08th Oct2018

‘Smallfoot’ Review

by Jak-Luke Sharp

Features the voices of: Channing Tatum, James Corden, Zendaya, Common, LeBron James, Danny DeVito, Gina Rodriguez, Yara Shahidi, Ely Henry, Jimmy Tatro, Patricia Heaton, Justin Roiland, Jack Quaid, Sarah Baker, Kelly Holden Bashar | Written by Karey Kirkpatrick, Clare Sera | Directed by Karey Kirkpatrick, Jason Reisig

smallfoot-poster

In Smallfoot Migo (Channing Tatum), a big-hearted Yeti, learns that the myths he’s be raised believing are false when he discovers a mysterious “smallfoot”, actually a human TV host (James Corden) desperately in need of a comeback.

Warner Bros.’ Smallfoot is as charming, inconsequential and uplifting as you may imagine any animated musical is today. It broods charm and charisma to an almost sickly extent, albeit perfectly adequate for its target audience. Filled with charming and satisfying musical numbers that are undeniably effective. Creating a warm and engaging atmosphere to the proceedings that unfold, yet the film itself, unfortunately so, is ever so dull and quite frankly boring.

The biggest and weakest strength of Smallfoot are the musical sequences. Most notably a key and ever so dramatically engaging musical performance from Common, who lifts the film up with a serious and strong tempo, and aside from such a master of craft insert a memorable flow of lyricism. Much else is quintessential dull fluff. Undeniably loud, cute and bright. It’s the crux of plot and structure of when such sequences are introduced that feels stretched and dull. Very little wow factor or induced enjoyment is felt nor artistically inspiring on screen. Therefore it feels a chore to see unfold.

The animation itself is thankfully beautiful and truly outstanding on the big screen. The manner of detail in the backgrounds and textures of each scene is extraordinary, such depth and colour is incorporated to make such a vivid picture and ultimately convince its audience to stick around. Character designs are slightly obtuse and lacklustre, with incredibly basic designs. Smallfoot also strangely for its intended target audience, implements an allegory for the current political American climate. Not a small dose or instance either. It goes in deep into the subject matter of race acceptance and border control. The issues itself are a welcome inclusion to a cinema and ultimately to audiences, but undeniably feels remarkably out of place for such a genre.

Smallfoot is in UK cinemas from Friday, October 12th.

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