While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
There comes a time in every filmmaker’s career when it suddenly feels like they’re coasting. They’ve made a name for themselves had some success and challenged themselves in one way or another so now it’s time to take it easy do what they do best and give the people what they want. Perhaps they’re taking a break before they try to do something big again or maybe they’re paying off the debt of a previous flop but the one thing they’re not doing is taking any risks. It’s the same-old same-old and while it might please the fans the real admirers probably won’t be pleased. It happens more often than we’d like to admit but unfortunately it does happen.
This is the case with Jean-Pierre Jeunet’s Micmacs the latest from the director who gave us Amelie Delicatessen and City of Lost Children (the latter two co-directed with Marc Caro). Those films earned him comparisons to Terry Gilliam and Tim Burton but Jeunet proved he had a unique and witty cinematic style that he could call his own and with the international popularity of Amelie audiences everywhere took notice granting this very talented director a lot of leeway to make films in his own style. With his next film 2004’s A Very Long Engagement he decided to stray from the style of his previous films and attempt something more dramatic and though the film was generally well-received Jeunet decided to go back to the well of whimsy with Micmacs with very mixed results. While casual fans should be pleased anyone interested in watching a filmmaker grow artistically (as Jeunet had been) will shrug and leave disappointed.
Like his fellow fantasists Gilliam and Burton Jeunet’s detractors have often described him as a stylist first and storyteller second. I’ve never subscribed to that theory until now — I always felt a connection to his offbeat characters and stories — but with Micmacs he either has failed to help us make that connection or he simply doesn’t care enough himself. Part of the problem is that the film hangs on the flimsiest of plotlines: Homeless man Dany Boon seeks revenge on the feuding weapons manufacturers responsible for the landmine that killed his parents and the bullet in his head (a result a drive-by shooting) by teaming up with a rag-tag group of other homeless people all of them with their own set of special skills. A picture like this should hook us in from the very start or it’s never going to get off the ground and Micmacs’ opening already suggests that Jeunet isn’t breaking any new ground here; whimsy for whimsy’s sake will only yield limited results especially without a real story in place. Although it’s filled with a number of the filmmaker’s patented set pieces Micmacs is never as engaging as it would like to be. Numerous sequences that resemble Rube Goldberg meets Warner Brothers cartoons are definitely amusing to watch and offer some trademark Jeunet imagery but there’s no reason to care about what we’re seeing. Boon’s plight should be a moving one but for Jeunet it feels more like an excuse to shoot his regular co-star Dominique Pinon out of a giant cannon.
Pinon’s presence represents another problem with Micmacs: although the film is very well cast almost none of these characters register with the audience. Boon’s homeless “family” is filled with faces out of the Jeunet central casting book but we never really learn who they are nor do we understand why they follow Boon’s character through the lengths that they do. Just because they’re “characters” doesn’t really give them character to portray and though the film is energetically performed by all (with special recognition going to the charming Marie-Julie Baup) they’re just figures for Jeunet’s giant Parisian play set. There’s no question that there are certain pleasures to be found in Micmacs; it looks wonderful with some great production design and cinematography by Tetsuo Nagata and Jeunet’s use of classic Max Steiner music definitely adds to the fun. But these enjoyments are really surface-level only and the film doesn’t have enough weight to hold them up. I certainly wanted to like this one more than I did and I’m sure many of you will disagree with my assessment and enjoy yourselves anyway but Micmacs ultimately isn’t the best example of what Jean-Pierre Jeunet is capable of.