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[CRITICAL] the STORKS AND COMPANY

Such a ritual, the school holidays bring in their shadow a collection of cartoons which will feed the imagination of children and adults. From the most independent to the most expected, the stories interspersed with animals and human beautiful messages cocoon you these holidays of all saints ‘ day 2016. Among them is the last-born of the Warner Bros. : STORKS AND COMPANY. The story is simple : as a Junior, stork courier of a package delivery company, is about to be promoted to the position of Director, Tulip, single human being in this world air, recovery accidentally the Machine to Make the Babies and forces Junior to make its first delivery of new born. The STORKS AND the COMPANY will therefore be a journey, full of adventures, between the plant babies and the new home of the young child, questioning in turn the standards of family, friendship and loyalty.

Contemporary Vision of the myth of the storks, the cartoon from the Warner Bros. is both talkative, intense, and in some ways exhausting. The richness of STORKS AND COMPANY lies surely in the ability to blend the stories, the characters and the tensions. In fact, several tracks narrative formed the core of the film. There are, of course, the expedition to Junior to deliver the baby, but also the hesitations of Tulip, an orphan, never supplied that at the dawn of adolescence tends to know his family, and then in the human world, a little boy fighting against his parents hyperbookés to finally get a little brother ninja. Around these different tracks, these are the big questions about the parentage, the family, the fact of being a child and being a parent that are discussed, although only sometimes highlighted.

STORKS AND COMPANY is mainly based on the strength and ingenuity of these characters, the characters dripping wet, but the deep-seated faults. Knowing both the friendship and the disagreements, Junior and Tulip argue between awkwardness, humour, and courage, in comparison to an epic journey and a new-born in which they do not know anything. Worn by the vitality of Nicholas Stoller, known primarily to be a foal from team Apatow, the scenario is a balance between rhetorical vivid, replica prickly and discussions are more philosophical, but still innocent. Thus, during 1h30, strewn with gags and a pretty tenderness, storks and humans are engaged in a voyage of initiation in the forging of the child.

A true modern fairy tale, behind its history traits (childish, STORK AND COMPANY can be seen as a plea disguised against companies the size of Amazon, where the profitability is rife and stifles the rights of its employees, or more generally against the serious and overwork of adults who amputent on the happiness of the young.

”Contemporary Vision of the myth of the storks, the cartoon from the Warner Bros. is both talkative, intense, and in some ways exhausting.”

Much more than a cartoon of autumn, the STORKS AND the COMPANY appears as the element on which will build the future of the Warner Animation Group. Already known for The Great Adventure Lego, the Warness Bros. had to define, or at least to say, a universe and a style that was unique to him. This is Doug Sweetland, already saw many times at Pixar, which is tackling this responsibility. Results from this work, a colored image but deeply rooted in a dark world, if not daunting, strewn with wolves with long fangs, recalling strangely the pack of hyenas in the Lion King. While wading through a universe in the image is defined, this cartoon signed four hands by Nicholas Stoller and Doug Sweetland does not renew the genre and moved in a horizon already well populated, but never matched these predecessors.

In fact, STORK AND COMPANY stuck. About ambitious and wide ranging, talking about family can be a spot of peril, especially in a context where the societal norms are changing. Dust-a-side some clichés, the movie is still sticking to some stereotypes, for example when it is a question of roles genrés of the parents. Also, the French version worn by Florent Peyre, Bérangère Krief and Issa Doumbia lost, surely, in this project the humor with the most subtle of derision – it is rather disconcerting not to hear children laughing during the screening. Elsewhere, STORK AND COMPANY is marked by the impetuosity, reflexes and speed, but unfortunately it too full of adrenaline prevents more young people (and others) feel the mechanisms of the joke. Carried away by a frenetic pace, the project from Warner Bros. appears in some ways suffocating, not letting the instinct and the brain to make body with the laughter. Damage.

Juliette Durand

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