cast. Like Antz and Shark Tale, the animators successfully blended the personality traits of the actors into their respective roles. Bruce Willis is the fast-talking raccoon RJ. Garry Shandling is the neurotic, worrisome turtle Vern. Wanda Sykes is the tough-as-nails skunk Stella. William Shatner is the overdramatic possum Ozzie, while Avril Lavigne plays his teenage daughter Heather. Eugene Levy and Catherine O’Hara are Midwestern porcupines Lou & Penny, with three little critters of their own. And Nick Nolte is the intimidating bear Vincent. Even better, each respective voice actor doesn’t so much draw attention to themselves, but more to the characters and story. And a fun and worthwhile one at that, thanks, in part, to a winning score by Rupert Gregson-Williams, and catchy, original songs by Ben Folds.

The movie has real heart and sincerity, with themes of loneliness versus community, arrogance versus giving, honesty versus jealousy, and working together for both the wrong reasons (personal) and the right reasons (for family). It also highlights the harsh consequences of selfish choices and deception, as well as RJ owning up to the mess he’s gotten himself into, including losses, regrets, and how much is truly “enough” (something The Road to El Dorado frankly didn’t do). In the process, RJ discovers a home and family he’s never had. As one character says, “This is the gateway to a better life.” 

Shrek the Third (2007) 

In a year when certain blockbuster franchises gave us third helpings, one of them was another follow-up to DreamWorks’ ever-popular sendup of all things fairy tale. But like those aforementioned movie sequels (Spider-Man 3 or Pirates of the Caribbean: At World’s End, anybody?), Shrek the Third fell short. 

Since their last outing, Shrek and Fiona (Mike Myers and Cameron Diaz, once again) have become popular and well-regarded in the kingdom of Far Far Away. The dying king (yes, this movie opens with a death) mentions that they are next in line for the throne, to which Shrek doesn’t see himself fulfilling. He then sets out on a journey with Donkey and Puss In Boots (Eddie Murphy and Antonio Banderas, respectively, steal the show again) to find the only other heir: Fiona’s teenage cousin Arthur a.k.a. Artie (voiced by Justin Timberlake). Furthermore, Fiona becomes pregnant, leaving Shrek even more worried and unprepared about fatherhood, while the childish Prince Charming (Rupert Everett) plots revenge by rounding up all the fairy tale villains and laying siege to the kingdom. What follows is a lackluster odyssey about believing what other people say versus listening to yourself, as well as embracing those latter changes and responsibilities. 

The writing and execution aren’t up to par this time around. And the movie itself (including its resolution) doesn’t take as many risks, despite being a technical achievement in human animation, clothing simulation, and set pieces that expand this world. Ironically, Far Far Away doesn’t seem as lively as it last was. The story is partially repetitive of the first two movies, while Fiona herself feels reduced. Her posse of fellow princesses (Amy Poehler’s Snow White being the funniest), on the other hand, standout, what with their conventional storybook worldviews and sassy personalities. It is strange, though, seeing “ugly stepsister” Doris (voiced by CNN’s Larry King) in this bunch. (Talk show host Regis Philbin voices fellow stepsister Mabel.) 

This PDI/DreamWorks production marked the directorial debuts of storyboard artist Chris Miller and character animator Raman Hui. Even though it’s easily the weakest of the Shrek movies, it still has its moments, such as Pinocchio trying not to lie, Gingy seeing his whole life flash before him, Puss and Donkey switching bodies, Shrek attempting to “cool talk” Artie, and Shrek’s sarcastic commentary of Charming’s stage performance—and high singing. While John Cleese has only one scene as King Harold, his friend and fellow Monty Python castmate Eric Idle voices a kooky variation of the wizard Merlin (a former high school magic teacher). Speaking of which, real high school bands and cheerleading squads contributed to the film’s production for the Worcestershire Academy set piece. Shrek the Third also marked the voice over and DreamWorks debuts for Seth Rogen, who plays a ship captain. 

Subtle drug references, a few macabre deaths, and suggestive elements (including princesses ripping their garments and burning bras) may fly over children’s heads while, like the first two movies, making parents scratch theirs. On the other hand, adults and especially music fans may appreciate the use of Paul McCarthy’s “Live and Let Die” in an otherwise melancholic moment. Ditto classic tracks by Led Zeppelin and Heart in an overall good and fun soundtrack. When interviewed back in 2007, Myers had this to say about Shrek’s development as a character. “The first time you meet him, he's a self-loathing ogre who doesn't feel that he's worthy of love. In the second one, he doesn't feel worthy of marriage, and in this one he doesn't feel he's worthy of being the father of his country or being a father of a child. You know what I mean? It's a smart progression.” He may have been right about that. 

