Tag Archives: Rise of the Guardians

Rise Of The Guardians

by Callum Petch (Twitter: @CallumPetch)

Last year, DreamWorks Animation celebrated its 20th anniversary.  To mark the occasion, Callum Petch has been 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.


Rise-of-the-Guardians-image25] Rise Of The Guardians (21st November 2012)

Budget: $145 million

Gross: $306,941,670

Rotten Tomatoes Score: 74%

Rise of the Guardians is a bomb.  It is a big bomb.  Oh, sure, it doesn’t seem like it is, its eventual worldwide gross is double that of its production budget – the typical measure by which you determine whether a film is successful at the box office or not – but it is.  Domestically, the film took 10 weeks to scrape and claw its way past the $100 million mark, and the longer a film stays in cinemas the less money the studio actually gets (you can get a full-on explanation of that here).  Overseas, the film performed somewhat better but still not great, especially in comparison to prior DreamWorks films, and once the breakdown of the foreign dollar came in (and you can find out how that works here) DreamWorks still didn’t make a profit.  In fact, they had to take an $87 million write-down on the film, the first time they’d lost money on a project since Sinbad nearly a decade ago.

So, why did it bomb?  It’s not the fault of the film being bad – which was critically praised and is a damn good if crippled film, but we will get onto that later – so why did it just face-plant right out of the gate?  That’s what most of this entry is going to focus on because that’s our through line for the last sixth of this series and it could provide us with explanations for the box office prospects of the remaining pair of films in this series.  So, apologies for those of you who were hoping for an in-depth look at the film.  We’ll look at it if there’s time, because it’s a damn good film with a killer final 20 minutes, but for this series we need to examine the box office performance of the film rather than the film itself, unfortunately.

Full disclosure, here: since Rise of the Guardians is a relatively recent film, and was the first notable major underperformer that DreamWorks had seen in a decade, much of the stuff that I’m about to say is being referenced and sort of lifted from websites who, at the time, were filing think-pieces on this very subject not even 48 hours after the first weekend totals came in.  Many of the things that I will say here were theories that I had prior to going off and doing research anyway, but other writers’ reasons and thought processes helped open my mind a bit as to specificity.  So, with that in mind, I’d like to give credit to HitFix’s Gregory Ellwood and Animation World Network’s Ed Hooks for helping, thanks to their respective articles, shape my thoughts and theories for this article.  With that said, let’s dive in.

Undoubtedly, one of the biggest reasons is that the budget for this thing is ridiculous.  Although it clearly makes usage of every last cent, $145 million for an animated movie in this decade is insane and unsustainable.  Yes, Pixar and Disney blow that amount on every film they make but, as we have previously touched on, they can get away with it.  Everybody else has realised that $150 million domestic isn’t guaranteed anymore, so they’ve purposefully started making films for less than/equal to $100 million to compensate.  That’s why Aardman’s The Pirates! In An Adventure! With Scientists! was able to recover from a dismal American showing, it only cost $55 million to make.

DreamWorks, however, continue to pump all of their movies with the same level of money, increasing the risk if one fails and regardless of whether said pumping is necessary.  If you’ve been following along, you’ll have been keeping track of the “Budget” segment of my article pre-amble and seen that no film post-Shrek 2 has come in at under $100 million.  Now, in certain cases, like with this film or the Kung Fu Panda and How To Train Your Dragon series, that’s fine, as extra detail and money helps with the world and tone and such.  But for animated comedies?  Did Megamind really need a $130 million budget?  Despicable Me came in at $69 million and it looks way more distinctive and, arguably, better than that film did.  Or, in blunt terms, is there any reasonable explanation as to why the budgets for How To Train Your Dragon 2 and Penguins of Madagascar are separated by only $13 million?

That’s as good a link as any to my next point.  The budget thing is also systemic of a larger problem: DreamWorks still trying to play like it’s 2005, like they’re the only non-Disney/Pixar players on the Western feature-length animation block.  However, thanks to them blowing up the Disney dominance back in the early 2000s, more and more animation studios – and, specifically, distribution studios like Universal who are now more willing to get in the game – have now sprung up, creating further competition.  They started poking their heads above the water tentatively in the mid-to-late 00s, when Laika would release Coraline and Blue Sky Studios – obligatory pleading to PLEASE NOT F*CK UP Peanuts – would quietly become a consistent and reliable studio, but 2010 onwards has seen them burst on through en mass.

