So that was the main thing." "And then the other thing I went to was the original shorts," he added. We wanted to be sure that we always kept these two existences, as you might say, separate and let them have their own set of rules. "I must admit, in the world we were trying to create, which many hybrids haven't done recently, which is to try to recreate the 2D animation with 'the human world' or 'the real world,' and that's exactly what we were trying to do. It’s also very easy to digest - whether or not it does lasting damage to your insides is another matter.YES NO" was the main one that I went back and checked out," Story explained. But all this is very easy to ignore, especially for children who’ve developed an appetite for films such as this. Without traditional filmmaking tools to set the tone, he relies on unrelenting pop-culture references, pop songs and product placement that betrays the capitalistic soul of this enterprise. Despite some impressive visual effects, it’s unpardonably flat to look at a sensation that is heightened by Tim Story's inability to hide the fact that virtually the entire movie, including the climactic Bollywood wedding sequence, has been shot on a poorly-lit soundstage. Which means that Tom & Jerry isn’t going to be up for the cinematography Oscar this year.
#FILM TOM JERRY CARTOON MOVIE#
They don’t have much to do, besides show up and collect a paycheque.Īlso read: Godzilla vs Kong movie review: A lizard and a monkey achieve what Christopher Nolan couldn'tĪgain, because the Coen Brothers’ calendars were too packed for them to do this, Roger Deakins had to pull out as well.
The movie moves from set-piece to set-piece, with talented comedic actors such as Michael Pena, Rob Delaney, and Ken Jeong occasionally passing by. So she hires a down-on-his-luck Tom to help track him down. Kayla is a meany.Īfter scamming her way into an event-management job at a fancy five-star hotel, she learns that a weekend wedding featuring Indian royalty might be in jeopardy because of Jerry, who has moved into one of the spare rooms.
The movie would much rather you think of her as a ‘street-smart go-getter’, but don’t fall for it. How radical would it have been to restrict the movie to just cat-and-mouse shenanigans, but alas, director Tim Story went and populated it with an assortment of mildly interesting humans, led by Chloe Grace Moretz’s con artist Kayla.
Their paths collide and, as they say, hilarity ensues. Tom, meanwhile, is running a grift in Central Park, pretending to be a blind pianist. We see him being taken around town on a house-hunt by a sketchy real-estate agent two rats staking claims on abandoned cars and crevices under public property - a nod, perhaps, to New York City’s vermin problem. Take Jerry’s introduction scene, for instance. It would be a bit of a stretch to draw parallels between Tom & Jerry and the Israel-Palestine conflict - not that another cartoon movie hasn’t done this before, *cough* Sausage Party *cough* - but there are some rather funny jokes here that adults will appreciate. This is a Tom & Jerry movie that not only reboots the franchise, but also subverts the very essence of these characters by suggesting that a ceasefire might be the best way forward. Gone are some of the most controversial aspects of the cartoons - the sadistic spirit, the jaw-dropping violence, and the casual racism. And it might be too juvenile for everyone else. Children, for instance, will likely have no idea who these characters are, having grown up on Tik-Tok and Frozen. It doesn’t have a clear audience in mind. Which is perhaps one of Tom & Jerry’s bigger problems.