Movie Review: "Shrek Forever After"

In "Shrek: Forever After," the fourth installment in the popular animated series, the titular ogre (voiced by Mike Myers) finds himself burned out by the monotony of family life, wondering where the edge has gone that once made him such a ferocious creature.

The film's creators might be projecting their own concerns. A franchise that emerged in 2000 as a fresh, witty and irreverent antidote to Disney's fairy tales, and followed up with a sequel just as inspired and uproarious, the series has now succumbed to the very formula it once chastised its competitors for. "Shrek" has spawned an amusement park attraction, a line of toys and direct-to-television Christmas specials.

To keep the franchise alive, endless sequels are produced with a weary regularity. While "Shrek the Third" may have retained some of the original's charms, it was obvious the not-so-jolly green giant was running on fumes. Now comes the fourth go-around, which has a few chuckles but otherwise feels too familiar, predictable and tame. It's not so much that we dislike Shrek, Donkey (Eddie Murphy), Puss-in-Boots (Antonio Banderas) and Fiona (Cameron Diaz); it's just that, by now, they feel like the cut-up who used to make you laugh, but by repetition has grown less humorous and more tiring as his routine goes on.

Shrek, at least, has the option to go back to the beginning, when things were a bit edgier and free. The film finds him weary of changing diapers and performing for star-struck fairy tale inhabitants, ready to make a deal with Rumplestiltskin (Walt Dohrn) to have just one day back as an unfriendly ogre. Of course, Shrek should know better than to sign a contract with the mischievous troll, who has his eyes on the kingdom of Far Far Away. As soon as Shrek puts his signature on Rumplestiltskin's contract, he finds himself in a world where he's not only a feared ogre, but has never been born at all.

That's right, the "Shrek" franchise is doing its riff on "It's a Wonderful Life." Shrek learns that not only has he never been born, but that Fiona was never rescued from the Dragon's Keep. Instead, she has escaped on her own and is now a freedom fighter determined to save the ogres from Rumplestiltskin's evil plans. Donkey is reduced to carrying witches' carriages. Puss, having grown fat from too much milk, doesn't even have the energy to chase a mouse. And, in the film's cleverest sight gag, the poor Gingerbread Man is reduced to gladiator matches against animal crackers.

Myers and company have inhabited these characters for a decade and easily slip back into the fractured fairy tale world helmed by director Mike Mitchell ("Deuce Bigelow"). It's admirable that the cartoon characters have actually grown and matured over four films - the whole film hinges on Shrek's change from an evil ogre to a lovable ... ogre. It's pleasant to revisit them and, even if there weren't belly laughs galore, it's nice and familiar to see Shrek settle down with an "eyeball-tini" at the end of a hard day. It's like revisiting a beloved sitcom in its aging years: You find that the characters still put a smile on your face, but it's about time to bring things to a close before they wear out their welcome.

"Shrek" and "Shrek 2" broke the mold in computer-generated films not by being pleasant, but by being edgy. There was an anarchic, deconstructive wit about the series as it poked fun at Disney's tropes and created characters who would send Snow White huffing away in offense. In doing so, it also set the tone for Dreamworks' other animated entries, from "Shark Tale" to "Monsters vs. Aliens," all of which aped "Shrek's" blend of pop culture parody and postmodernism. Instead of continuing at the forefront, "Shrek" succumbed to formula and its happily-ever-after mentality feels a bit untrue to the spirit of the original. And as "Shrek" settles for "pleasant," the animation studio it helped found is now in the classic-making business it once lampooned, with "Kung Fu Panda" and this year's "How to Train a Dragon," proving you can have heart and wit without succumbing to a fart joke or over-the-top dance sequence.

That's not to say that the fourth adventure is without merit. As always, Murphy and Banderas steal the show as Shrek's bickering sidekicks. There are a few cute pop culture gags, such as the Crone's Nest Carriage Park. But it's clear the franchise is running out of clever ideas. Rumplestiltskin comes off as an annoying character instead of a witty, well-thought-out villain. The film also brings out the Pied Piper, but his special way of dealing with victims comes off as uninspired and doesn't capture the laughs Mitchell must have thought it would. A coven of witches that help Rumplestiltskin is a missed opportunity, save for a "Wizard of Oz" call-out that made me chuckle.