2012, in particular, saw new efforts from recent upstarts Illumination Entertainment (The Lorax), Laika (ParaNorman), and Sony Pictures Animation (Hotel Transylvania), as well as long-timers Aardman (The Pirates!), Studio Ghibli (The Secret World of Arrietty actually opened on nearly 2,000 screens in a rare display of genuine confidence in that brand from at-the-time distributors Buena Vista), and Blue Sky (Ice Age: Continental Drift), in addition to Pixar (Brave) and a resurgent Disney (Wreck-It Ralph).  When you also throw in DreamWorks’ other 2012 release (Madagascar 3), that is a crowded as hell schedule – one, relatedly, that has only gotten more crowded the further into the decade we get, which pleases me to no end – and one just cannot coast anymore.  The days of DreamWorks being able to guarantee butts in seats, regardless of the quality of their films, purely because there is nothing else available have long since departed.

Not to mention that each of these films carried with them their own unique, distinct, and marketable identity that didn’t just rely on brand recognition.  The primary trailers for The Lorax hit the “From the studio that brought you Despicable Me” and “Based on the story by Dr. Seuss” buttons, but also clearly outlined the premise and the film’s bright, candy-land colour scheme and art style.  Boom.  Sellable.  ParaNorman had that gothic horror meshed with broad comedy feel and identity front and centre, albeit with its darkest edges sanded down to make it more palatable to, for some reason, snobby stop-motion-averse mainstream audiences.  Boom.  Sellable.  Ice Age is Ice Age and came out when literally nothing else was in cinemas, Wreck-It Ralph slapped the videogame conceit over everything, Hotel Transylvania emphasised its loudness and physical comedy.

DreamWorks, however, still sell their films the same way they always have – some attitude, pop culture references, and licensed soundtrack for comedies; lots of flying, out-of-context gags, and emphasis of the 3D elements for more dramatic fare.  They don’t sell individual films so much as they sell the DreamWorks brand – Home is even suffering from this, even though I actually rather like its trailers.  This is fine for, say, a Madagascar sequel, because audiences already know what they’re getting and like what they’re getting and the trailer just needs to promise them more of the same, but becomes a problem when you’re trying to sell a new film, especially when you pump them out with the factory-like efficiency that DreamWorks do.

Here, for example, is the first trailer for Rise of the Guardians.

Now, that trailer does a lot of things right: it establishes a clear tone, introduces us to our main characters, has some mystery in there instead of simply showing everything off all at once, and it sets itself apart from most of the other animated features on the market.  Yet, simultaneously, it’s a major failure.  It relies too heavily on kids’ prior affection for seeing characters like Santa and the Easter Bunny teaming up to fight evil (more on that in a moment), it fails to properly establish Pitch Black and his motivations, our true lead character, Jack Frost, is nowhere in sight, and it doesn’t explain much at all.  It’s a tough line to walk when it comes to trailers, show too much and you negate the audience’s desire to see it but show too little and you do just as much damage, and Guardians’ first one, although it does a lot for me, shows too little to engage general audience interest who like to have more than the sketchiest sketch of an idea of what they’re getting into.

In fact, to link into the film itself, that belief that audiences would be enamoured enough by the idea of Santa, the Easter Bunny, Sandman, Jack Frost, and the Tooth Fairy teaming up to fight evil feels sadly outdated.  In the 21st Century, this worthless irritating and pathetic century, heart-on-sleeve sincerity and wonder is something that society very much seems to frown upon.  That desire to be a little cheesy, to have fun, to be sweet and nice is something that we, as a culture for some utterly confounding reason, have decided is beneath us and that we must laugh out of the room at every opportunity.

Instead, the only way we can accept enjoying these things now is with a sort of ironic detachment – hence why 80% of movie musicals spend their entire runtimes apologising for being musicals, why romance films are so po-facedly serious about everything, and why sci-fi almost never kicks back and has any fun anymore.  When something like that does come along, like this past weekend’s Jupiter Ascending because never let it be said that I don’t try and keep this column topical, everybody laughs it out of the room because we apparently can’t accept that sincerity anymore.  Maker, animation has quite literally only just gotten over this image problem, and we can blame that tangible attitude of Shrek for sending us down that path whilst thanking this Second Disney Renaissance for finally pulling the public back out of it.

