Bibo Bergeron
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The Godfather (1972)
Directed by Francis Ford Coppola
influenced Shark Tale (2004)
Themes Music Plot
That, at least, means the movie has a broader audience appeal than the general animated film (and a lot of the references to films like "The Godfather" certainly back up that notion).
"Shark Tale's" most inspired joke casts the sharks who menace that world as the equivalent of gangsters, complete with all the trappings of the mob as depicted in "The Godfather," "Goodfellas," "Scarface" and "The Sopranos."
Well integrated 1970s musical selections can make a film pop, but "Shark Tale's" use of the theme from "The Godfather," "Car Wash" and "Movin' On Up" merely make it feel dated.
Adults will relish the send-up of "The Godfather" films, "GoodFellas" and "The Sopranos."
Shark Tale is as much a "rip-off" of Finding Nemo as Goodfellas was of The Godfather.
This film, under the freshman directing team of animators Bibo Bergeron and Will Finn, and visual effects specialist Don Paul (Pocahontas, The Prince Of Egypt), immerses the viewer with vivid color and awe-inspiring artwork from the first frame.
Using "Pocahontas" as a template to begin the adventure -- and completely side-stepping the fact that Spain's arrival in Mexico brought mostly misery to the natives -- directors Don Paul and Eric "Bibo" Bergeron (who both jumped ship from Disney) manage to weave an adventure that inspires ear-to-ear grins, even if it's not terribly original.
Tulio (voiced by Kevin Kline) and Miguel (Kenneth Branagh), the bantering cronies in the animated adventure-comedy The Road to El Dorado, are sort of like Bob Hope and Bing Crosby in ''Road to Rio.''
Screenwriter Michael J. Wilson ("Ice Age") trots out unfunny film references ("Jerry Maguire") and rehashed plot lines ("Trading Places," "Nemo") with deadening results.
But a merely adequate effort is somewhat disappointing coming from DreamWorks, the studio that had so spectacularly redefined the barriers of feature animation with their 1998 epic The Prince of Egypt .
It's not as quirky as " Antz " or as grown up as " The Prince Of Egypt " but as silly fun it does nicely, and no wonder: Its directors are Disney veterans, and the soundtrack includes such effective cartoon voices as Kevin Kline , Kenneth Branagh , Armand Assante , Edward James Olmos and the unsinkable Rosie Perez .
This film, under the freshman directing team of animators Bibo Bergeron and Will Finn, and visual effects specialist Don Paul (Pocahontas, The Prince Of Egypt), immerses the viewer with vivid color and awe-inspiring artwork from the first frame.
Given the massive level of hype generated by DreamWorks Studios for its previous animated features, Antz and The Prince of Egypt, the relative lack of buzz for its latest venture, The Road to El Dorado, is more than a little suspicious.
The images are pretty, but lack the breathtaking awe of Tarzan or The Prince of Egypt.
The Man Who Would Be King (1975)
Directed by John Huston
influenced The Road to El Dorado (2000)
Plot
There's more than a touch of "The Man Who Would Be King" here, but it's not so heavy and dramatic as to lose the younger audience.
The script follows a loose pattern set by both the Road films and John Huston's The Man Who Would Be King, but the trappings are all Disney.
As another critic once remarked about Shark Tale, this movie has lots and lots of plot, and lots of gags to go with each new plot twist, but it's difficult at times to figure out what the story is.
Much like 2004’s Shark Tale, Flushed Away has too many references that kids simply won’t get, including tips of the hat to old school Batman and singer Tom Jones.
Last year's Curse of the Were-Rabbit was one of this critic's favorite films, but the folks at Aardman seem to have aligned themselves with a project more on par with Shark Tale when it comes to creativity and uniqueness this time around.
, the Hollywood studio behind "Shrek," "Shark Tale," and "Madagascar."
It’s akin to the undersea Times Square of Shark Tale , except that Shark Tale, while it obviously had real fish, lacked the fish-out-of-water dynamic that Roddy provides.
The Dorothy Lamour role is filled by Rosie Perez, who gives her voice and spunky nature to Chel, a sexy El Dorado native who can out-con the con artists.
