Animation movies dreamworks
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DreamWorks Animation Movie Images (Minefield)
DreamWorks Animation has gone through its share of upheaval, with a few big successes "Shrek," "Madagascar" and some notable failures. Since its first releases in , it has changed, diversified, merged and been acquired by major studios now Universal.
With "Abominable" out this weekend, see how it compares to the other big DreamWorks Animation films on this list. Would that it were simply a B movie. It's closer to a D, grading on any curve. Launched a decade after Jerry Seinfeld's mega-hit TV series, his foray into animation is surprisingly unfunny, spiritless and belabored. And weirdly, Barry, Seinfeld's bee character, becomes smitten with a human voiced by Renee Zellweger.
Doesn't that fly in the face of the laws of nature? The secret life of bees, as told by Seinfeld, is a bore with a capital B. Never reaching the inspired wit and infectious fun of the original, the action scenes feel recycled. Shrek and Fiona have three little ogrelings, and have settled into pleasant domesticity. Then Shrek has a midlife crisis. Is this meant for kids or adults? Clever pop culture references have been replaced by spurts of slapstick and contrived mania. Fast is not always fun.
Nor is sensory overload the same as dynamic spectacle. This third go-round is rarely fresh, but it doesn't stint on energy or vivid colors. The series continues to focus on the value of friendships, new and old, and on imagination and resourcefulness. But the antic, loud style and dull plot don't bowl over audiences.
Jokes about Cirque du Soleil and Mia Farrow sail right over young heads. But talk of a "stinky poopy circus" should make some kids chortle. Penguins are adorable, but they may be victims of overexposure. In this limp spinoff -- the fourth movie in the "Madagascar" franchise -- they come off charmless and interchangeable.
The pacing is frenetic and the animation unremarkable. The story tries to meld an origin tale, a coming-of-age saga, a slapstick comedy and even a revenge thriller, compounding a sense of joylessness and frenzy. This too-episodic, uninspired follow-up to the fast-paced original crams in a lot of characters -- besides the original zoo quartet -- then doesn't give them enough to do.
Our giraffe, hippo, lion and zebra heroes are marooned in Africa where they incessantly jabber. Meanwhile, life lessons are imparted amid the mayhem. Bathroom humor is to be expected in a movie about babies -- but this one is has one dirty diaper too many.
It has some of the external trappings of "Toy Story," without any of the heart. The frenetic zaniness is off-putting, the visual style muddled and the plot disjointed.
Not this movie. Puns plus potty humor equals Peabody. A slave to formula, it updates the TV adventures of the smarty-pants time-traveling dog and his pet boy, Sherman. It comes across as disjointed and frantically paced, though it does have moments of appealing zaniness. The 3D imagery feels gimmicky, rather than organic.
The pedantic, bespectacled pooch pops off with some clever bon mots, but the movie is predictable and forced. Story is everything and this one is thin, shallow and soupy, despite the improvisational skills of Will Smith and Jack Black.
This is a watery urban tale, complete with undersea gangsters, groupies and graffiti artists. This world is grittier than that other watery animated adventure, "Finding Nemo," and decidedly less dazzling. Michelle Pfeiffer shows how her sultry purr can be put to use for evil, as well as good, in a role reminiscent of a slimmed-down Ursula from "The Little Mermaid. This swashbuckling adventure also features an independent seagoing woman reminiscent of Katharine Hepburn, voiced by Catherine Zeta Jones.
The effects are competent, but a sense of magic is lacking. This ought to be a road not taken. Some entertaining moments, but too many flat ones pave this dull turf.
The songs by Elton John and Tim Rice are lackluster and interchangeable. This is giddy, garish eye candy with a beat -- trolls shrilly singing and dancing! But expectations should be kept low given that director Mike Mitchell also made "Alvin and the Chipmunks: Chipwrecked. This visually appealing animated adventure -- complete with colorful hybrids of prehistoric animals and striking primordial fauna -- is hampered by lackluster slapstick humor and a meandering story.