Therefore, you present the general public with a film like Rise of the Guardians – a film whose marketing relies on kids’ prior attachment and desire to believe, and whose finale literally involves the villain being defeated by a scrappy group of kids believing in wonder with all of their heart with no cynicism or sass from the film (and it’s f*cking amazing, for the record) – then of course it’s going to open poorly at the box office and never truly recover!  Our society doesn’t foster that kind of genuinely sincere wonder and heart anymore, so most will just dismiss it out of hand and move on with their lives.

And then there’s also the tangible thing.  A common complaint that keeps cropping up in people’s excuses as to why the film did poorly or just in general conversation about the film: Santa’s Russian accent.  This is very much a creative choice that has baffled people, with some even thinking that that’s why the film failed.  Because kids are familiar with Santa, err, not being Russian and that would therefore turn them off the film totally.  I sort of get where they’re coming from, it’s the tangible element of a larger problem that not many people can totally figure out – in that the beefy, warrior-ised, badass designs of the Guardians fit their personalities and the more action-heavy moments but clashes with the sincere childlike hope of the rest of the film – but I highly doubt that it’s a reason all by itself for turning people away.

Finally, there was the release date: Thanksgiving weekend.  I get the idea, it’s the holidays and a big family movie is just the kind of thing that audiences are in demand for.  But, as we have previously talked about, thanks to the way they do business, DreamWorks movies aren’t Events like a Disney film or a Pixar film are.  They’re films that come out on a semi-regular basis and you either watch them or you don’t.  Even when the films are Must See viewing – and we’ve covered several of those in this series – their releases don’t carry that air, despite the millions of dollars that the company throws into marketing these things.  So whilst Disney can get away with releasing Tangled or Frozen over that weekend, DreamWorks can’t because, unlike Disney, Rise of the Guardians is not an Event Movie.

Hence why the thing basically died in fourth place opening weekend behind Twilight: Breaking Dawn, Part 2 (second week), Skyfall (third week), and Lincoln (third week), and just barely fending off Life of Pi by virtue of that opening on less screens.  All of those prior factors, with really sub-par marketing likely being the inarguable main reason and let us not forget general DreamWorks over-saturation, conspired to send Rise of the Guardians to an early grave.  Many of these are actually rather recurrent in the reasons behind DreamWorks’ other recent failures, which means that we might get more time each week to actually talk about those goddamn films properly, but that’s also a really worrying sign that the company doesn’t seem to be learning from its mistakes.  Rise of the Guardians is rather much Patient Zero for this recent commercial trajectory that DreamWorks have gone down and, for some reason, it’s been allowed to fester instead of being quarantined and dealt with.

So… with all of that said and sorted… how is the film?  I realise that I have pushed it to the background here, much like I did with Spirit: Stallion of the Cimarron way back when, but I needed to since, as we all know, this is the start of the spiral that DreamWorks are currently stuck in and to not talk about it is to do a disservice to this series I’ve been working on.  It is, however, a shame because Rise of the Guardians is very much worth talking about.  If I were writing for a website where 8 straight A4 pages of text could be presented in a way that wouldn’t cause one’s eyeballs to rip themselves out of one’s skulls and hightail it to the heavens to get away from the torture, I’d happily spend the next 4 pages talking about it.  Unfortunately, I’m about 1 full A4 page away from my word limit, so I’m going to have to be very brief.

Rise is a very good film that could have been an outstanding film had it not been forced to bow to the unspoken decree that ALL ANIMATED FILMS MUST BE LESS THAN 100 MINUTES, OR SO HELP ME!  The problem with it, and why it doesn’t work as well as it should for the first 70 minutes, is that it needs to be at least 2 hours and 10 minutes long instead of 89 (97 with credits).  Rise of the Guardians is a film that is stuffed to the brim with content and plot and story.  Not backstory, it’s smart enough to realise that you don’t need to waste time explaining the backstories of these characters, but story.  This is a film that needs to chronicle Jack Frost’s life, his emotional insecurities, to parallel that with Pitch Black’s insecurities, provide arcs for the pair of them, fill in the cast enough that the disruption of their daily schedules carries actual emotional weight, build a world, kill someone to raise stakes, cause the viewer to actually care about the kids who will factor into the finale, provide several suitably exciting action beats, and provide enough scenes of the guardians just hanging out together so that one gets the sense of how they are outside of the film, among many other things.

