Lord of the Rings: The Rings of Power S1E5 Review “Partings” #AmazonReview #LOTR #RingsofPower

I only spent half the time distracted [this episode] … hardly a ringing endorsement

Episode 5 of Lord of the Rings: Rings of Power, “Partings”, sees the Southlanders split between two factions — those who are going over to the dark side and those who will stand and fight. We also witness the Queen of Númenor having to make a fateful decision.

“Partings” started slow but got better as it went on. It’s definitely stronger than the previous episode, and I know this because I found myself merely checking my phone whilst watching rather than checking the show whilst watching my phone. And I didn’t fall asleep again. However, saying that “I only spent half the time distracted instead of almost all of it and that I remained conscious” is hardly a ringing endorsement.

The big problem continues to be the characters — and that is really a fatal flaw for any piece of work. What actually motivates them? The Queen of Númenor’s fateful decision doesn’t seem to be based on much nor make sense at all. And Galadriel, ostensibly the star of the show, continues to resemble a teenage fan fiction version; petulant, stupid, arrogant, essentially angsty and definitely not a good guy. She would have been mediocre in a budget network 1990s show. I just don’t buy into any of the characters. It’s hard to care when relationships aren’t properly established or developed and when we don’t really feel like we know our characters.

However, on a plus point, black-guy-who-is-the-friend-of-the-guy-who-is-supposed-to-be-Isildur (he’s Isildur inasmuch as the Galadriel in this show is Galadriel and I am Father Christmas), that is, the guy who fell out with “Isildur” previously, shows signs of potentially maybe having the possibility of becoming an okay character, eventually.

“Partings” was somewhat better than the previous ep, but to say I was “gripped” would be an overstatement. Whereas the previous episode was a two-out-of-five, this outing was a solid 3 minus.

Let’s see if this season has the exit velocity to launch us into a hopefully much improved season two. That’s the best we can hope for at this stage.

3/5

© 2022 Bryan A. J. Parry

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Lord of the Rings: The Rings of Power S1E4 Review “The Great Wave” #AmazonReview #LOTR #RingsofPower

The Rings of Power: a cure for insomnia

Rings of Power Episode 4, “The Great Wave”, involves more Númenor-based Elven hijinks, the big reveal of the mysterious Orc man-God “Arda”, and a Dwarven secret.

The episode also involved a lot of sleeping. My sleeping. I fell asleep twice while trying to watch this. A cure for insomnia is probably not what Amazon was hoping for when they ploughed a billion dollars into this series.

This blog is all about short form reviews. But for this episode, there was no way to fulfil that in this case. There is simply too much to say.

So what was wrong with the weakest episode of Rings of Power to date? Far quicker to say what was right.

THE GOOD

Gimli 2 shows signs of being a genuinely interesting character

The visuals continue to be pretty. The non-CGI goblins/orcs are a welcome return to aesthetic of The Lord of the Rings film series, undoing the awful CGI overdrive of The Hobbit. And Gimli 2, as I am calling him, shows signs of being a genuinely interesting character. There was no sign of Probably-Gandalf, or there was but I was asleep, which is a good thing, and the role of the Zummerzet-by-way-of-Kingston-Jamaica-cum-Dublin sort-of hobbits was mercifully minimised.

THE BAD

Everything else about this episode really is off.

Lack of immersion / Comedy resemblances

Constantly being reminded of British comedians probably isn’t what Amazon was hoping for with its casting decisions.

First of all, I can’t stop thinking about how Galadriel sounds exactly like Kate/Bob from classic British sitcom Blackadder II. And speaking of comedians, I talked in my Episode 1/2 review about how Fat Hobbit looks exactly like Dawn French, thereby reminding me of the wonderful French and Saunders Lord of the Rings spoof, and how Celebrimbor, the greatest Elven smith of all, bears an uncanny resemblance to Monty Python‘s Michael Palin. Constantly being reminded of British comedians probably isn’t what Amazon was hoping for with its casting decisions. To make it worse, Isildur — who is going to be a big donny in this show if they follow Tolkien’s mythos — looks just like James Callis who played Gaius Baltar in Battle Star: Galactica (2004). This might be ironic as the mythos suggests Isildur may follow Baltar’s plot path, in a manner.

Anyway, that I’m constantly finding myself dropping out of the hoped-for immersion and thinking about such things really shows that this show is not holding my attention. But if I doubted as much myself, falling asleep definitely proved the point.

