Tag Archives: Jada Pinkett Smith

Magic Mike XXL

Never before has the tagline “You’re Welcome” been so appropriate and so accurate.

by Callum Petch (Twitter: @CallumPetch)

xxlMagic Mike XXL is in the business of giving the people exactly what they want.  It knows that the people turned up to Magic Mike to see really, really ridiculously good-looking men strip for their enjoyment for 100-odd minutes, and occasionally some plot would intrude on the sidelines to give everyone a breather – in other words: they turned up to see the film that they were sold.  Instead, audiences were treated to a rather serious dramedy about those affected by the recession and who only use male stripping as a way to make ends meet, whilst the stripping segments were shot and treated like Soderbergh was resentful of even having to include them as they got in the way of his serious dramedy that he would really like for you to pay attention to, dammit!  This isn’t a problem, because the film is great and it’s Soderbergh so of course it’s great, but it’s not what the people initially wanted.

XXL is nothing but giving people what they want.  It may start off seeming like we’re going to get more of the first Magic Mike, with a pensive shot of Mike staring off at the ocean looking miserable, but that is quickly revealed to be a misdirection, a reverse of the first film.  Instead, XXL is pretty much 115 minutes of really, really ridiculously good-looking men gyrating in pretty much every last possible direction there is to gyrate in whilst the women on-screen lose their minds, broken up by sequences of these Best Bros For Life hanging out, ribbing on each other, and only sort-of-seriously contemplating their various futures.  XXL is here to please, to (what some could see as) an almost cynical degree.

Not that I much care, because Donald Glover just walked down the stairs with a fashionable trilby, a dinner jacket with no shirt on underneath, and is now serenading this young woman with an improvised half-rap-half-crooned song because she needs a man to remind her of just how special she is and Donald Glover is precisely the man to do that job… and then he strips off his clothes and starts gyrating in her direction whilst the other ladies rain dollar bills from upon high.  Look, Magic Mike XXL is exactly what it says it’s going to be, no bullshit, and I LOVE it for that.  I sat down to see impossibly good-looking men, and also Kevin Nash but if that’s your kind of thing then you’ll receive no judgement from me, strip and dance for my enjoyment for nearly two hours, and I got the very best possible version of that!

There’s a part of me that wants to sit here and compare it to the first Magic Mike, as most everybody else will, but it really resists that.  By its very nature as blatant fan-service, XXL is blazing a very different trail to that of the original film.  That one was very bittersweet, very cynical, it has moments of joy and fun, but it’s wrapped up in these constant reminders that our protagonists are sad or angry people and that Mike doesn’t want to be a male stripper all his life.  Couple that with almost all of the stripping sequences being cut short or shot at a distance, and you get a film that acts more as a cautionary tale about the “male entertainer” business than a celebration of it.

XXL is the exact opposite of that.  There are scenes of our cast – which, for the record, consists of Mike (Channing Tatum), Big Dick Richie (Joe Manganiello), Ken (Matt Bomer), Tito (Adam Rodriguez), and Tarzan (Kevin Nash), and Mike has joined the rest of the guys for one last ride up to Myrtle Beach for the 2015 Male Stripper Convention – wondering aloud about what they’re going to do when this is all over, but these are fleeting at most.  Everyone is instead here to enjoy the ride, to go out in style, because everybody loves what they do and tomorrow will come with what may.  It therefore feels more celebratory, more accepting of the male stripping business, instead of lumping it in as something that everyone is quietly ashamed of doing and therefore making it appear like a lesser life-choice.

Or, to better explain, it’s best encapsulated by a monologue delivered by Andre (the character that Donald Glover plays and, incidentally, I did not know that I needed Donald Glover abs in my life until this film showed me them) about two-thirds into the film.  He relates to Ken how he first got into the industry in order to get more money, in the hopes that the cash would help him fund and further his rap career, thinking that he would hate the gig and resent himself for sinking so low.  But over time, he found the work rewarding, enjoyable, motivating, empowering.  He gets to meet loads of girls every night and he gets to make them feel better, make them feel alright for five wonderful minutes, and he loves the feeling that comes from that.  And if his EP took off tomorrow, he’d try and find a way to keep it going on the side because he enjoys stripping that much.  The film agrees with him, too: these men are providing a service, their job isn’t beneath them because there’s nothing wrong with it to begin with.