Surprisingly, it pulls off more of this than I was expecting – the Jack Frost stuff is brilliant, the parallels between him and Pitch are called out in dialogue more than action but it still works gangbusters and is far better done than it is in How To Train Your Dragon 2, and it nails the kid stuff spectacularly which is why the ending works so insanely well (more on that in a paragraph or two).  Unsurprisingly, though, it’s not totally successful, mainly because it never ever slows down.  How can it?  It’s got way too much content to have to get through, but it’s all necessary, so it has to pace itself like a drag race, never once letting up on the gas.  This does mean, though, that much of the first two-thirds of the film don’t click as they should – in particular, Sandman’s initial death should be a majorly heartbreaking “we are not f*cking around here” moment, but we barely ruminate on it enough for it to have any real impact.

There are chunks of film missing, basically.  The slower moments, the connective moments, where we ease up and relax with our characters.  They do exist, but they’re brief and hint at the film it could have been if there was more of that breathing time.  The best sequence not related to the ending involves the rest of the guardians helping Tooth Fairy with her job of collecting children’s teeth, because it allows the characters to just relax and be themselves.  Admittedly by turning this exercise into a silly competitive mini-setpiece, but it still feels genuine.  It deepens the cast, establishes their bonds, helps the viewer invest more, and the film needed more of that.  There just quite literally isn’t the time to.

Fortunately, though, the film f*cking nails its ending.  Seriously, the entire final 20 minute stretch, from Jack trying to help Jamie re-ignite his belief in Santa and the other Guardians, to the duo’s final goodbye, is damn near perfect.  It accurately captures that sincere, heartfelt spirit of being young and wanting to believe.  To believe that there are mysterious unknowable forces of absolute good in the world, that fear and nightmares really are just concepts that can’t actually hurt you, that you can effect real genuine change on the world through innocence and kindness.  It’s one of the best examples that I can find in recent memory of a film just getting that feeling of being a child, since most films instead either overly patronise or barely mask the fact that these are just adults attempting to remember how kids are and act.

Its emotional beats pay off excellently, even with the truncated runtime that the film has had to set them all off, the animation reaches extra special levels of gorgeous, seeing the guardians finally let loose is thrilling, the return of Sandman is one of those “oh, HELL YES!” moments that great fiction can pull from even the stoniest of human beings, and it’s all so sincerely joyous and heartfelt.  Again, the main narrative crux of the finale is whether a kid will believe hard enough that some kind of possibly unreal force of absolute good will rescue him from a nebulous force of absolute bad, and he and his friends are instrumental in saving the day purely because they believe hard enough.  And this is all played dead-straight for pure, heart-warming emotion, because this sequence, and consequently the film itself, absolutely would not work if it did so any other way.

And that is almost literally all of the time that I have this week.  There is so much more to talk about with regards to Rise of the Guardians – its sublime animation, the true extent of its pacing issues, its tone, how Chris Pine’s voice fits Jack Frost and unnecessarily distracts in equal measure, the marginalisation of Tooth Fairy, its themes of loneliness and how one can be shaped by that – but, much like with the film itself, I’ve tried to do too much in too little available time.  If I ever stupidly decide to retrofit this ridiculous series into a book format, then you’d better believe that I will be expanding this section majorly.  For now, though, Rise of the Guardians was a bomb, but it didn’t deserve to be, and it’s getting worrying that I can apply the first two parts of this sentence to more and more DreamWorks films as time goes on.


Rise of the Guardians was a major, notable financial dud for DreamWorks Animation, their first in nearly a decade.  It cost the company substantial money and likely put the studio on edge as to its future – not unfounded considering how 2013 would wrap up.  Rise also marked the end of the studio’s 8 year relationship with distributor Paramount Pictures as the success of Rango inspired the latter to make more home-grown animation, and DreamWorks’ desire for a deal with better terms for themselves.  In August of 2012, they signed a five-year deal with 20th Century Fox, owners of Blue Sky, and began this new relationship the following year.

Next week, we’ll take a look at the first film to come from this new partnership, The Croods, speculate on why this one was a success, and try to explore the further ramifications of this move.  Also, we’ll actually talk about the film this time.

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

Callum Petch has got gotta gotta gotta gotta gotta.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!