This benign sci-fi comedy hodgepodge about home, heart and outsiders struggling to fit in is brightly colored, but narratively bland. It suffers from being the second animated movie of that year to feature a bulbously bald dastardly villain. The other was the superior Despicable Me. Brad Pitt voices Metro Man, with just the right amount of vain puffery. A raucous, funny and relatively fresh look at the 3 C's: conservation, consumerism and consumption of the excessive and conspicuous kind.
The story, based on a comic strip by Michael Fry and T. Lewis, appealingly balances comedy and exhilarating action sequences. And parents will appreciate the gentle message about overindulgence and the value of integrity, which avoids straying into schmaltzy turf.
Alas, it succumbs too often to banal slapstick antics. Watching an escargot go makes for family-friendly fare. The animation is stunning and the stylized renderings of zoo animals are friendly-looking, the manic story feels like a bunch of one-liners strung together, peppered with bathroom humor. The highlight is a song and dance sequence done by lemurs, where Cohen is king.
The ironic wit feels familiar, but still satisfying and amusing. And the look of the film is undeniably vibrant. Despite the re-tread, things still feel fairly fresh for our pudgy black-and-white warrior, and the animation remains beautiful. One of the earliest of the DreamWorks movies has astonishing visual effects that include an eye-popping chariot race a la "Ben Hur" and scenes of crowds swarming the pyramids.
The musical numbers are unmemorable, but Moses is made a more human and relatable character in this biblical saga. This lightly satirical fantasy pays affectionate homage to '50s sci-fi horror, while also offering topical one-liners. The U. He greets an alien spaceship by playing the five signature notes from "Close Encounters of the Third Kind," setting the tone for his officious, daffy character.
Dazzling colors, winning characters and energetic visual effects work in concert, even if the 3D feels unnecessary. With its focus on childhood wonder, this 3D computer-animated fable based on the series of books by William Joyce is a visually energetic spectacle, if a little overloaded.
The notion of Santa Claus, the Easter Bunny and the Tooth Fairy joining forces like a storybook troop of Avengers action heroes is delightful, but the film grows hectic with all those figures competing for screen time. The Western landscape is exquisitely rendered and Matt Damon gives voice to a wild mustang stallion living in the 19th Century. While most humans are bent on controlling the horse, a Lakota brave wants to help Spirit.
But the sappy horsey romance montages could have been jettisoned. Hugh Jackman heads a smart voice cast who play a range of amphibians, insects and other rodents. Puckish British wit is injected into fast-paced pop culture references, but forays into bathroom humor are less delightful. The computer animation is visually striking and the characters well-drawn, beginning with Allen as the fearful and neurotic Z. This story appeals to our sense of imaginative wonder.
While the detail is intricately compelling, the self-determination moral is clunky old news. Almost as funny, sweet and engaging as the first film starring the big galoot. In this one the lovable curmudgeon ogre and his neurotic donkey pal are upstaged by the dauntless Puss in Boots, charmingly voiced by Antonio Banderas, who later got a spinoff with this character, an adorable parody of his Zorro role.
The animation is gorgeous, vividly hued and immersive -- the bucolic panda village looks like a Chinese version of the Hobbit village crossed with Shangri La.
The humor is light, if sometimes a bit corny. An engaging, family-friendly tale with a message that we always have more to learn, which feels all the more important in these anti-intellectual times. And who can resist an animated movie featuring the voice talents of such venerable actors as Dustin Hoffman and Ian McShane?
A joyous, swiftly paced and very funny subversion of classic fairy tales. It sends up the Disney formula, and builds a foundation on an endearingly hilarious bromance between an ogre and a donkey famously voiced by Mike Myers and Eddie Murphy.
The first feature film by clay-model animation pioneer Nick Park lived up to the promise of his enchanting short animated features like "The Wrong Trousers" and "A Close Shave. Add a prison camp thriller setting and the absurdity is complete.
Its silly core is irresistible, as is its consistent cleverness. Plus, we get to meet a bewilderbeast, who Toothless faces in battle. Audiences are joyfully transported watching Hiccup, a gangly teenage boy and Toothless, his beloved, green-eyed winged dragon, soar above the Nordic landscape. While Hiccup is undeniably courageous, he loses a leg.
