Dir. Carlos Saldanha
Do CEOs of huge conglomerated companies simply not have any children? If they do, what do you suppose they go to when they take their kids to the movies? They surely can’t take them to the standard Hollywood animated kids’ flick: Almost universally, huge, autonomous corporations are the catalyst for everything that goes wrong in the characters’ lives. Consider: In WALL-E, we had the diabolical Buy N Large Corp.; in The Lorax, it was the now-regretful Once-ler and his family’s corporation; and in Coudy With a Chance of Meatballs 2 the culprit (as usual) was Live Corp. Not saying we should shed any tears for these people — I mean, with their annual take home and bonuses, they could probably just film their own animated specials if they so chose — but it’s got to be difficult to take the kids to a Saturday matinee and have them cheering for the giant, evil corporation to go down in flames before the first box of Sour Patch kids has even been opened.
This film, the inevitable follow-up to the mildly amusing original, involving a squadron of extremely rare blue Macaws facing off against an illegal logging operation in the Amazon rainforest, is hardly an exception (though at least the evil concern here appears to be run by a single wealthy man and not a huge company of suits). After all, if any child does even a modicum of research online about stripping the Amazon, they will quickly find out the names of the faceless multi-national conglomerates behind the real razing of the forest.
As far as the film is concerned, we start several years after domesticated Macaw Blu (Jesse Eisenberg) has found Jewel (Anne Hathaway), the love of his life, in Rio. They have started a family with three hatchlings, one young female who is wise and practical, one wild male who loves practical jokes, and one teen (?) female who finds everything lame. As the film begins, Blu’s former owners, the naturalists Tulio (Rodrigo Santoro) and Linda (Leslie Mann), accidentally discover a flock of the ultra rare blue macaws deep in the jungle, the very same jungle that an evil oligarch (Miguel Ferrer), is presiding over his illegal logging operation.
You can pretty much see where this is headed: Jewel prompts Blu, their family, and ultimately several of their friends, including Pedro (Will i Am) and Nico (Jamie Foxx) to head to the jungle in order to meet with this strange new flock. It turns out, this flock is lead by Jewel’s father, (Andy Garcia), long separated from his daughter by some previous altercation with human beings. As a result, he’s distrustful of them, which flies directly in the fact of Blu’s willful domesticity (he insists on carrying around a fanny pack filled with human entrapments such as breath mints, tooth paste, a GPS and a swiss-army knife). Meanwhile, just to complicate things further, Blu’s arch enemy, the dulcet toned Nigel (Jermaine Clement), reduced to flightlessness in the previous film, tracks down his adversary in the jungle along with his friend, Gabi (Kristen Chenoweth), a poisonous frog who is madly in love with him, seeking hearty revenge.
The film never much rises above the bare minimum of what is expected out of it: There are lots of the same sorts of jokes floating around, mostly concerning Blu’s neurotic ineptness when it comes to living in the wild, and nearly every character that got play in the original is dutifully rolled out to get their quick laugh-lines, but the whole enterprise feels less than inspired. It could be the plotting, which is all too quick to get to the point without adding any truly unexpected element; it could also be that writer Yoni Brenner, working from a story by Don Rhymer and director Carlos Saldanha simply didn’t have all that much else to say about the characters than what was already covered in the original. It’s not without its minor charms (the colorful animation sequences are easy to take for granted in this day and age, but there are still some shots set in the Amazon that are visually pretty stunning), but it never bothers to expand on anything beyond it’s previous scope, other than to add the three fairly banal kids into the mix.
In place of real inspiration, then, the writers have resorted to a heavy-handed moral approach with the material. Don’t get me wrong, as a concerned environmentalist, I’m happy to have more propaganda decrying the destroying of the rain forest for kids to have to ponder, but it feels a good deal less impassioned than a necessary cog in order to turn the plot crankwheel a few more revolutions.
To test the theory, I asked my daughter and her friend, the two adorable 8-year-olds I brought with me to the press screening, to tell me what the lesson of the film might have been. My daughter was unsure what I meant by “lesson” (which maybe suggests something about me as a parent), but her friend thought for a few seconds and then suddenly brightened: “That everybody gets along?” she said. Back to the drawing board, enviro-friendly screenwriters.