And though these guys do it for the thrill of the crowd and the adoration of women across the country, they’re not lecherous creeps or disrespectful arses.  They respect women, enough to keep interactions professional when working and to respect if a woman is not interested in them when not working.  They may ask each other if they got laid the previous night – or, as they actually say in the film, “Did you bangy?” – but nobody is seriously insulted if they don’t, and when Richie expresses a desire to find the one – for, you see, his nickname is not an exaggeration and that fact intimidates pretty much every woman he tries to have sex with – the rest of the guys are nothing but supportive of him for it.  They tease each other, with Ken’s insistence that he is a “Grade 3 Reiki healer” being a constant target for mockery, but they never cross over into bullying and it all comes from a loving place.

If Entourage is a walking encapsulation of everything wrong with “bro-culture” and the entire concept of “bros”, Magic Mike XXL is a sharp rebuttal against the idea that “bro-culture” is just that.  These are legitimately charming and likeable men who are still dudes and bros, but are self-aware enough to not be misogynistic bullies.  Their bonds are strong and genuine, since the film gives everyone more than enough time and moments to interact with one another and display that legitimate affection.  For an example of that respectfulness, Mike spends a fair bit of the movie bonding with a girl called Zoe (Amber Heard).  He clearly wants to sleep with her, but she resists the idea and the two instead become teasing friends throughout the rest of the movie, through things like her mocking him for preferring cookies over cake – “Cookie people can’t be trusted” she quite rightly notes – or him giving her the lap dance to end all lap dances at the film’s end.  Does it matter that she feels superfluous to the plot, like she was meant to have some significance at some point but that got drafted out?  No, no it does not because she still feels well-drawn and is a really likeable screen presence.

Besides, this is a movie about giving the people what they want.  That’s why there are quite literally zero stakes, because that runs the risk of dampening the mood.  It’s a fun, happy-times hang-out movie when it’s not walking right up to the line of softcore pornography.  Speaking of: god, every single one of this film’s stripping segments are amazing!  This is a film that takes great pleasure in getting its cast members to debase themselves for the enjoyment of straight women, gay men, and bisexual folks everywhere, the camera providing excellent views of every gyration, every twerk, every slide, every bicep, ab, heavenly blue eyes that you can just get lost in.  Joe Mangianello gets high on MDMA and proceeds to turn a gas station store into a non-stop playground of sexual innuendo that barely gets away from being straight up sex, Channing Tatum says his name whilst twirling out of the room because that is the dreamiest fucking thing I have ever seen in my entire life, Matt Bomer imitates Justin Timberlake imitating Michael Jackson for 5 wonderful minutes, and the film ends with 20 straight minutes of male stripping before going directly to the credits because that’s what we all came here to see and why pretend otherwise?

And the film anchors this with both a cast of wonderful, charming, and charismatic men who are willing and eager to allow themselves to be taken apart and looked at as lust-after-able and loveable man meat, and a nearly show-stealing Jada Pinkett Smith.  I want to really stress this: in the movie equivalent of the viewer being the cheese slap-bang in the middle of a delicious beefcake sandwich for 115 glorious minutes, Jada Pinkett Smith is the one who almost steals the entire film out from under everybody.  She plays Roma, an MC at a stripper club for women of colour that Mike used to dance at.  She exudes confidence, she calls her enraptured audience members “queens” and treats them as such, she sends some of her most beautiful black men after plus-sized women because she knows that they are just as deserving of this treatment as everyone else is, she can reign the bros in but she’s not humourless, she’s bisexual but the film does not make a big deal out of it, she grabs ahold of that microphone and introduces each and every man with the exact kind of showmanship required, and she oozes so much charm that I was practically seconds away from shouting back at the screen, “Yes, you wonderful and amazing woman!  Thank you for these gifts from above!”