And Shrek and Fiona may not be funny characters, but Myers and Diaz have instilled them with enough heart that there's still a surprising sweetness to watching two young ogres in love. The film's twist allows Shrek to woo Fiona all over again and there's gentleness to the romance between the two. The film floats along amiably, never really doing anything wrong but never really giving a reason for its existence or proving that the sharp wit behind the first two is still at work.

I should also note that the film is in 3D although, aside from a fun little broomstick chase, nothing really remarkable is done with the technology. I think "Shrek 4" is 3D simply because the mandate these days is that every family film needs 3D; the better to overcharge Mom and Dad with.

I'm a bit confused as to whom the film is aimed. Adults will likely appreciate the seriousness given to Shrek and Fiona's marital woes, but they also may come away bored by the film's more child-centric brand of humor. Kids will like the pratfalls, but will probably be a bit confused by all the alternative-universe mumbo-jumbo and even a bit scared by some of the story's darker elements. Whereas "Shrek" subverted the genre and made a snarky fairy tale for adults, the last two entries seem to be aimed at pleasing everyone, which, ironically, only alienates audiences. And when the humor is that broad, the edge that made the original and its first sequel so much fun necessarily dulls.

The film literally closes the book on "Shrek" (it is, after all, billed as "The Final Chapter.") And while the story has been largely enjoyable and the characters worth revisiting, I'm thinking the story of "Shrek" could have used an editor to peel off a final chapter or two.

Originally published in the May 23, 2010 edition of The Source.

Movie Review: "Iron Man 2"

It may be hard to remember right now, but when "Iron Man" blasted onto the screen in 2008, its success was a bit of a surprise.

Comic book movies were popular, but "Hulk," "Fantastic Four," and "Spider-man 3" had recently proven that the formula was vulnerable. Tony Stark may be a big player in the Marvel comic world and a geek icon, but there was question as to whether the hero had a fan base outside of the comic book stores. Besides, the brooding "Dark Knight," just a month away from release, seemed to be saying that audiences wanted their heroics with a bit of angst and soul-searching.

But, we know the story. Robert Downey Jr. and director Jon Favreau's funny, exciting and witty take on the Marvel hero not only was a critical and commercial smash, but it also paved the way for Marvel Studios to begin laying the groundwork for future superhero adventures and crossovers between characters...just a few months after "Iron Man's" release, Tony Stark would show up in "The Incredible Hulk." It wasn't that "Iron Man" did anything we hadn't seen before...it's that it did everything so well and with such confidence that it was impossible not to have a great time.

"Iron Man 2" bursts out of the gate with the confidence still in check, with Robert Downey Jr. crash landing at the Stark Expo and emerging from his metal suit to proclaim "It's good to be back" before launching into a monologue full of Stark's egotistical ramblings and boasts. Once again, it's the superhero as rock star, and while Stark may have quit the arm's race and taken up the mantel of world protector, Downey is quick to remind us that the character is a flawed, overly-cocky narcissist, someone who would be annoying if he wasn't so darn charming.

Of course, much like Christian Bale's portrayal of Bruce Wayne, Stark's reckless public persona masks deeper concerns. The material used to power Stark's heart and Iron Man's metal getup is quickly poisoning the billionaire. He's trying to find a replacement, but it's hard to find time with a Senator (Gary Shandling) breathing down his back, demanding the Iron Man suit be turned over to the U.S. military. Even his friends are turning on him, with trusted sidekick Rhodes (Don Cheadle, stepping in for Terrence Howard this time around) testifying against him at the Senate Hearings and able assistant Pepper Potts (Gwyneth Paltrow) trying to acclimate to her new role as Stark Industries CEO.

Things are about to get worse. A Russian baddie (Mickey Rourke) who blames Stark's father for stealing credit from the work done by his own dad is developing a suit much like Tony's, but with strange electric whips on the side. A competitor named Justin Hammer (Sam Rockwell) hopes to utilize the new villain to make a name for himself--something he's never been able to do from under Stark's shadow. Meanwhile, SHIELD agent Nick Fury (Samuel L. Jackson) has amped up his screen time to include more than just the film's end credits this time, and he's keeping an eye on Tony to talk about his secret "Avengers Initiative." And then there's the quiet, sexy little assistant to Stark (Scarlett Johansson), who has a few secrets of her own.