Madagascar 3: Europe’s Most Wanted

by Callum Petch (Twitter: @CallumPetch)

Apologies for the delay, this week, folks.  I needed extra time to be able to crack this one, and I’d rather be late than turn in a sub-par entry.  Anyways…

Last year, DreamWorks Animation celebrated its 20th anniversary.  To mark the occasion, Callum Petch has been 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.


madagascar 3 224] Madagascar 3: Europe’s Most Wanted (8th June 2012)

Budget: $145 million

Gross: $746,921,274

Rotten Tomatoes Score: 81%

Why is it that the third instalment in a trilogy is typically the weakest?  It’s a commonly held belief that the finale to a trilogy is always the weakest part, but why exactly is that often the case?  Typically, when a third instalment of something falls, it’s because the formula powering the series has become ever more apparent and the film itself lacks the ideas, energy, and originality to mask that fact.  Franchises are often scared to come up with new avenues to take their cast and world down, most likely out of fear that audiences will reject them out of hand, so they simply recycle and do-over, only increasing the scale in the hopes that the scale distracts people from the realisation that everybody involved is out of ideas and/or phoning it in.

There are two separate ways out of that issue, however.  The first is to use your characters and world to explore new themes, even if the surface dressing is still the same – the Toy Story series, for example, has the same basic plot outline each movie, the toys get separated from Andy and have to find their way back to him, but uses that to explore a different theme each time, with consumerism trends in the first film, the nature of collectables in the second, and growing up and maturing out of toys in the third.  Note how I specify “themes” there.  There needs to be a reason as to why the script is being changed, otherwise you just end up with a film that’s equally as pointless and aimless as one that just blatantly rehashes the first film – this is why The Hangover Part II sucked, because it soullessly redid the first film with no effort, and why The Hangover Part III is equally as bad, because the switch to a pitch black action comedy felt like an idea that somebody had but never bothered to properly flesh out.

The other way is to simply build on what works.  People typically don’t mind, or don’t mind as greatly, that they’re getting the same thing in a new coat of paint if the problems with the prior films are fixed, the new film has enough new ideas and spins and variations to justify its existence, and that the new instalment radiates joy – that it’s happy to be here and that everyone involved is happy to be here for reasons that don’t relate to their massive paycheques.  This is why nobody – except stuffy, or admittedly more discerning, film critics/snobs – cares that the Marvel Cinematic Universe is formulaic and predictable, because each film has enough new spins and differences, as well as a cast and crew who mostly look like they are having the time of their lives, that it gets away with it.

Into this picture enters the Madagascar series, one that by its very nature is going to end up feeling formulaic.  The entire premise of the series hinges on the cast never actually making it back to New York City as, once they do, you have to address that however you think is best before the series ends.  As fun as the cast is, they need that drive to get back to New York, along with the inevitable realisation that they actually rather like being free animals thank you kindly, because once you work through that there is nowhere else to go.  Hell, stretching it out over three full-length films is already inviting sighs of derision from more sceptical viewers.

Not to mention that, thematically, these films very much tread the exact same ground over and over and over again.  Each film’s central theme is about family, and specifically Alex’s family.  In Madagascar, he loses his anonymous public family but becomes closer to his surrogate family of friends.  Escape 2 Africa has him drift apart from his surrogate family as he reconnects with his real and long-lost family, before closing the film by becoming equally close with both of them.  Whilst Europe’s Most Wanted sees Alex discover how much his first surrogate family means to him, and replacing his anonymous public family with a second surrogate family of circus animals.  (OK, admittedly it’s a bit of a stretch, but you get what I mean, hopefully.)  Plus the fact that each film’s climax comes from him stepping up and assuming the leadership role that he is destined to have.

So, why is this not a problem, then?  I mean, the Shrek films trod the same ground over and over, and critics, animation lovers and, eventually to a degree, viewers revolted over it.  The Madagascar series becoming more and more popular, and becoming more and more critically accepted, despite doing the same thing seems to go against common sense.  Why?  Because it chooses Option 2 from before.  Each Madagascar film is working from the same basic template but tries different things and different tacks in the hopes that something fits and to keep things fresh.  The first film is a joke machine but also keeps falling back into bad DreamWorks habits so doesn’t work as well as it should, the second film went in on the ensemble nature and added the heart that was missing from the first, creating a superior if still not excellent film as a result.

The third film… well, saying that it’s a mess doesn’t even begin to properly describe it.