Characters without any character

the writers … fulfil the age-old writing adage of “tell not show”…

Speaking of Gaius Baltar, I mean Isildur. He has a weird kind of bromance with his two BFFs. But in this episode they fall out, bigly. It’s supposed to be a huge dramatic moment in the episode. But I didn’t care. Why? Because I forgot the other two guys existed. I can’t even remember what their names are, who they are, what they even do, and the who I do remember, Isildur himself, just seems like a moody little twonk. Good job the writers were there to fulfil the age-old writing adage of “Tell not show” with some phenomenal exposition: “You got me kicked out of the navy. All I ever wanted was to be in the navy”*. Rule of writing for the “writers” of this show: big dramatic moment for Character A isn’t big dramatic moment if Character A isn’t a character. Even with a swell of music.

*(This is a paraphrasing. This episode was truly too awful to go back and catch the actual line. Suffice it to say, it was even more moronic than what I have written)

Lord of the Rings: The Rings of Power S1E4 Review “The Great Wave”‘. Wow, that’s a blog post title almost as long as the cast list of the aforesaid show. “Let’s have a whole bunch of characters / NPCs and make this show EPIC!” was surely what went on in the writers’ room. Apparently, according to showrunners J. D. Payne and Patrick McKay you can never have too much of a good thing. Nor of a bad thing. Speaking of which…

There’s a weird Monty Pythonesque vibe to Bloke-whose-name-we-don’t-know-nor-care-to-know who fancies Girl-who-I-think-is-the-daughter-of-the-guy, the one with the brother who’s on the boat. That one. Her. Weird, almost sitcom-ish stuff.

When Legolas 2 (as I’m calling him) copies Gimli 2’s (as I’m calling him) kids’ knocking game and opens up a secret chamber containing a priceless ore, my jaw-dropped — at the absurdity of it all. This segues nicely into…

Tonal shifts

…two thousand year old teenager Galadriel

Reviews slating Episodes 1 and 2 bemoaned strange and inappropriate tonal shifts between high drama and low comedy, a shifting of genres. I didn’t see that myself. But with this episode, I finally agree. Strange comedy moments that don’t gel with the overall vibe abound. Another major culprit is defiant two thousand year old teenager Galadriel. Nothing about her makes sense, and she seems to be in an alternate teen version of this show from a different universe.

Galadriel’s behaviour with the Queen Regent of Númenor, in particular, was totally unbelievable, and this show has got Goblins in it. More sitcommery interspliced into what is presumably intended to be a weighty epic. The parallels to Game of Thrones, given the GoT spin-off is going head-to-head with RoP, cannot be avoided. So imagine, if you may, the Red Wedding, followed by Galdariel’s hilaaaaaaaaaarious petulant attitude that winds her up in prison, comedy directoral cut included. Inappropriate tonal shifts.

Gimmicks

… Legolas 2 … Gimli 2 … Aragorn 2 … Probably-Gandalf …

Asides from being a kind-of woke rip-off of The Lord of the Rings — complete with Legolas 2, Gimli 2, troll fight, the Dark Lord’s comin’ ta getcha, Big Statue, Aragorn 2, Frodo-Sam-Merri-Pippin Hobbit mash-up characters, Probably-Gandalf — the show is also guilty of other gimmicks. My favourite is directorial.

The directorial trick of stuff spraying against the camera lens is being overdone. Remember that shot from Children of Men, that crazy long shot, where half way through the lens got sprayed? They had no choice but to carry on, as the shot was so long and complicated that they would have lost everything if they’d tried to go back. But that bit of splatter made the scene all the more graphic and disturbing. In LOTR:ROP their overuse of this trick — once per episode — is drawing attention to itself in a rather uncouth way.

No tension. Simple as.

showing us Sauron so soon…. giving us the money shot from a flaccid chub.

They show Adar’s face, the man who we presume is Sauron. Isn’t that a no-no? The fact that he was unseen in The Lord of the Rings made him scary all the way through. In the original Alien, you hardly see the alien, just snatches, and it makes it all the more horrific. And we all remember seeing Mr Blonde cutting off Marvin’s ear in Reservoir Dogs. Oh wait, no we don’t, it happened off-screen, yet that made it all the more graphic — indeed, many people, in a straight Mandela Effect twist, “remember” seeing it happen, such was the effectiveness of that non-show. So why have they blown it by showing us (probably) Sauron so soon? Giving us the money shot from a flaccid chub. Even if Adar isn’t Sauron, just as Probably-Gandalf may not actually be Gandalf, why is a main baddy being robbed of his shadowy nature this early?