Shrek Forever After Never reaching the inspired wit and infectious fun of the original, the action scenes feel recycled. Madagascar 3: Europe's Most Wanted Fast is not always fun.
The 10 Best Dreamworks Animation Movies
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10 best Dreamworks animation movies ranked, from How To Train Your Dragon to Kung Fu Panda
The release of Bad Guys has brought DreamWorks back onto the cinematic map. But which ones are the best of the best? DreamWorks is filled with fantastic animated movies that are perfect for families, couples, or really anyone who wants a bit of classic comedy. They're the kind of creations that are quirky and a joy to watch throughout. So, even though some may not have landed well in the rankings, others shine out as films movie fans just have to see. This is what DreamWorks does so well. They create films that are funny, well animated, and with a meaningful story behind them, for the most part. Nevertheless, there are a great many DreamWorks animated films everyone has to watch. Complete with a talking dog and his adopted son, Mr.
Since shifting to CGI a few years after its founding by Steven Spielberg, Jeffrey Katzenberg and David Geffen, Dreamworks Animation has had a bit of an unfortunate, though not unwarranted, reputation among the large animation houses. Some of them just happen to also be Shrek. Those looking for rollicking adventures and groundbreaking comedies will find plenty to love here, as will those after one of the best claymation movies ever made. Those that would like to see those funny talking Madagascar animals may be disappointed, but you know where to find those films. The Croods is full of kinetic action sequences, a few laughs and strong voice work.
Inside DreamWorks: how animated movies are rendered
For a while, it was fashionable to unfavorably compare DreamWorks Animation to Pixar. But, while it is true that several characters… do indeed make that face, dumping on DreamWorks says more about the person doing the diss than DreamWorks Animation, which has — and frankly always has — made lots of great movies. The Bad Guys , the latest DreamWorks Animation film, is a slick kiddie crime flick featuring a gang of animal bank robbers. And it opened this weekend to generally good reviews. Add to that Woody Allen in a starring voice role, with all the controversy that entails, and Antz is no picnic.
The Best 'DreamWorks Animation' Movies
It stands on its own with visually striking animation, rousing adventure, and thought-provoking themes—all driven by one delightfully precocious and fiercely intelligent young protagonist. Maisie Brumble Zaris Angel-Hator is an orphan, but the memory of her parents as great monster hunters lives on. Determined to make a name for herself just like her parents, the child stows away on the ship of the famed monster hunters Captain Crow Jared Harris and his adopted son Jacob Holland Karl Urban. At first, both Maisie and Jacob are compelled by the history that pits sea beasts against humans. But their own encounters with the legendary creatures reveals that the truth may be more complicated than what the history books detail.
While box office receipts suggest that's largely still the case, the studio has enjoyed a real creative resurgence over recent years and the balance looks to be changing. Since its first animation Antz, in , the studio has released a string of highly original movies. Despite the occassional dip in quality, they continue to find huge audiences around the world. With the success of such franchise films as How To Train Your Dragon and Kung Fu Panda, Dreamworks is finally beginning to come into its own as an innovative force — matching Pixar every step of the way.
Peabody and Sherman" DreamWorks Animation now has what every movie studio wants: it can get away with releasing movies that are not huge hits. Studios can even make money off of their weaker-performing titles. The movie has already opened in a few territories overseas, to mixed results. A surging stock price and investor confidence. Its stock has risen 83 percent over the last year.
Where do you go from there? Writing about Monsters University , I noted that, like many other Pixar films, it pours cold water on the familiar family-film platitude that you can achieve anything you put your mind to if you just want it enough. Turbo embraces the platitude. Neither the classic Babe nor the original Happy Feet contained any hint of the darkness of the sequels. Now in a starring role in this spinoff, Puss spins the story in a direction strikingly different from the Shrek films.
Over the years, it's become impossible to miss a DreamWorks Animation movie. Titles from this studio are given such massive marketing pushes that you always know when a new Shrek , Trolls , or Boss Baby installment drops into theaters. While the DreamWorks Animation's released titles are omnipresent, their canceled films remain far more obscure. Despite putting out so many movies over the last three decades, the studio also has a large number of projects that never got off the ground.