Look… I could sit here and lie to you all that I love this film for its forward-thinking attitudes towards the business of stripping, for its naturalistic but incredibly funny dialogue, for its unwavering commitment to shooting its male cast and the entire film in the female and homosexual gaze for once in this miserable patriarchal industry.  I could sit here and lie about how the film’s lack of any real message or theme hurts it, how a runtime just shy of two hours makes the whole experience drag, and how its insistence on giving women what it thinks they want is just as condescending and insulting as it is desperately trying to not be.  But I can’t do any of those things.  Because they’re lies, and I can’t lie to you in a review, doing so defeats the entire concept of the form.

No, I love this film because Joe Mangianello’s super suggestive gas station number is set to “I Want It That Way” by Backstreet Boys and myself and my friend Lucy both collectively – along with the 8 people that were in our audience during out 11:30 on a Friday morning screening, oh how I wish I had gotten to see this film at night with a full crowd – lost our shit once the song started up.  I love this film because Matt Bomer has the voice of an angel, the body of a Michelangelo sculpture, and eyes that make any human being Bomer-sexual through even just the tiniest of exposures, and this film utilises them for all that they’re worth.  I love this movie because Channing Tatum can do things with his hips that make my hips do things of an entirely different nature.

And I do not feel ashamed about any of this.  I know that I, as a film critic, am supposed to demand more from the cinema that is put in front of us for our consumption, for more than surface-level enjoyment and eye candy, and that loving this movie for those surface-level reasons risks making me a hypocrite, one of those “stop pandering, unless you’re pandering to me” kinda guys.  But, well, isn’t this more?  A mainstream Hollywood movie made within the studio system that treats women respectfully, is embracing and loving of the stripping profession, and takes great pleasure in objectifying the everloving fuck out of some gorgeous guys for the sole and purposeful entertainment of straight women, gay men, and bisexuals the world over?  Can we get any more than this?  Doesn’t that make Magic Mike XXL something special?

I don’t know.  All I know is that I enjoyed every last second of this wonderful, glorious, beautiful thing, that I needed a cold shower afterwards, and that, barring a second half that somehow just shits out solid gold week in week out, this will be on my Top 10 Films of 2015 come the end of December, and it will be very, very high.  And it will be because really, really ridiculously good-looking men spent roughly 115 minutes gyrating for my personal enjoyment.

Callum Petch needs a roughneck brother that can satisfy him.  Listen to Screen 1 on Hullfire Radio (site link) and follow him on the Twitters (@CallumPetch)!

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Madagascar

by Callum Petch (Twitter: @CallumPetch)

This year, DreamWorks Animation celebrates its 20th anniversary.  To mark the occasion, Callum Petch is going through their entire animated canon, one film a week for the next 30 weeks, and giving them a full-on retrospective treatment.  Prior entries can be found here, should you desire.


madagascar10] Madagascar (27th May 2005)

Budget: $75 million

Gross: $532,680,671

Rotten Tomatoes Score: 55%

2004 was a pivotal year in Western feature-length animation.  It’s basically the point where numerous little ideas and theories that people had with regards to successful films of the medium were validated near-totally, and where the stage was set for pretty much the rest of the decade.  Maybe even the century if you believe the medium still hasn’t moved past them yet (although it has, mostly).  Yet I gave pretty much no column space to this crucial year in the past two weeks.  The reasons are two-fold: the first is that Shrek 2 and Shark Tale had way too much to break down with regards to their constructions and failings to find spare time to focus on the medium’s history, the second is that 2005, the first year after the new order takes effect, is a great place to start looking at 2004.

In other words; strap in, folks, it’s time for a brief history lesson!

