If you’ve seen em’ once, you’ve seen em’ all.
There is no question in the fact that Dreamworks Animation have a constant formula for their films. Once upon a time, they allowed themselves to blend spunky satire and personality with revolutionary animation style, topped with classic methods of fundamental storytelling. After a certain point in the past decade, it seemed that everybody who wasn’t Pixar in the animation scene pleateaued. Many of the studios grew dependant of their formulas and let their core elements became weak and lazy.
This is my problem. This is why I remain unimpressed with films that succeed only in producing a fresh gloss on a bastard creation. Puss in Boots, much like its original based series Shrek, takes multiple Mother Goose storylines and adds a postmodern touch. The reason Shrek was so magnificently successful, aside from it being a new concept in 2001, was its ability to carry the spirit of both of old storybook magic and accessible modern comedy. The blend felt truly original and, of course, trend-setting for films to come.
It’s 2011 now and the magic is gone, leaving nothing but gorgeous flakes of unoriginality. This may be a flawless film aesthetically, but there is next to nothing in Puss in Boots worth visiting for. Frankly, the reason this was released was to satisfy America’s increasingly frightening fetish for cats and branch off a dying animated saga to breathe some life into it. I can highly recommend it to a child, no holes barred. It’s a work of visual art worth celebrating amongst a certain youth. By general film standards, there is nothing else.
This film was an attractive, but psychotic cat women. (2/5)