Bee Movie (2007) 

In the early-1990s, John Hughes had a script for a movie that was told entirely from a bee’s perspective. But the idea was reportedly too ambitious and was eventually abandoned. The next decade, comedian Jerry Seinfeld (following the conclusion of his popular, self-titled T.V. sitcom) had a meeting with Steven Spielberg and jokingly suggested making a movie about bees. But the celebrated filmmaker actually liked the idea and, right then and there, greenlit what would become DreamWorks Animation’s second feature involving insects since Antz, courtesy Seinfeld’s trademark sense of random, dry humor, as well as directors Simon J. Smith & Steven Hickner. 

Early marketing humorously suggested what Bee Movie could’ve looked like as a live-action project—a lot different than Hughes’ aforementioned approach, I would imagine—complete with Seinfeld in a giant, black-and-yellow costume and interacting with fellow comedian Chris Rock (in a mosquito suit) and Spielberg, the latter of whom recommends making it into a cartoon after disastrous, “on-set” results. (Spielberg and Jeffrey Katzenberg are even thanked in the final end credits, as “Cinematic Visionary Dinner Companion” and “Deus Ex Machina [Hand of God],” respectively.) 

As Woody Allen did with the neurotic worker Z in that quirky 1998 adventure-comedy, Seinfeld here practically voices an animated avatar of himself in the form of recent college graduate Barry B. Benson. The life of a bee is apparently complicated, as there seems to be a sense of growing up fast when Barry and his fellow hive residents are expected to choose one job for the rest of their lives. Feeling underwhelmed by the thought of doing the same, monotonous thing all the time, Barry seizes an opportunity one day to go outside the hive and then breaks a bee rule by making contact with a human woman who saves his life. 

Bee Movie certainly has bright, colorful, and eye-popping animation (including honey, crowd shots of bees, and the fur on their bodies); roller-coaster action sequences that couldn’t have been done in live-action; an exciting score by composer Rupert Gregson-Williams, and clever visual and verbal humor (e.g., endless bee puns, antennas as headphones). There are also wonderful sequences of flowers being pollinated (which reminded me of the “Firebird” sequence from Fantasia 2000). The film’s A-list voice talent also includes Matthew Broderick (as Barry’s close friend Adam), Reneé Zellweger (as kindhearted florist Vanessa), John Goodman (as a snobby lawyer with a Southern drawl), and Patrick Warburton (as a hilarious jerk of a boyfriend). Bee Movie also has some macabre humor (including a stab at Disney’s Winnie the Pooh), brief images of smoking, and possible interspecies romance, which will easily fly over the heads of little kids. 

But the story is very uneven and qualifies as another one of those cinematic oddities in animation, with a weird, “just-go-with-it” premise. The interactions between insects and human beings feel convoluted and mediocre if amusing. Some of the human animation feels uncanny (recalling DW’s short-lived T.V. series Father of the Pride), including cameos by actor Ray Liotta, music artist Sting, and (in a very meta moment) a bee version of news anchor Larry King. But the film really takes a bizarre turn when Barry sues the human race for supposedly stealing their honey—a case that turns out to have dire consequences. Not to mention a strong environmentalist agenda. To be fair, Barry learns a hard lesson about the balance of nature, why pollination and bee work is so important, and how small actions can lead to bigger things, for better or worse. Ironically, Bee Movie itself is not above-average, B-level. But it’s not bad either. It’s just, well, average. It has some things to buzz about, but not a whole lot. 

Kung Fu Panda (2008) 

In 2008, directors Mark Osbourne & John Stevenson presented a cartoon feature that embraced Asian cinema and martial arts, with doses of high-octane slapstick and comedy. As a better and more suitable showcase for his unique talents and personality than in Shark Tale, Jack Black headlines Kung Fu Panda as the voice of the titular Po, who dreams of becoming a master fighter just like his heroes, Monkey (voiced by Jackie Chan), Viper (Lucy Liu), Mantis (Seth Rogen), Crane (David Cross), and Tigress (Angelina Jolie) a.k.a. the Furious Five. The day that a legendary “Dragon Warrior” is chosen in the China-set Valley of Peace, Po can’t resist the desire to see the event for himself. Through a series of mishaps, Po inadvertently becomes the one chosen, much to his own surprise as everybody else’s. And to the dismay of the fighting quintet and especially their stern master Shifu (voiced by Dustin Hoffman), who do everything they can to get rid of the chubby panda. (They basically label him as nothing more than a joke.) 