So, 2004 was the year in which traditional feature animation breathed its last gasp before finally expiring.  It was the year in which Disney released what was planned to be their final traditionally-animated film, the abysmal Home On The Range, and it bombed spectacularly (a worldwide total of $103 million against a budget of $110 million).  The failure of their other animated features during the decade (with the exception of Lilo & Stitch) had convinced them that that aspect of the medium was done; and when Disney says that something is beyond hope, you’d better believe that everyone else is going to sit up, listen, and follow their lead.  The year’s only other traditionally-animated feature made in the West was the rather successful The Spongebob Squarepants Movie, and you can pretty much guarantee that everyone chalked that up to the built-in fan base of the TV show more than anything else.  In 2005, there was one traditionally-animated feature film released in cinemas, Pooh’s Heffalump Movie.  That part of the medium was officially abandoned.

Instead, as you may have gathered, 2004 was the year of DreamWorks Animation.  Pixar may have released The Incredibles to glowing financial and critical success, but DreamWorks released Shrek 2, which was also critically acclaimed and became the highest grossing film of the year.  And though Shark Tale would slot very comfortably behind The Incredibles, and have faded from most people’s memories since its release, it still made a lot of money.  It made a heck of a lot of money, and it did it by following the Shrek formula (or, more accurately, the Shrek formula but stripped of the heart and sincerity that made Shrek resonate with viewers).  This was DreamWorks’ third big hit during the decade, two in the same year too, and it proved that you could apply the (mistaken) Shrek formula to non-Shrek films and make some serious money out of it.  Hence why 2007 would bring us Surf’s Up and 2006 inflicted Barnyard upon the world.

Meanwhile, 2005 was the year in which those who had seen the success of the first Shrek and hadn’t sat on their hands waiting to see if the formula for success was going to be universal or just a one-off, began to flood the market with their attempts at cashing in on that prospective money pile.  Although it wouldn’t hit the US until a year later, and with a localised redub that I hear made things even worse, the UK got themselves a gritty reboot of lovable cult French animated series The Magic Roundabout, with villains and Matrix parodies and terrible covers of Kinks songs and goddamn Robbie Williams (yes, the singer) as Dougal, that they didn’t ask for.  Hoodwinked! tried to combine Shrek style humour with a mystery genre and a Pulp Fiction approach to timeline hopping, and brought in modest returns.  And then, although this was just as much Disney trying to prove that they didn’t need Pixar should their contract renegotiations go south as it was them desperately trying to stay relevant, there was Chicken Little.  I will not waste any more words referring to Chicken Little.

2006 would be the year in which these effects would become pretty much permanent, and naturally we’ll come to that in two weeks, so that makes 2005 the year of transition, as everyone adapted to the new landscape that DreamWorks Animation had genuinely wrought.  Well, what of DreamWorks?  How did they take 2005, their first full year as a separate and publically traded entity?  Rather a lot like 2004, to be frank.  2004 began the release schedule plan of two films from the company a year, released at opposite ends of the year, most likely for maximum canvassing of prospective dollars and to avoid over-exposure of the brand, and 2005 continued that in earnest with Madagascar and Aardman’s first film since Chicken Run, Wallace & Gromit: The Curse Of The Were-Rabbit (we’ll get to that next week).  Whilst neither ended up having Shrek 2’s level of success, both were number 1 films, both broke the top 50 films of the year worldwide (Madagascar at #6, Wallace & Gromit at #21), and both ended up as part of very successful franchises that are still going strong today.  They even mirrored 2004 critically, too, with one film falling flat and the other film receiving a tonne of acclaim.

Today, we’re focussing on the one that fell flat.

Although it scored much higher than Shark Tale, Madagascar didn’t really connect with critics; the damning phrase “fun for kids… not much appeal for parents” being applied frequently.  Many found issue with the gags, which were either too low-brow or too pop culture-oriented.  Several found the premise ludicrous, one outlet saying that it is “pathetically ignorant” and spent an entire paragraph tearing it to shreds for not sticking to some semblance of reality.  A repeated thought expressed involved the belief that the quality of the animation didn’t make up for the lack of story or emotional centre.  Mostly, though, critics just found it too average to recommend or dismiss.  The general consensus primarily being that everyone involved could do better, the looming spectre of the superior Shrek hanging over proceedings.