The biggest problem with the show so far, and it was particularly highlighted in this episode, is we just don’t care. Sure, we know we have to stop Sauron because he’s evil, he won’t stop so we’ve got to stop him, or whatever. But there’s just not enough to care about. Galadriel, who could have gone to the western lands where she’ll never die, who is an elf and lives thousands of years, is talking to the leader of an a realm of humans that is an island kingdom way over the seas and totally isolated and safe, that these men and the elves need to join forces again to fight Sauron to stop the people of the Southlands, which is a human realm very, very far away, who I think joined with Morgoth — Sauron’s own lord — to fight against good, from being conquered… I mean, read that sentence back. Who cares? Where is the drama? What is the point? I’m enjoying the beautiful visuals, but whatever. In LOTR, Sauron was coming, he was coming for you, and it felt immediate, it affected everyone. But here, his coming is so distant, so far-off, so irrelevant to everyone else, that it’s hard to be bothered.

IN SUMMARY…

Bored of the Rings? Yes.

2/5

Lord of the Rings: The Rings of Power S1E1&2 Review “A Shadow of the Past” and “Adrift” #AmazonReview #LOTR #RingsofPower

Carefully constructed from the appendices, footnotes and old bits of crumpled-up post-it notes

What is LOTR:ROP?

It’s finally here, the series that nobody apart from Jeff Bezos asked for: The Lord of the Rings: The Rings of Power. LOTR:ROP tells the tale of the second age of Middle Earth, some thousands of years before the events portrayed in the Lord of the Rings. Carefully constructed from the appendices, footnotes and old bits of crumpled-up post-it notes from Tolkien’s rubbish bin, LOTR:ROP will take us back to experience the world of J. R. R. Tolkien once more, a world of good versus evil, dragons and treasure, duty and honour, and prosthetic ears.

Having spent one billion dollars on this show — a sum large enough to make one thousand people millionaires, or one person, me, a billionaire — Amazon really is going all in on this intellectual property. This innovative company with a proven track record, and a story based on a world created by one of the greatest figures of British literature, means hopes are high for this series.

Episodes one and two came out at the same time, so let’s delve into both together. The raison d’être of this blog is short form reviews. But hey, LOTR is epic, right? And judging from recent productions, “epic” means “long”, so here are my words splurged manically over your screen.

So Far, So Familiar

They seem to be trying to do a Star Wars Episode VII job on this. Kind of following the basic outline of the original, LOTR, with enough nostalgia thrown in to keep people hooked. We have Galdriel, we have Legolas 2, we have the Hobbits (kind of), we have a dark lord, we have a looming danger, and we have juicy maps. My concern with this show is they might follow the path of Star Wars episodes 7-9 which, although not awful, perhaps do not spiritually live up to their predecessors. But we have to see if this is a case of respectful homage or memberberries as the series develops.

Hobbits

Remember the Lord of the Rings? Remember how we had the Hobbits who epitomised a nostalgic olde timey rural England where things were simpler but life was better? Remember how duty and burden fell on one of these wee folk, and how in the hobbits we had the everyman characters through which to experience and connect with this fantastic world of wizards, dragons, elves and orcs? Yeah, well that’s all been replaced with a kind of gypsy tramp version of the Hobbits, now restyled the Harfoots, who caravan their way through the woods, just because. Instead of being our window to the world, these Harfoots seem to function as a kind of bumbling comedy relief. So I’m not sure what the point of them is other than to say, “Hey, remember the hobbits? Nostalgicus Rememborius! Poof!

The Harfoots feature a Ghostbusters style all-female reboot. Whereas before we had Frodo, Sam, Merry, and Pippin, now we have a kind of comedy mash-up of the original fab four boiled down to a twosome: Fat Hobbit, who looks just like Dawn French in the wonderful French and Saunders LOTR spoof, and Female Frodo (minus the burden of the ring), who herself looks eerily like Jennifer Saunders. Perhaps the presence of French’s ex-hubbie Sir Lenny Henry as Chief Harfoot (can’t remember his, or any character’s, name) is tripping my mind out. As an aside, and speaking of resemblances, the elven master smith, Celebrimbor, bears more than a passing resemblance to Monty Python member Sir Michael Palin, and I just can’t get this out of my head. I feel at times like I’m stuck in some kind of new version of Erik the Viking.

