In the 2006 animated blockbuster Happy Feet an alienated emperor penguin named Mumbles found empowerment through tap-dancing and in so doing managed to both attract a mate and stop the overfishing that imperiled his Antarctic habitat. Directed by George Mitchell – the same George Mitchell who gave us the post-apocalyptic Mad Max trilogy and the almost despairingly bleak Babe: Pig in the City – Happy Feet paired its broadly conventional narrative with a darker sensibility not often seen in talking-animal fare.
The film’s sequel Happy Feet Two finds Mitchell (co-directing with Gary Eck) both more jovial and more easily distracted. The story begins straightforwardly enough with Mumbles (Elijah Wood) now grown-up and by all appearances well-adjusted ceding the mantle of self-discovery to his son Erik (Ava Acres). Boogie fever has swept the once dance-averse penguin nation but in a cruelly ironic twist Erik has inherited none of his father’s nifty moves. But just as Happy Feet Two appears intent on recycling its predecessor’s basic storyline the film abruptly changes course and embarks on a series of detours that seemed geared more as fodder for throwaway gags and showy set pieces than anything else. The disparate narrative elements while enjoyable in isolation never quite coalesce into a meaningful whole leaving us entertained but unfulfilled.
As before Happy Feet Two features a variety of buoyant song-and-dance numbers with Alecia Moore (aka P!nk) lending her formidable pipes to spirited re-workings of “Rhythm Nation” and “Under Pressure ” among others. Robin Williams returns for double duty as both Ramon a diminutive oversexed Latin lover and Lovelace a fiery Southern-preacher type. (Lovelace later adopts a Rastafarian dialect allowing Williams to achieve the rare culture-caricature trifecta.) His voracious scenery-devouring is all the more impressive given the grandeur of the scenery. Not to be left out of the quasi-Vaudevillian comic shenanigans Hank Azaria lays on a thick Scandinavian shtick as Sven a charismatic Arctic émigré who presents himself as the only penguin in the world who can fly. Azaria is a hoot but the film’s best moments come courtesy of the cast’s highest-profile additions Matt Damon and Brad Pitt voicing Bill and Will (respectively) two tiny krill in search of meaning at the bottom of the food chain.
Now it’s Milo’s (Zlatko Buric) turn the big bad drug dealer from the original Pusher. It begins with him going to a Narcotics Anonymous meeting. He says he wants to get clean so he can have a better relationship with his daughter Milena (Marinela Dekic). In the next scene Milo goes back to scoring drugs but he’s also planning Milena’s birthday party. As the big night nears Milo finds out that his latest score was ecstasy not heroin but sorting that out doesn’t seem so much of a priority to him. Milo gets busy cooking for his family gathering while his underlings try to sort out the X/dope mess. Milena’s got her own interests too and she’s not afraid of her badass father. The twist of the family story is a nice change-up for the Pusher series but it still delves into the violent world of drugs and qualifies as a worthy entry to the franchise. Buric plays a much older Milo here than he did in the first Pusher. With a deep sorry mumble he’s going through the motions of older age. He gets exasperated with his crew for pestering him while he’s trying to attend to his family and he seems like a normal dad in that way. Family fights are the same normal blow ups with quick forgiveness that happen at any Thanksgiving day gathering. As the night wears on Buric shows Milo’s growing intensity. His silent brooding means he is evaluating his distractions but really remains calm in even the worst of drug mishaps. It’s way cooler than the panicked street hoods of the first two Pushers. Now you can watch a real pro at work. As Milena Dekick doesn’t have too much personality. Is she spoiled? We get hints of that. Is she just controlling? Probably and with good reason living in that family. The other crew members are just generic criminals. Focusing on the family and Milo’s attempted recovery from addiction is a good twist. All the street dealing was getting old especially in Pusher II. This seems like a more adult Pusher dealing with real issues everyone has in some way--work family etc. It’s just most people aren’t thugs. Like a My Big Fat European Pusher this third one creates more excitement around the party preparations than the crime world. Still the movie is a Pusher so you’re waiting for the crime story to pop back in. The violence is plenty brutal but it’s torture not action. There’s no suspense because this is Milo the man in charge. It really makes one wish they’d just combined all three perspectives into one massive expose rather than dragging it out through three films.