The general public, predictably, didn’t give a toss.  It may not have debuted at number 1, opening the week after Star Wars Episode III would do that to you, but Madagascar rode its Memorial Day Weekend release date to a very respectable third place, just below The Longest Yard (the public still loved Adam Sandler and Chris Rock in 2005, let’s not forget), before leap-frogging the pair of them to the number 1 spot next week.  That would be the only time that it would occupy the top spot (in comparison to Shark Tale’s three-week run at the top), due to Summer 2005 being pretty damn crowded, but it still hung around the Top 10 for 8 weeks and closed as the 9th Highest Grossing Film Domestic of 2005.  Overseas, it was somehow even more successful, accounting for over 60% of the total worldwide gross.

Audiences, then, couldn’t get enough of Madagascar.  So much so that a major franchise ended up spinning off of it, one that currently encompasses two sequels with a third on the way, two holiday-themed TV specials, a spin-off television series for the penguins and a film version of that spin-off hitting theatres before this year is out.  The franchise has currently grossed $1.8 billion, is only behind Shrek, Ice Age and Toy Story in terms of highest grossing animated franchises of all-time, and is DreamWorks Animation’s other big consistent cash-cow with no signs of slowing down or letting up now (the Penguins movie may even reverse the poor year the company’s been having financially).

Unlike with Shark Tale, I can see why Madagascar caught on to the extent that it did, and not just because Pixar didn’t release a film that year.  It’s a damn good film, there’s a lot to like.  It’s not a great film, mind, and I’ll get to why it’s not in a short while, but it’s the kind of good film where one may not notice that it’s not great if they’re not 100% engaged with the film or, you know, they just don’t care.  That’s why Madagascar connected so well with kids (the unabashed target market of this one) and their half-paying attention parents, because there really isn’t much wrong with it for those who just want a good time.  I do firmly believe that kids are way smarter than most movie critics give them credit for, but I will concede that, having been one myself once, sometimes they’ll just want something fun that they don’t have to think about.

That’s what Madagascar is in its best moments, a very fun joke machine.  At the time of its release, a lot of us more animation focussed film critics were tripping over Genndy Tartakovsky’s Hotel Transylvania for bringing classic Tex Avery-style fast-paced squash-and-stretch animation into the 3D realm, but Madagascar was at least trying to ape that style a good 7 years earlier.  Unlike Shark Tale’s occasional attempts at using fast-paced animation for sudden silly visual gags (the “lunch is coming up, so I’m only going to do the bare minimum amount of frames before knocking off” version), Madagascar sticks to the manic, fast-paced animation style throughout.  Characters movie primarily in a stiff pose-to-pose manner, only becoming more fluid when the pace of the movie slows down somewhat, allowing for sudden bouts of physical violence and what have you to carry an impact without feeling jarring and out-of-place.

The film’s colour scheme is bright and breezy, often rather primary, to reflect that attempt at old-school animation.  Facial animations are wildly exaggerated and very expressive, again reflecting the “whacked out” (the animators’ words, not mine) mood of the dialogue and the film.  Character designs, meanwhile, were inspired by a cross between the real animals and caricatures of said animals, with the results turning out way better than that sounds like it would on paper.  They’re all distinct from one another and recognisable as each species, but they never fall into any uncanny valleys or look anything less than huggable (possibly because nobody tried to make them look like the people voicing them, Shark Tale).  And then there’s the little touch of having them mostly move like humans (although this mainly applies to Alex and Gloria due to the nature of their anatomies).  Instead of feeling lazy, like the animators were too bored to learn how to animate quadrupeds, it adds to their characters, being city folk lost on a wild desert island they clearly won’t survive on.

In case you hadn’t gathered, the animation works.  It’s not stand-out, attention-commanding, tear-inducing-at-the-beauty amazing, but it works for the film, it works for the style that the film goes for which, arguably, is what a film’s animation should primarily attempt to do.  In this case, it works for the rapid-fire joke machine style of Madagascar.  This is a film that comes hard and fast with gags that, for the most part, land to varying degrees of success.  The best ones are the physical gags, which play off the animation very well.  For example, look at the frequently-referenced-nowadays gag where an old lady beats up Alex.