Madagascar 3: Europe’s Most Wanted is the moment in which this series threw off any pretence of making sense, flipped off the DreamWorks formula that it had fallen back on as a safety net in the past, and embraced its zany, madcap, cartoon (for lack of a better term) nature.  The opening 20 minutes feature the penguins and the chimps trashing a Monaco hotel room, an elaborate Prince of Versailles disguise that’s also packed to the gills with technology, an interesting idea as to how close to Africa Monaco is, a ridiculous car chase, and an animal control hunter who is like a cross between a Terminator, Carmelita Fox, and a German Shepard (more on her later).  It’s bonkers, it’s silly, and it’s a huge stupid amount of fun.  The series seems to have finally truly found its voice!

But then our four leads stow away with an animal circus, in the hopes that their impressing of an American promoter – represented as the single most stereotypical American image possible, he even has a pet eagle – gets them a ticket back to New York.  From here, the zaniness is significantly dialled back down, the heart is pushed back up and we settle into a groove that’s like a more unique version of Madagascar 2 – a film that cribbed from almost literally every animated film ever.  The madcap zaniness, save for a few running gags, only resurfaces whenever the prior mentioned animal control hunter forcibly inserts herself back into a film that has no real usage for her – fitting, since she ends up operating well outside of her jurisdiction by this point and so is quite literally forcing herself into a place she no longer belongs in.

In fact, let’s not put this off any longer and just talk about Captain Chantel DuBois, already.  She is, undoubtedly, the highlight of the film because Europe’s Most Wanted just lets go of the leash and lets her run about with pretty much zero ties to reality.  She can break through walls simply by running at them, has back-up plans within back-up plans, breaks no sweats when escaping from prison, punches out snakes, can revive her heavily injured comrades purely through the power of overblown musical numbers, and has the kind of nutso determination that would even give Cruella de Vil pause – a comparison that almost literally every single film reviewer ever has made.  She is very much like the Penguins, except that the film is able to increase the laughs it can mine from her because, unlike the Penguins, the script doesn’t call for her to be anything other than this force of nature and that mystique makes her traits all the funnier.

She’s also barely connected to the film at large.  After the Monaco chase – the uproarious, delirious, ridiculous Monaco chase – she doesn’t come across the main cast again for literally another 40 minutes, and even then it’s purely to set up the pointless Third Act Misunderstanding so that we can have The All Is Lost Moment.  Her presence feels unnecessary, like the writers came up with this stellar idea for a character and refused to drop her when she became pointless to the story.  Yet, the film also ends up addressing this.  Everybody else in the film has moved onto to other, more important and pressing issues, but DuBois is crazed and obsessive and won’t let things lie, so she wrestles control of the film back to herself even though she’s completely pointless to everyone’s current story arc.

In that sense, she could be read as a stealth parody of villains in kids’ animated films, and especially villains in prior Madagascar films – the completely superfluous presence who feels here more out of supposed necessity than anything else, only with their competency amped up to extreme proportions and their not-being-needed actually being vital to the character itself.  In less capable hands, this would still make DuBois a pointless presence who ends up making the film feel unfocussed – the kind of satire that isn’t really satirical, just a self-aware example of what it’s supposedly making fun of.  However, DuBois is such a ridiculous presence that she ends up feeling vital to the film as a frequent shot of barely restrained insanity to keep the pace and tone up, much like the Penguins in the first two films.

Anyways, back to my prior statement of “Madagascar 3 is a complete mess.”  The reason that I say that is because under any level of thinking, the film falls apart completely.  Not in terms of plot, the jumpy “we’re making it up as we go” nature of the scenarios fits the “we’re making it up as we go” travel plans of the main cast.  But everything about the film itself is like a laundry list of faults.  Its tone is all-over-the-place, lurching from something close to Madagascar 2’s heart-on-sleeve sincerity to deranged anything-goes joke machine – King Julian’s plot this time is that he falls in love with a tricycle riding circus bear and everything to do with it is exactly as ridiculous as it sounds.  Its pacing never slows, sometimes to its detriment with it never truly letting certain events sink in.  The non-Alex parts of the main cast are, once again, shuffled to the back of the deck for more time with the new characters.

It’s a conflicted film, is what I’m getting at; one that, even when it seems to have found its groove – balancing madcap mayhem with an acknowledged but not totally prevalent undercurrent of sadness – still doesn’t know what exactly it’s trying to be.  One that simultaneously improves on its predecessors’ prior faults and also does nothing but repeat them over and over again.  One that makes absolutely no sense and, at the same time, makes perfect sense.  That’s the masterstroke, essentially; Madagascar 3: Europe’s Most Wanted is a stretched-out classic animation short.  Nothing makes conventional sense, expected rules are constantly flaunted, and thinking is actively discouraged as doing so destroys the magic.