The only one who believes in Po is the wiser Kung Fu master Oogway (a tortoise, voiced by Randal Duk Kim), who insists that it was no mistake that the panda showed up. And despite his own struggles with himself and comparisons with others, it’s Po’s relentlessness and persistence that eventually wins them over, despite their harsh criticisms at first. “A real warrior never quits,” insists Po. Their biggest physical conflict imminently comes in the form of snow leopard Tai Lung (voiced by Ian McShane), a once-promising fighter who eventually and tragically betrayed his master by trying to cheat his destiny by force. These events also led to that master’s own guilt and regret, as well as a misguided sense of control, destiny and purpose. 

With that in mind, Kung Fu Panda is more than just a stylish and entertaining action-comedy. And it does strike a perfect balance of colorful and energetic animation, stunning art direction, dynamic fight sequences (including a prison escape, a suspension bridge, and a duel over dumplings), genuine humor and pratfalls, and sincere drama. Not to mention a great deal of respect and reverence for Chinese culture and history (reportedly, Chinese government officials were very impressed with this film), while also having good fun with it. The score by Hans Zimmer and John Powell strikes these balances just as effectively and profoundly. The movie also features surprising layers of depth and character arcs, resulting in one of the studio’s best animated efforts, if not their best. And that’s no accident. It may be the first movie of its kind since the very funny, very sincere, and subversive Shrek. And it works. The screenplay by Jonathan Aibel & Glenn Berger is brilliantly written, with several elements that become callbacks as the story progresses. Much like Brad Bird and his team at Pixar did with human characters, clothing, weather elements, and action in The Incredibles, the Panda filmmakers created ambitious breakthroughs in not only animal fur and clothing, but both elements in constant motion. Think plush toys in combat, as some of the animators described. 

Some friends or acquaintances of mine (or people they knew) have criticized this PG-rated movie for supposedly teaching kids how to be violent, if only for fight sequences involving punches, nerve attacks, and gravity-defying roundhouse kicks. Not to mention a big finish. I wonder, however, if those same people were only focusing on the action, and not on the overall narrative nor its context. Perhaps they missed the point. In fact, the battles and fights are emotional and poetic, and not just physical. There are elements of Eastern spirituality, with a sacred scroll as a main objective in the central training courses and journeys. I wonder if the film also provides a challenging discussion about change versus acceptance, in terms of working with what we got as opposed to working towards something else. Something to think about. 

Even so, the themes in Kung Fu Panda are some of the most worthwhile, including seeing what others don’t see (or choose not to see), and respecting our elders. There are also themes and transitions from pride to humility, having faith for the wrong reasons as well as for the right reasons, and owning up to and embracing insecurities and mistakes, including the abuse of power and skill. The same goes for recognizing/admitting how those insecurities or mistakes truly affect others, for better or worse. (PluggedIn has a great observation about this in their film review online.) Characters also learn how to work with others, based on their skills and needs more than their own, even discovering motivation and new methods of training. The metaphor that Oogway gives about a peach tree, at one point, represents simply believing—or choosing to believe—even if it’s not what we want but ultimately what we need. As one character describes, “To make something special, you just have to believe it’s special.” To that I say, “Skadoosh!” 

Madagascar: Escape 2 Africa (2008) 

Following the Shrek series, Madagascar became the second DreamWorks project that turned into a franchise. The 2008 sequel, Escape 2 Africa (a co-production with Pacific Data Images, or PDI), not only expands the wildlife world of zoo animals Alex, Marty, Melman and Gloria, but also adds quick-witted and subtle elements that have helped define the former fairy tale satires. Imagine the world of The Lion King as a digital environment but played as a comedy. 

The movie opens with Alex the lion’s backstory, how he was separated from his parents and tribe (an intense prologue), and how he came to New York City. This segment even foreshadows the lion cub’s dance skills, much to his king dad’s confusion. Then, Escape 2 Africa picks up where its 2005 predecessor left off, with the ever-popular zoo animals heading for the Big Apple in a beat-up cargo plane. Their trip proves short-lived as they crash-land on the Safari planes of Africa, and Alex is reunited with his parents. Meanwhile, Marty the zebra joins a flock of look-alike critters. Melman the giraffe becomes a witch doctor, and Gloria the hippo catches the eyes of a macho, smooth-talking ladies man. There’s also a “rite of passage” that Alex has to go through, against an arrogant lion opponent (voiced by Alec Baldwin), to prove his leadership. Being a performer, though, he thinks it’s a dance-off. 