Now, yes, the joke is that an old (possibly Russian) lady is beating up and threatening a lion, which is easy humour, but it’s the animation that sells it (especially since Ben Stiller’s voice work here is… er… we’ll get to that).  It’s not just that she is beating up Alex, it’s that she is manhandling him to an absurd degree.  The squash-and-stretch nature of the animation enhances the joke because it conveys the degree to which she is dominating the fight, the pose-to-pose nature demonstrating the ridiculousness of the situation with easy to convey stances, and the speed of the animation – all frames that would have made it overly smooth clearly got deleted – allows the joke to last precisely as long as it needs to.  Yes, I know that explaining the joke is really boring, but picking apart this particular moment allows me to easily explain why the physical humour works so well, because the animation and pacing are calculated to perfection.

Which brings me to the penguins.  I remember these four being my favourite part of the film when I was a kid, and they’re my favourite part of the film now a near-decade later.  Why?  A few simple reasons.  1) Their characters are strong.  All four of them have individual designs without them ever feeling disjointed (read: you can tell them apart and they all remain looking like penguins), whilst their personalities are similarly distinct if a bit one-dimensional – although that’s not an issue in this case.  2) The animation.  The pose-to-pose squash-and-stretch animation really does wonders for this lot; apply what I said with regards to the old lady in the last paragraph here and multiply that phrase tenfold.  3) The voice work.  Oh, man!  Tom McGrath, Chris Miller (not that one), Christopher Knights and an uncredited Jeffrey Katzenberg are near-perfect in their roles, their various line deliveries make pretty much anything gold.  Co-director Tom McGrath, especially, runs circles around the rest of the voice cast as Skipper, to such an extent that his temp tracks became the official voice for the character (we will likely address this a bit more later in the series).  If I could find a compilation of their scenes in this film, I’d embed it for you, but I can’t so you’ll just have to trust me when I say that their every scene is friggin’ hilarious.  Unless you’ve seen the film, in which case you’re probably just nodding your head in agreement right now.

I’m starting to sound really positive on Madagascar, so let’s temper this enthusiasm with the reasons why I noted that the film is only good and not great.  The first is that the voice acting is… well, it’s poor.  Not for the penguins or Mason the chimp (definitely not Mason, his sophisticated British accent is never not a delight), but the main cast are pretty terrible.  Ben Stiller is frequently too flat – I remind you of the old lady segment and how his voice makes it seem like Alex is instead being lightly annoyed by a fly – to be convincing, Chris Rock’s voice is too distinct to slip away into Marty the Zebra and, unlike Eddie Murphy in Shrek, he doesn’t invest in the character enough to make up for that fact, David Schwimmer seems more poorly directed than just plain bad (he is trying, if nothing else), whilst Jada Pinkett Smith gets nothing to do as Gloria and uses that as an excuse to not even bother trying.  It means that, whilst the film is still very funny, a lot of the verbal jokes don’t hit as hard as they should.

Speaking of those jokes, they’re at their best when they focus on physical humour and come from character work, however minor.  Sometimes, though, we are dropped into various pop culture references and their every appearance may as well have been accompanied by an orchestra of crickets.  They primarily come from music cues, too, that laziest of laugh-inducers unless done really well.  Marty’s walk through New York is backed by “Stayin’ Alive” and shot like that one Saturday Night Fever bit, most likely because everyone wasn’t confident in their one gag (Marty doing a double-take at the zebra-style shirt a female pedestrian is wearing) being sufficiently appreciated.  Then there’s the ending of the scene where the Statue of Liberty SOS torch (very much in character for the cast, adding to the ridiculousness of the joke) ends up being revealed as a reeeeally strained set-up for a G-rated reference to Planet Of The Apes that everybody had done before.