It’s hard for me to truly explain why Madagascar 3 is a better film than its prior two entries because, as I’ve just said, trying to talk about the film properly reveals it to be full of holes that you could drive a truck through, but my guess is energy.  There’s genuine propulsive energy to proceedings, where every scene leads straight into the next, and what it loses in emotional heft by refusing to step off the accelerator post-title card it gains through fun and the fun kind of throwing everything at the wall and seeing what sticks.  Hell, that madcap pace is the reason why the critics who did enjoy it tripped over themselves to praise it.

I guess this is the point where I should mention Noah Baumbach, huh?  Now, so far in this recent series of famous live-action talent stopping by DreamWorks to help out with their films, the implementations haven’t been huge DNA shifting inclusions.  By that I mean, they’ve not been as hands on as Baumbach was here – del Toro came on late to Megamind and was more involved with story in Puss In Boots than anything else, whilst Roger Deakins was specifically brought on to help with lighting for How To Train Your Dragon – although they were still very important, animation being a very collaborative medium and all.  By contrast, Baumbach got his hands on the script and proceeded to re-write 60 pages of it, which – since one page of a script often equates to one minute of film – is roughly two-thirds of the film, back in Summer 2010, two years prior to its release.

You may notice that I haven’t spent ages talking about how Baumbach influences the finished film, whether his voice is drowned out by that of DreamWorks, and if the film is better or worse for having him.  Well, that’s because I don’t know as, probably surprising no-one considering the gaps in my film library, I have never seen a Noah Baumbach film – with the exception of his co-writing credit for Fantastic Mr. Fox – so I can’t say anything for certain at this time.  What I can say is that there is certainly more quirk here, a more specific kind of quirk that feels very individualistic and auteur-ish in comparison to the typical group-written scripts of animated films.  Once again, there is a sequence where DuBois heals her badly injured comrades by singing “Non Je Ne Regrette Rien” – incidentally, I never knew how much I wanted to hear Frances McDormand sing that song until it happened – and that’s a different kind of quirk than King Julian’s continued habit of singing pop songs badly.

So, as you may have gathered – both by the unfocussed nature of the piece and the fact that I gave myself three extra days to try cracking this thing – I can’t really explain why Madagascar 3 works for me since, again, it is objectively a giant undecided mess, the kind of film that wants to have its cake and eat it too and it does manage to do both but you’re really not sure how and my head now hurts.  Its flaws are major but fade into the background whilst it’s running because the film is just so much damn fun and so fast as to eventually overwhelm the viewer and protect them from those flaws, some of which are deliberate – there are several instances of blatant product placement but the film does so in a way where it calls attention to how stupidly out of place it is, making it a joke in and of itself.

The public very much seemed to feel the same way, as Madagascar 3 would go on to be DreamWorks Animation’s most successful non-Shrek film ever.  Domestically, it opened in first place, trouncing expected chart-topper Prometheus by nearly $10 million.  It even held surprisingly strong against Brave, only tumbling down majorly once Ice Age: Continental Drift came along to poach its 6 week-old screens.  It closed barely $1 million less than what How To Train Your Dragon made domestically, making it the second-best non-Shrek domestic performance for DreamWorks ever and the tenth highest grossing film domestically of 2012.  “Afro Circus” may have gotten on the nerves of everyone who wasn’t 6, but you gotta admit that it served its purpose.

Overseas, the film was a frickin’ monster, more than doubling the amount it made domestically.  Now, the Madagascar series has always performed well overseas, especially in Europe, and adding 3D premiums onto that just pushes things into overdrive.  Number 1 debuts in Italy, Spain, Brazil, France, Russia, Germany, and The UK (those last two being especially surprising since, in typical inexplicable animation fashion, it didn’t debut there until October), strong performance in burgeoning market China, even Japan took to it and DreamWorks films usually sink like a stone there!  Just like with Escape 2 Africa before it, Europe’s Most Wanted closed with a foreign total over $100 million more than its predecessor, making it the eighth highest grossing film worldwide of the year, only beaten animation-wise by the quite-literally-inexplicably-popular-overseas Ice Age series.