In short (no pun), I worry that the showrunners are going to push the Harfoots in an Ewoks / JarJar Binks direction.

OTT

One of the great things about Tolkien was his excellent command of the English language and the poetic beauty of his prose. So LOTR:ROP has taken the novel approach of, err, ignoring Tolkien’s own words. Some of the lines are way of the top and completely trite. They “march at first light”, of course. And then there’s, “You don’t know what’s down there!” –“That” (pregnant pause) “is why I must go”. So far, so fanfic.

It’s not just the dialogue which is over-the-top. Some of the action and special effects are ridiculous. Remember when people complained that in LOTR Legolas was almost like a computer game character, spinning and twirling about? Yeah, okay, well bring Legolas’ willing-suspension-of-disbelief testing agility back, because the way Galadriel dispatches a troll like a video game character, and the way the useless white men by contrast flail around, is just too much. Absolutely ridiculous.

Lord of the Woke

I don’t want to touch this toxic subject, not least because I risk sounding a bit Klan-ish. But it’s been a big talking point, so I have to.

Lord of the Rings: Rings of Power is going out of its way to be woke. And that isn’t a compliment. All the main characters are female and/or ethnic minority. All the white males seem to be dysfunctional idiots. Every marriage is mixed race. In fairness, Tolkien himself said the Harfoots were darker than the Hobbits, although I’m not sure he had Sir Lenny Henry in mind. But anyway, there’s nothing per se wrong with any of this. However, the producers have been inclusive in a way that draws attention to itself, and therefore at the expense of the immersion of the world they’re creating. And that is unforgivable.

This series will be compared to Game of Thrones, so let’s just get down to it. GoT was multiracial and featured many important female characters. But it never felt shoehorned in or for the sake of ticking boxes. It was completely natural. The people in the North were broadly ethnically similar, those from Dorn had a kind of Latin and/or Mediterranean vibe about them. The various races all mixed together in a natural way and in appropriate locations. It all just made sense.

By way of contrast, LOTR:ROP has the strange primitive isolated Harfoots who, for some reason, live in a multiracial society, where some folks speak Zummerzet, others Irish, and others still Jamaican — often the same character will sport all three accents within a sentence. This just makes no sense whatsoever and draws attention to itself. And it’s weird that in this multiracial society, there seems to be no interracial marriage; all the whiteys stick together, and all the non-whites stick together. None of it makes any sense.

But at least LOTR:ROP deals with racism through its world-building genius, where white men refer to non-white and or non-male elves, as “dagger ears”. Ooch.

The Good

There are some plus sides. They’ve done reasonably well introducing us to a wide range of characters fairly quickly. Although maybe they should have followed Tolkien a bit better by introducing them over time. They do set up a lot of stuff very quickly, albeit with a lot of exposition. But this is handled mostly effectively.

The visuals are excellent, and there seems to be a kind-of return to the aesthetic of the LOTR films and away from the overly CGI design of the Hobbit. And that’s very much welcome. The show does look gorgeous, for the most part.

The acting isn’t blowing me away, but it’s not bad. I’ll be interested to see if these relatively unknown thesps are able to deliver a heavy emotional payload later in the show as legends such as Sir Ian McKellan could in the LOTR movies.

Final Thoughts

On the whole, LOTR:ROP isn’t overly exciting me. It’s not what everyone hoped it would be, but it’s not what everyone feared it would be, either. I think some of the harsh reviews so far have been a little bit unjustified. Sometimes I don’t know if reviewers believe what they say or they are simply in love with the sound of their own witty barbs (case in point, Christopher Stevens from the Mail). We need to give this series space to see what it can grow into.

As for the storyline, before firing up Prime, I was concerned. It’s because LOTR:ROP isn’t based on a story, so much as it is based on a series of appendices and footnotes and backstories that Tolkien deliberately left out of his novels as he knew it would all get in the way. It’s like when an artist comes out with an album comprised of the offcuts of a previous album, but tries to sell it as an original work. We were on dangerous ground.