See, in those worst moments, they end up undercutting the perfectly fine joke that they’d been a feature of.  In their better moments, they’re unnecessary distractions that lessen but don’t totally kill the impact of the joke itself.  For an example of the poorer side, I point you towards King Julian’s nickname for the gang, “The New York Giants”, a pun that is a giant groan-inducer the first time it is mentioned and which only gets more groan-worthy the more times it ends up getting trotted out (although I appreciate the filmmakers trying to make it a character beat).  An example of the latter involves the reunion of Marty and Alex on the beach – the clip is embedded below – where a perfectly funny joke that would work with almost literally any other music cue has its true power kneecapped because they just had to cue up the Chariots Of Fire theme.  It’s lazy and pointless, almost purposefully kneecapping great jokes thanks to blaringly loud pop culture references the film stops to point out.

Oh, and whilst I’m pointing out flaws on the comedy side, I really don’t like King Julian and the rest of the lemurs.  Sacha Baron Cohen’s voice is distractingly flat and irritating, their jokes aren’t funny and they serve pretty much no purpose to the plot.  Seriously, they barely factor into the thing, pretty much only turning up because it would be weird to have a wild jungle without some kind of wildlife.  The Fossa threat could have been featured without needing the lemurs, as the lemurs smack really hard of Token Kid-Focussed Comic Relief; hence the legendary and really-painful to sit through “I Like To Move It” sequence, even if that was actually just an improvisation by Sacha Baron Cohen – you know, in case you were looking for reasons to vehemently dislike him.

But the true reason why Madagascar is only “good, not great” is because the film is such a joke machine that its attempts at poignancy and drama and heart don’t resonate.  Every single time that the film tries to go for something genuinely heartfelt, it undercuts the scene with a joke or a music cue.  The scene where Alex first goes feral and bites Marty should be genuinely emotional, but it’s played for awkward laughs.  The requisite sad times montage is backed by Louis Armstrong’s “What A Wonderful World” which is just too on-the-nose to register as effective soundtrack dissonance, and said montage also further undercuts its attempts at sadness with some of the film’s funniest jokes.

Of course, more problematic is the fact that the cast are too one-dimensional for the attempts at drama to work.  Due to the film being a joke machine, this means that the cast take a lot of snipes and swipes at each other for the sake of laughs and very little time is spent showing them as genuine friends whose bonds are strong and worth investing in.  The start of the film attempts to do that, but then Marty gets out into New York and we descend into pure jokes, barring one scene, which is disappointing.  The jokes are often funny, don’t get me wrong, but it means that the film ends up as more disposable than it could have been and makes its few legitimate attempts at non-undercut drama ring hollow.

All this being said, I see why people really liked Madagascar, how this franchise ended up getting kick-started, and why the penguins are so popular that they’re getting a movie spin-off of their TV spin-off.  It’s a good film, the kind of good film where I would more than happily take a chance on a sequel due to the potential clearly on display in the first film; something I imagine a lot of parents used as a rationale behind purchasing tickets when the sequel came about (you know, along with “it will shut the kids up for 90 minutes”).  It doesn’t hit the heights of some of DreamWorks’ prior accomplishments, but it’s also a damn sight better than anything they released during the 12 months of 2004.  It’s fun, it’s breezy, it’s disposable, it’s good but not great and sometimes that’s all the public needs.  Plus, you know, easy-to-latch-onto catchphrases for the kids.  That always helps (drive everyone else insane so please stop doing them, filmmakers).


Madagascar continued DreamWorks’ box office streak into its second year, and although critical opinion of the company was still at an all-time low, they could at least comfort themselves from the mean words of the critics by bathing in the pool of cash, Scrooge McDuck-style, that the film ended up bringing in.  Meanwhile, Aardman Animations were putting the finishing touches to their theatrical follow-up to Chicken Run, the big-screen debut of the beloved duo that made them household names in the UK, and an animated film that many would argue is one of the finest of the decade.  Next week, we turn our attentions to Wallace & Gromit: The Curse Of The Were-Rabbit.

A new edition of DreamWorks! A Retrospective will be posted here every Monday at 1PM BST!

Callum Petch puts on lipstick, the price is: what?!  Follow him on the Twitters (@CallumPetch)!