The movie benefits from smoother animation, grand vistas, and set pieces that are fun to look at. The research and development from the artists and animators, including returning directors Eric Darnell and Tom McGrath, really shows. The original voice actors return once again (Ben Stiller as Alex, Chris Rock as Marty, David Schwimmer as Melman, and Jada Pinkett-Smith as Gloria), displaying different layers and some surprising connections they didn’t express before. (Melman loved Gloria all along?) Before his unexpected death the same year, comedian-actor Bernie Mac gave one of his final screen performances as Alex’s dad, Zuba. And it’s wonderful hearing his voice. Ditto Hans Zimmer’s score, and some of the new songs co-written by artist will.i.am from the Black Eyed Peas (and who voices Moto Moto in the movie); the “Travelling Song” is a standout. 

There’s also the fast-paced slapstick comedy, with the hilarious Penguins stealing every scene they’re in. The thing is, Escape 2 Africa has a lot going on throughout its story, that it sometimes feels unfocused and almost overloaded, like a gang of monkeys goofing around. Certain gags or references will fly over younger heads a la Shrek but are surprisingly as crass and suggestive. Then there’s that running gag involving the elderly woman from the last movie (“You’re a bad kitty”), who has a more prominent role in this one while also being the butt of several crude and/or mean-spirited physical gags. 

Alex reassuring Marty how unique he is, and Zuba coming to value his son for who he is, are commendable elements, in terms of overcoming or working through complicated family dynamics and friendships. But mixed, sometimes weird, messages about tolerance and romance make me wonder if there was some kind of hidden agenda in this otherwise entertaining if questionable sequel. 

Monsters vs. Aliens (2009) 

Months before James Cameron revolutionized the cinema-going experience with Avatar, directors Conrad Vernon and Rob Letterman led a team of artists at DreamWorks Animation to create an eye-popping throwback to B-rated sci-fi movies of the 1950s. Using native 3D technology more as a gimmick but with modern filmmaking techniques, Monsters vs. Aliens presents a colorful cast of characters that recall various titles from the aforementioned decade. 

These include the Godzilla-sized Insectasaurus; the amphibian creature Missing Link (voiced by Will Arnett, a la Creature From the Black Lagoon); the humanoid and aptly named Dr. Cockroach, Ph.D. (voiced by Hugh Laurie, a la Vincent Price from The Fly); and the clueless gelatinous mass B.O.B. (voiced by Seth Rogen, a la The Blob). There are also scene-stealing moments from a kooky U.S. President (voiced by and resembling political satirist Stephen Colbert) and a high-strung general (voiced by a radical Kiefer Sutherland, channeling George C. Scott from Dr. Strangelove). 

But the film’s main protagonist is a woman named Susan (voiced by Reese Witherspoon), who comes in contact with a strange meteorite that crash lands on Earth during her wedding day and makes her grow almost 50-feet (a la Attack of the 50-Foot Woman). While initially assigned to solitary confinement with the other creatures, they’re all soon called in to stop a malevolent alien from taking over the earth (voiced by Rainn Wilson, a la Independence Day or Mars Attacks). If there’s a theme here, it deals with characters wanting to be “normal,” but later realizing what they’re capable of. "I don’t want my old life back,” says the literally “big and strong” Susan. (We could all take a lesson from that.) 

If the movie would’ve balanced time with its titular “monsters” and not just Susan, I think I would’ve liked it more. I would’ve also preferred the opening 20 minutes be moved to later scenes or maybe referenced throughout a more linear structure. While visually amusing and clever (complete with Henry Jackman’s fitting score and some stylized silhouettes during the end credits), its story and execution turn out to be mediocre and bizarre. That goes just as well for its uncanny human animation—except for the President and General. Susan’s fiancé (voiced by Paul Rudd) turns out to be a shallow jerk, presenting a possible feminist angle. 

I did find a few moments exciting and fun, such as a roller-coaster chase through San Francisco where Susan skates on empty cars to the Golden Gate Bridge. It’s also funny when the President makes first contact with a giant robot probe a la Close Encounters of the Third Time, but with the techno theme music from Beverly Hills Cop. Ditto a rocket branding the phrase, “E.T. Go Home,” as well as Amy Poelher’s deadpan ship computer voice, and B.O.B. falling for a Jello mold (recalling a gag from Ghostbusters 2). This turned out to be the last DW film to use the custom-made logo and trademark fanfare since 2004. 

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 and 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 journaling in a sketchbook, 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. 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, Shrek 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, and 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 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 of 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 helmed 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, 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. The same goes for 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 has a knack for singing like Edith Piaf) 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 inspire 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 storyboard artist Peter Ramsey, this is one of the studio’s most daring, weirdest, and underrated films in their animation 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. (As he was with How to Train Your Dragon, veteran DP Roger Deakins served as a visual consultant once again.) 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 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 Animation 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.