Directed by Karey Kirkpatrick and Jason Reisig
Starring – Channing Tatum, James Corden, Zendaya
The Plot – A yeti named Migo (Tatum) is convinced that a human known only as “Small Foot” is real and has to prove to his tribe that it does exist with the help of Meechee (Zendaya) and the S.E.S – Smallfoot Evidentiary Society.
Rated PG for some action, rude humor, and thematic elements
– Infectious vocal work from this talented ensemble cast. Tatum is wonderous as Migo, the perfect childhood protagonist to immerse yourself in. Through a barrage of musical numbers and jolting vocal reactions, his range is as wide and set for the animated stage as ever. Also brilliant is the work of Zendaya and Common as two voices who couldn’t be more perfectly articulated for the visual traits and designs of their character. Common in particular hones his craft with respectable authority, carving out a leader who is every bit intimidating as he is assertive, and Zendaya’s Meechee is the voice of reason for the two sides within this village who seek factual evidence.
– Much of the comedic humor was on and off for me, in that the dialogue material felt very juvenile, while the sight gags reigned supreme at pulling out a laugh or two from me. The editing is crisp in working side-by-side with this shock style of animation, allowing Migo to take bodily harm for our delight in a way that is entertaining above brutally violent.
– The message within. Animation films cannot simply come and go without harboring a greater sense of purpose, and ‘Smallfoot’s’ heart and self-clarity message to challenge the status quo burns through the chilly mountainside that we feel with each passing breath. This allows the film to succeed as a family film, but above all else one that teaches our youths to seek answers for themselves, and never rely on someone else’s narrative to light the way.
– Breaks the fourth wall of animated films by attacking the language barrier between human and species. To be honest, this angle could’ve been explored remotely more in depth, but I commend a movie greatly for pursuing some of the aspects of kids movies that have always bothered me, with the perfectly spoken English by animals at the top of the list. In depiction, it’s refreshing to see two different sides who don’t understand each other, and have to communicate that message of unity with translated body language to bridge the gap.
– No antagonist? Well sort of. ‘Smallfoot’ doesn’t have a character with an evil vendetta, instead using its conflict for the clouded state of judgement that acts as a slow-burn poison through the ignorant, particularly that of Common’s Stonekeeper character. What’s refreshing about this is it only proves that kids movies can branch out and clear the hurdles of conventionalism that render their movies predictable by familiar, overdone movements. The enemy is in what they irresponsibly choose to believe, keeping them on the opposite side of progressive ideals that literally limits their culture.
– Surprising musical genre influence. In watching the few trailers for this film, I never got the sense that song was a major part of the film’s surroundings, but almost right away we’re treated to character spotlights that do a great deed to the unfolding narrative. The songs aren’t anything amazing or of noteworthy praise, but they proceed the plot in much quicker ways than the film’s exposition ever does, giving us the kind of wisdom in lyrics that song writers can only dream of.
– Poignantly progressive third act that perfectly sets the stage for the many battles that future generations will inevitably face. Now more than ever, our relationship with the media, police, and even with our politics feels challenged, and Kirkpatrick’s focused direction unapologetically invites audiences in offering many great conversation starters after the film, that will enhance its lasting power. One image in particular during a stand-off between two sides is literally pulled from our own rising tensions, and offers a subtle reminder at what we demean ourselves from when information becomes taxing.
– Uninspired animation. While the backdrops worked in what little focus we dedicated to them, the film unfortunately never excels at radiating the beauty of its chilling atmosphere. Even worse, the variety of character appearances and overall designs feel outdated, reminding us of films like ‘Monsters Inc’ or ‘Hotel Transylvania’ that never challenge the tracing eye of a skilled animator. When Pixar is doing great things with water and even body hair movements, there’s simply no excuse for artistic limitations.
– Too many characters, not enough variety. The seeds of repetition are sowed even early on in the film, when different characters begin repeating similar lines to what we’ve already learned in a previous scene. The problem with casting such a recognizable and accomplished cast is that you must give them reasons for their existence, and while the majority of performances exceed in emotional deliveries what the script tries so desperately to diminish, the importance of their inclusion never feels warranted. For my money, I could’ve used a more intimate tribe within this Yeti community, allowing the material to last a little longer.
– Ending twist makes no sense. MINOR SPOILERS AHEAD. There’s a scene involving a character creating a ploy for his friends to get him away from trailing authorities, and this character pulls this massive suit out of nowhere to fool them. Where did he get the suit? Where did he keep the suit? How does the masks movements move so real when it’s a suit? How does he operate the suit, considering it’s easily eight times his size? Who cares though, because it’s a kids movie, right?