So given this isn’t an adaption of a Tolkien story like LOTR or the Hobbit were, I had fears about what the story was to be. Nonetheless, so far everything seems pretty clear: there’s some kind of dark lord, he’s comin’ ta getcha, and the powers that be are blithely and blindly ignoring the imminent threat — the elves being particularly culpable, having declared “mission accomplished” and buggering back off to their vineyards. Kind of riffing/ripping off LOTR, but you could say that is a tried and tested formula.

In Summary

Enjoyable, but nothing amazing. And we can’t use the yardstick of Tolkien’s magnificent work or the wonderful Jackson-Boyens-Walsh films to judge this by; we must judge it by its own standard. Nonetheless, more evidence must come in before the jury can render a verdict.

3/5

© 2022 Bryan A. J. Parry

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“Choose or Die” (2022) #100WordReview #NetflixReview

Think “Horror Jumanji”

After starting up a previously undiscovered survival horror video game from the mid-80s, “Curs<r”, a young programmer’s world is torn apart as the game unleashes real world horror. Think “Horror Jumanji” or “Ring + Saw”.

Choose or Die is the feature debut from British director Toby Meakins, and stars young and old British talent such as Iola Evans, Asa Butterfield, Eddie Marsan and, err, Robert England Englund (well, he did go to RADA).

The film is tense, genuinely horrifying, and one of the trials is truly disturbing. It’s a bit different, but nothing revolutionary. There are some weaknesses in the plot and acting.

A strong and enjoyable horror flick.

3/5

© 2022 Bryan A. J. Parry

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“Game of Thrones” is Worse than Crack (Flashback)

gameofthrones5

I’m talking synergy, people!!

With the release of Episode 1 of House of the Dragon, the Game of Thrones spin-off prequel series, I thought I would dip into the archives and repost an oldie from way back when. Will House of the Dragon have the same effect on me as Game of Thrones did?

Game of Thrones Season 5 only finished a month ago. Yet I am in withdrawal. No hyperbole. My belly is in knots, I can’t sleep at night, I’m even more pale and clammy than usual. I want Season 6 so badly, it physically hurts; I may even be developing an ulcer.

And it’s still almost a whole year to wait until Season 6. How am I going to survive for a year!?

But a thought just squelched its way into my GoT-starved mind.

There are fifty episodes so far. There are fifty-two weeks in a year…

I’m talking synergy, people!!

*dances to couch humming the theme tune*

© 2015, 2022 Bryan A. J. Parry

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The Promise (2016) #NetflixReview #ArmenianGenocide

shines a spotlight on this awful chapter

Set during the sunset of the Ottoman Empire, The Promise tells the true story of the awful and sadly forgotten Armenian Genocide, where 1.5 million people were brutally slaughtered by the Ottoman and Turkish authorities because of their ethnicity. This is a genocide which, amazingly, the Turkish authorities still bold-facedly deny; therefore, this is an important story that needs to be told.

The film follows a love triangle between an American journalist (Christian Bale), an Armenian artist (Charlotte le Bon), and an Armenian medical student (Oscar Isaac). As the Empire enters the First World War, our trio’s charmed existence spirals into the depths of nightmare.

By focusing on this love triangle, does The Promise belittle or demean the awful genocide by turning the film into a soppy wartime romance? Absolutely not. Rather, we become invested in the Armenian people and their plight directly through our affection for our leads. It allows us to explore the Turkish and Armenian society of the time, and the place of religion and culture.

The acting is first rate. Christian Bale is well-known as one of the most versatile, brilliant, and committed actors of his generation. Oscar Isaac is less well-known to the general public, but his performance here can leave no doubt in anyone’s minds as to his phenomenal talent.

This film wonderfully shines a spotlight on this awful chapter in human history which the Turkish government still refuses to acknowledge.

4/5

© 2020-2022 Bryan A. J. Parry

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Madagascar: Escape 2 Africa RE-view #NetflixReview #Madagascar

literally Lion King retold … but Shrekified

check out the RE-view of Madagascar here

Madagascar: Escape 2 Africa picks up where Madagascar left off: with our cadre of lovable animal friends trying to escape Madagascar where they were washed up in the original film, Robinson Crusoe style. In a penguin-piloted plane back to New York — what could go wrong? Well, a lot — surprisingly. Short story shorter: they crash land in Africa.