Boasting more attitude than Pocahontas and less insight, El Dorado is a hip entertainment (for adults as well as kids) that doesn't quite rise to the classic level of Beauty and the Beast or Pocahontas or Hercules.
The ads proclaim "From the makers of Shrek and Shark Tale" and that sales pitch tells you pretty much what you can expect: a slick, mildly entertaining animation from DreamWorks that is short on story, long on one-liners and venerable pop culture references, a film of celebrity voices, musical set-pieces and occasional bursts of visual inventiveness that feels as if it has been created from an animator's template.
Somewhere between the fairy tale abuse of Shrek and the retro pop culture of Shark Tale lies the happy medium of Madagascar.
And considering that "Madagascar" is the next CG family comedy from DreamWorks, after the aggressively unpleasant "Shark Tale," the question takes on a little more relevance.
The silly, good-natured "Madagascar" is a significant improvement over DreamWorks' previous animated effort, "Shark Tale."
Shark Tale , Bee Movie , Over the Hedge , the Madagascar pictures and the Shrek films are OK movies with OK animation, but there's a certain charm missing from them that's ever-present in Pixar's work, and even some of Sony and Fox's animated titles (though many films at these two studios are genuinely awful).
You’ll get Finding Nemo and Shark Tale references, DJ’s (Page Kennedy) “Maybe let’s not hunt the massive Megalodon?”
But the other characters are hit or miss — the sloths working at the DMV allow for a sequence that’s a paean to comic timing, but a mob boss voiced by Maurice LaMarche as a Godfather reference feels cheap, an easy, Shark Tale-level joke wedged into a movie that’s supposed to be better than that.
The musical numbers are a mix of re-worked pop hits dating from the sixties to the nineties (parents will catch tunes originally done by Kool and the Gang, Simon and Garfunkel, Earth, Wind and Fire and Gorillaz) and new songs written by Timberlake (who previously contributed songs to Happy Feet 2 and Shark Tale) and others.
The journey is the thing in a setup like this, which is eerily reminiscent of DreamWorks’ excellent, supremely underrated The Road to El Dorado in both wit and the fluid animation, and Greno, Howard and Fogelman deliver at every turn.
The Universal release, directed by Sam Fell (Flushed Away) and Robert Stevenhagen (animator on The Road to El Dorado) from a screenplay by writer Gary Ross (Pleasantville) adapted from the children's novel by Kate DiCamillo, certainly bears a superficial resemblance to Ratatouille, but it's a better film in several ways.
The Tale of Despereaux (2008)
Directed by Robert Stevenhagen
influenced by The Road to El Dorado (2000)
Plot
The Universal release, directed by Sam Fell (Flushed Away) and Robert Stevenhagen (animator on The Road to El Dorado) from a screenplay by writer Gary Ross (Pleasantville) adapted from the children's novel by Kate DiCamillo, certainly bears a superficial resemblance to Ratatouille, but it's a better film in several ways.
In 1998, DreamWorks animation and Disney-distributed Pixar released competing movies set in an anthill, both centered on a misfit ant with a special relationship with the ant princess (Antz and A Bug’s Life).
Back in 1998, animation studios Pixar (Toy Story, Monsters Inc) and Dreamworks ( Shrek) went head to head with rival insect pics Antz and A Bug's Life, with Pixar eventually declared the winner in terms of critical acclaim and box office (although, to all right thinking people, Antz was a lot funnier).
They're also a little like Mel Gibson and Danny Glover on a ''Lethal Weapon'' outing, Butch Cassidy and the Sundance Kid, Timon and Pumbaa, or countless other second-banana comedy duos who work the crowd before and after the hero sings a tenor aria in Disney musicals.
"Rise of the Guardians" is the directorial debut of storyboard artist Peter Ramsey (2004's " Shark Tale "), believe it or not the first black filmmaker to ever helm a major computer-animated feature.
To be fair, Dreamworks Animation's first few productions, including Antz, sought to lay the groundwork as a worthy competitor with a target audience that was a bit older than Disney, though younger than Pixar as it was establishing its artistic identity: The Prince of Egypt, The Road to El Dorado and Chicken Run suggested a more ambitious agenda.