So, why Madagascar 3?  Why this as the big foreign homerun over pretty much anything else DreamWorks have ever done?  Well, first of all, you have the Madagascar brand, and people like the Madagascar brand – as well they should, they’re good movies.  Mainly, however, I think that it is that unique surrealism that did it.  Although there are still some specific pop culture references in here, mainly stemming from King Julian’s singing habit, they’re not the main source of humour.  They never have been for the Madagascar series, not in the same way that the Shrek series is.  The jokes instead come more from character interactions, slapstick and physical comedy, and just plain weirdness, which translates better overseas.

Madagascar 3 doubles down on the weirdness and the slapstick and such, which makes the humour more universal, more global, and more appreciable to non-American audiences without sliding into generic non-descript jokes that lack identity – the sequence where the guards systematically go through every prison cell escape tactic in the book is a bit that’s hilarious to quite literally everybody and feels unique and specific to Madagascar 3.  That embracing of the weirdness elevates the film beyond Yet Another Talking Animal Movie and films with distinct, easily-marketable identities are near-guaranteed to do well.  Throw in the emergence of 3D, the goodwill banked by the franchise, it being a trilogy-ender, and the fact that it is a genuinely great film – although good luck getting me to explain why it is – and the combination is pretty much bullet-proof.

(Side Bar, real quick: This, incidentally, is why Penguins Of Madagascar switched places with Home on DreamWorks’ release schedule.  Madagascar was thought to be an impenetrable brand at home and abroad, and DreamWorks could have used a hit after the box office and financial woes that I have referred to and will continue to refer to throughout this series.  It’s also why the film’s total collapse at the domestic box office and mild performance overseas was genuinely surprising and alarming for pretty much everybody everywhere.)

So, with numbers and factors like those, is it any wonder that, despite having burnt through and dealt with the franchise’s end game, Katzenberg was still prepping us all for a fourth instalment in 2018, until recent events forced his hand otherwise?  If How To Train Your Dragon 2 had collapsed totally – which, in a way, it sorta did, but we will get to that – that would have left him with only one film series that he could rely on, and why not keep milking your cash cow until its udders turn black and drop off?  In any case, though, that leaves Madagascar as that rare series that started out mediocre but actively improved the further on it went, which is especially surprising for an animated film.  What began as a conflicted formulaic DreamWorks film would grow to embrace its weirdness and craziness, gifting it a unique voice in a landscape of films that simply poorly imitate the better competition, and the eventual somewhat begrudging respect of snobby critics.

I almost ended this by saying that Madagascar is DreamWorks’ equivalent of the Fast & Furious series, but then I realised how utterly deranged I would have sounded if I did.  After all, at no point does Madagascar 1 sink to the lows of 2 Fast 2 Furious and at no point does any entry in this series, even my favourite Penguins of Madagascar, reach the heights of Fast Five.  The spirit of the comparison is there, though.


We are nearing the end of the Retrospective, my friends – we only have four official weeks left and one of them is devoted to TV – which means that we are going to have to deal with the troublesome state that DreamWorks Animation is currently in.  In the 24 months separating next week’s film and near-enough-the-present-day, they have only had two mostly unqualifiable successes, which is a problem, since most of the films have been originals and we know how franchise-dependent DreamWorks is.  This will be our through-line for the remaining few weeks, as we use our remaining films to try and answer this one simple question: what the hell happened?  Next week, we begin with the one that started it all, Rise of the Guardians.

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

Callum Petch is a long way from home.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!

Failed Critics Podcast – COP: Harrison Ford

han-solo-badass-harrison-fordWe’d like to welcome you all to the first ever Failed Critics Corridor of Praise induction. The C.O.P. has been set up to honour the work of those legends of the movie world who have either never sought the acceptance of the Academy, or who have been shunned by those bestowers of baubles.

In this podcast we are honouring the first recipient of our recorded adoration.

He has a career spanning six decades, and his films have grossed over $6b worldwide. At one point 4 of the top 6 grossing films of all time featured him, and in 1997 Empire magazine named him as their No.1 movie star of all time.

As well as the iconic roles he is known for, and that we will no doubt discuss shortly – he has appeared in films as diverse as What Lies Beneath, Working Girl, and The Fugitive  Of course I am talking about the one, the only, Jack Ryan…Indiana Jones…Han Solo himself. Harrison Ford!

Also in this week’s podcast we review The Master, Beasts of the Southern Wild, Rise of the Guardians, Room 237, and Miracle on 34th Street.

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