Yes, there are a lot of characters and plot threads to keep in line in this second go-around. And at times you can feel the joints bending and rivets stressing to keep everything in place with the right balance of humor, adventure and romance. But for the most part, "Iron Man 2" manages to be just as exciting, witty and fun as its predecessor, even if it never really takes the story to the levels of other comic book sequels, like "Dark Knight" or "Spider-man 2."

In a genre most known for incredible special effects and set pieces, it's still refreshing to see a comic book movie that gains so much of strength for its cast. Downey doesn't reveal much new depth about Stark this time around, but he's clearly having a great time playing the wisecracking, womanizing hero for a second time. I love the looseness he brings to the performance, the live-wire energy that makes us belief Stark would vacation in Monaco and then, on a whim, race his own car down the city streets. Any actor could handle the melodramatic moments of Stark contemplating his own mortality or discovering the truth about his father; Downey makes those cliched moments work because he's brought so much life and humor to the role in the throwaway moments. It's hard to believe that with the first "Iron Man," Downey was seen as a major risk---with this and "Sherlock Holmes," he's commandeering two franchises, and it's obvious he has a blast with both of them.

Of course, a hero is only as good as his villain. Rourke, not wasting the cache brought to him by his "Wrestler" rebound is solid as the Russian bad guy out to kill Stark. He plays the heavily-tattooed, snarling heavy not as a monster, but as a man out to avenge his father. He may be trying to kill our hero, but he's doing so to avenge what he sees as wrongdoing. Rourke makes him both fearsome and surprisingly sympathetic, a combination that often makes for delicious villains.

Stealing the show is Rockwell as Hammer, the darker side of Tony Stark. Rockwell was one of the original actors in contention to play Stark in the first "Iron Man," and I love how he plays Hammer as just as quirky and weird as Stark, the same confidence through a creepy sheen. Rockwell's work in "Moon" was my favorite performance of 2009 and he's quickly becoming one of my absolute favorite actors to watch.

Everyone else is reliably solid, but given the packed roster, there's little for them to do. Potts' and Starks' screwball chemistry was the highlight of the first film and when they're together here, that spark comes through again. But with the busy plot, their would-be romance seems shoehorned in and best left to be resolved in a third film. Favreau gives himself a bit more screentime as bodyguard Happy Hogan, although he's little more than comic relief. Cheadle is fine as always, although he seems to be a bit stiff when delivering his one-liners; Howard had a looseness about him that I liked. Jackson acts like the coolest cat in the room (as always) and Johansson stands (and kicks) around looking pretty, but it strongly feels like the actors are biding their time until the "Avengers" movie comes around in 2012.

In one sense, there are certain moments where "Iron Man 2" feels like an "Avengers" prequel, existing to set up another movie. There are blatant references to Captain America and Thor, both of whom have movies that will be released next year to further set the stage for "The Avengers." Were the principle cast not so engaging and Favreau unable to keep the action moving fast and furious, this would easily feel like a placeholder.

Instead, we're so captivated by Stark and Co. that even when the sequences feel like trailers for an upcoming movie, we quickly forget them once we're on to the next scene. I liked the feeling of a larger world beyond this film, and it's set up so that comic book novices can enjoy it just as much as die hard geeks.

Favreau, criticized by some for not packing "Iron Man" with a ton of action, ladles on the set pieces with skill here, from a brutal fight in Monaco to a bone-crushing brawl at Stark's pad to a fantastically choreographed climax featuring to Iron Men against an Army of robots. The action sequences, while using large amounts of CGI, feel thoroughly rough and brutal, sometimes ending a bit quickly, but still leaving the audience rightfully walloped. The action is fun to watch, but never detracts from the bigger story.

In the end, "Iron Man 2" may not achieve the scope-widening triumphs of its comic book brethren. But Downey is still fun to watch, Favreau can craft a thrilling action sequence and there's a sense of joy and humor about the enterprise that keeps everything enjoyable and exciting.

It's a machine that gets the job done, even if the joints start to show some wear. Let's hope "Iron Man 3" puts some oil on and avoids getting rusty.