Madagascar 2 takes the charm and the likable characters of the first movie but rounds them out by giving a deep backstory to our fully three dimensional characters (ahem). Yes, we find out the origins of our main protagonist Alex the Lion. Madagascar 2 also bounces along fine, but I couldn’t help but feel that in order to avoid totally rehashing the plot of the first movie as so often happens in light-hearted comedies (Family Affair 1 and 2, Harold and Kumar 1 and 2, Ace Ventura 1 and 2, and so on), the writers decided to shamefacedly go down the plagiarism route: this story is literally Lion King retold with the Madagascar characters but pushed in a slightly Shrekified direction.

There’s the odd cultural reference, as in Madagascar, but thankfully these are few and far between. The jokes are actually jokes, not references.

Unoriginal it may be, and definitely the inferior Dreamworks computer animated franchise of the noughties (Shrek is the undoubted king whose sheen has not been dimmed by the passing of time), it is none-the-less entertaining. Likable characters, a simple story well-told, Madagascar: Escape 2 Africa is an entertaining way to waste ninety minutes (yeah, it’s a waste — you’re not learning anything here, and there’s nothing philosophical to unwrap).

3/5

© 2022 Bryan A. J. Parry

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Film Review “The Unforgivable” (2021) #NeflixReview

she struggles to reintegrate into a society which refuses to forgive

A young woman (Sandra Bullock) gets sentenced to a long stretch in prison for committing a serious crime, but she struggles to reintegrate into a society which refuses to forgive her past sins.

“Do the crime, do the time”, the idea being that when you get out, you are free to start your life again. But what if the time wasn’t enough to pay off the crime? What if you got off lightly? Wouldn’t you deserve to have your life ruined? The Unforgivable explores the nature of forgiveness and freedom.

We are in no doubt that Sandra Bullock’s life was freer on the inside. Outside she has to regularly check in with her parole officer, she has huge restrictions placed on her life by the State, she has to guard the secret of her past transgressions or face the consequences. But no matter how she tries to get on with it, people will not let the past lie.

There are moments in this film where we can see the powerful acting chops that earned Bullock her Oscar in the magnificent The Blind Side. We never feel the film is bombarding her gratuitously for dramatic effect nor are we made to feel that she was okay to do what she did. No, but we do wholly sympathise with a woman who made a fatal mistake and is simply not allowed to survive.

A wonderful and believable movie. Completely compelling.

4/5

© 2021 Bryan A. J. Parry

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Genres: “Whydunnit” #howdunnit #whodunnit #howdunnit

A whydunnit is like a “whodunnit“, but where we already know the culprit from the get-go — either because we see it happen at the beginning like in Columbo, or because it’s pretty obvious — but where the fun of the film is to see why, exactly, (s)he dunnit.

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© 2021-2022 Bryan A. J. Parry

Madagascar (2005) RE-view #NetflixReview #Madagascar

… neurotic weed (voiced by an American Jew), and the fat chunky one (voiced by a black person) … racist

Madagascar is a fish-out-of-water tale of a group of zoo animal friends — hippo, giraffe, zebra and, err, lion (they’re from a zoo, they don’t know any better!) — who find themselves stranded on a distant island (no prizes for guessing which one). Can they survive in the wild, and will the jungle threaten to break their relationship as their true animal natures begin to assert themselves? Well, it’s a kids’ film, so no surprises.

Madagascar is a charming film with some lovable albeit unoriginal characters: cool leader (voiced by a white, all-American guy), wise-cracking donkey sorry zebra sidekick voiced by a leading black American stand-up, neurotic weed (voiced by an American Jew), and the fat chunky one (voiced by a black person). Oh, and there’s Sacha Baron Cohen doing a possibly racist generic foreigner voice, again.

But we can’t judge this 2005 flick by today’s somewhat different social mores. The fact that Ross Geller, Sorry David Schwimmer, is part of the leading cast should date this film considerably (no prizes for guessing which of our foursome he is — and no offence to Schwimmer, he is a genuinely talented performer, but let’s be honest — he hasn’t exactly been flush for film roles in the last decade or so, has he?). So how is it as a film?

It’s good. It’s still good. The characters have a balanced relationship between them. There are some great set pieces. There’s the whole emotional journey thing. There’s a friendship hanging in the balance. There’s the odd cultural reference; not too many to charge the writers with laziness, as most of the gags are gags are not “I-know-what-he-is-referencing-!-lol” so-called gags which blight much of the world of comedy these days.

Is it inferior to Ice Age and Shrek? Well, yes. It always was. But it’s a good way to waste ninety minutes.

© 2022 Bryan A. J. Parry

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