While How To Train Your Dragon serves as a lot of people’s
evidence that Dreamworks is far better than we give them credit for, the Kung Fu
Panda films are also an example of the studio at their best. Admittedly, the
entire franchise started on a rather ill-fitting note by casting Jack Black as
the main character, and sure his mannerisms were quite grating to start out
with, but it had a sense of excitement and fun that a lot of other recent
family films were lacking. The animation was high-energy and very well-crafted,
leading to probably some of the best fight scenes of any film series of the last several years, the acting was top-notch
with an all-star cast that contained some real martial arts legends like Jackie
Chan and Jean-Claude Van Damme. Oh, and the writing took the standard “be
yourself” theme of a lot of family-friendly fare and executed it so well that
it managed to break the mould of its kind and surpass the genre clichés. You
can imagine, with a pedigree like this, that this third film would have some
rather high expectations. For reasons I will get into with the review proper, I
was really not looking forward to this. But hey, after the weaksauce family
offerings of the last long while, I’m still positive that this will be a decent
watch. How decent is the question,
though.
Given how the advertising for this film made this element
fairly obvious, and the sooner I get it out of the way the less likely I am to
start making Mists Of Pandaria jokes, we might as well start off the most
prominent thing about this film: The pandas.
Now, as is usual for an awful lot of Jack Black-starring roles, his portrayal
of Po did take a little while to get used to. Hell, even in this film after so
much familiarity with the role, his fanboy dude-isms can still be a bit much at
times. So, in keeping with a long running history of thought when it comes to
popular comic relief characters (which, let’s face, Po still is despite all
that has happened to him), the filmmakers decided to multiply him in an attempt
to multiply the funny.
The core problem with that idea is that it is one of the single dumbest moves for any production to take. It continues the mishandled notion that just because one character is funny, then that means we’ll perfectly fine with dozens and dozens of them, and it is here that Po’s initial character irritants come back by the truckload. Up until a very brushed-aside plot twist that most should be able to see coming a mile off, Po (and in turn, the audience) is meant to find comfort in the fact that Po found his own people at last. This would be fine if they didn’t unload all of their obnoxiousness at once, making roughly a quarter of the film a bit of a pain to sit through. I’d call it too much of a good thing, except they seem to only embody the bad things about the character; such is the case with most films who try this idea.
The core problem with that idea is that it is one of the single dumbest moves for any production to take. It continues the mishandled notion that just because one character is funny, then that means we’ll perfectly fine with dozens and dozens of them, and it is here that Po’s initial character irritants come back by the truckload. Up until a very brushed-aside plot twist that most should be able to see coming a mile off, Po (and in turn, the audience) is meant to find comfort in the fact that Po found his own people at last. This would be fine if they didn’t unload all of their obnoxiousness at once, making roughly a quarter of the film a bit of a pain to sit through. I’d call it too much of a good thing, except they seem to only embody the bad things about the character; such is the case with most films who try this idea.
After seeing how well the last two films handled their
characters, gotta admit, this is a real let-down. The fact that Po is still
spinning his wheels in terms of ‘who he truly is’ is manageable because personal
identity is kind of a big cog in the series’ machine. No, I’m more referring to
the fact that, of the characters that return for this film, he is literally the
only one who is given anything to do. Second to him is Tigress, and even then
she mainly gets reduced to a baby panda’s plaything in more ways than one.
Before you take that statement in the wrong light, kindly remember this is a
PG-rated film not written by hacks; you’ll understand if you watch the film.
Other than those two, everyone else is basically reduced to one or two lines of
dialogue and made into even bigger damsels in distress than they already were
in the second film. Well, everyone else save for Mr. Ping, whose initial
parental overbearing reaches near-My Big Fat Greek Wedding levels. It probably
doesn’t help that the entire subplot involving him, Po and Li Shan completely
negates the ending of the second film with where it left Po and Ping’s
relationship. That said, weirdly enough, I really
liked how they handled the whole two fathers aspect and the conclusion that its
reaches; seriously, after the still-lingering nightmare of Daddy’s Home, it’s
nice seeing a film with actual brains at work.
But let’s get to the worst example of character handling in
this film, and overall the biggest issue with the film as a whole: Kai. Now,
don’t get me wrong, Simmons’ acting is perfectly fine. Hell, even with how
their characters get muddled in areas, all the acting still holds up to the
series standard. I especially liked Cranston in his paternal role, but then
again I expected good from a guy who actually has a seldom-known history of
voice acting. If you’ve ever watched the original Mighty Morphin’ Power
Rangers, you’ve heard this guy do voice work at some point. But anyway, getting
back on topic, Kai just doesn’t have the push to him that made Tai Lung and
Lord Shen work so well. Tai Lung might be one of the most complex antagonists
I’ve seen in any family film, and
while Shen didn’t have quite the same nurtured background to build him up, his
own backstory combined with his almost Greek tragedy-level hubris made him work
as well. That, and Gary Oldman is always good as the villain. Kai has some
traces of drive when it comes how he is remembered, but otherwise he lacks of a
lot of narrative power to balance out his physical power. And while we’re
talking about physical power, and seeing as how I’ve already brought the Greeks
into this, I can’t be the only one who was thinking Kratos when this guy first
appeared.
Much like with Hotel Transylvania, the Kung Fu Panda films
so far have been great showcases for very skilled and energetic CGI. Except
where Hotel Transylvania was all manic and Tex Avery, these films operated a
lot like Po himself: A lot more graceful than you’d give it credit for. Not
only that, the art style might well be one of the most striking of just about
any franchise film of late with how it keeps finding new ways to bend
traditional line animation around the computer animation. Also much like Hotel
Transylvania, this latest instalment doesn’t have quite the same punch to it
that it used to. The fight scenes are still good and Po’s extremely rubbery
face is intact, but this feels like a lot more work was put into the editing
than to the animation. Rather than trying to craft large, sweeping frames, this
film does a lot of segmenting and splintering of the frame into different
sections during quite a few of the fight scenes. It’s really just a stylistic
change-up and it isn’t inherently bad; it’s just that there is definitely
something lost without that sense of scope that was previously shown.
All in all, even with all of its issues, this was still an
entertaining watch. The acting is still stellar, the animation may be more
toned down but it’s still showing the high quality that Dreamworks should be better known for, and the way
the story builds on the previous instalments honestly makes this a nice closer
to the trilogy. If they end up making more of these films, I’m not opposed to
the idea; I just hope that they find a stronger foundation than the one they
went with this time.
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