At the opposite extreme of the steps of animation studio like the horrible Illumination (not just the target audience, with a certain efficiency footprint of cynicism), Pixar (if engoncer in a nostalgic emotional), a Disney more and more mature and modern, or films like the Lego Movie , transcending any assumption by their passionate energy… Dreamworks persists, as with Shrek as it was 16 years ago to propose pure movies for adults coated in naive stories for children.

The studio does try even more to compete with its numerous competitors ; instead, the creative studios does not seem to be seeking only to satisfy their own desires : to communicate to the world what has made them what they are – culturally speaking. Their films are thus condensed, and comedy of the famous collective unconscious that defines us all, obviously different depending on our age… which translates into works where the history is of little importance compared to what such or such a reference could be mentioned. These “references” questions are not as items in the cultural field ; they can also be a speech or a legal entity (such as those of Disney, whose co-creator of Dreamworks Jeffrey Katzenberg was the co-director, at the end of the 80’s), or a spirit (such as that of Spielberg, also a co-creator of Dreamworks). And with the exception of the Croods and Dragons, perhaps the only film from the studio to truly embrace the scope epic of their stories, each film from Dreamworks is, above all, a heart hot and dripping with humour and pop-culture, which come randomly setting bodies more or less essential, such as the creation, the staging, the characters strong, the moral, the storyline, the narration, the artistic direction, etc

This guideline is oriented towards the viewer as an adult (which is commendable in itself) rather than to the child, starts in spite of everything to seriously show its limits. It is not a question here of Movies… but good economy ; how to blow up the box-office without address a minimum to its alleged target audience ?

At a time when the film aims for maximum accessibility, Dreamworks seems to go to this famous young-without-responsibility if profitable at the beginning of the century, but which has since grown and is logically removed from the medium of cinema, until finally being a fringe very low viewers of animated films that are likely to appreciate the productions Dreamworks. An explanation as another way to explain the bide systematic of the last films from the studio to the U. S. A. or Europe – Kung fu Panda saving furniture in relating to the mother lode… on the chinese soil.

So it is with this reading grid that does already NOT have the choice of Trolls (!!!) as protagonists ; an icon of the 90’s, stuck stack between the T-shirt Waikiki, seat belts-bananas and Diddl… not to mention that the characterization of the characters, the story, or even sometimes the design of the characters (including those nasty Bergen) refers to all animation post-80’s pre Twenty-first century, Disney , obviously, but also, awesome, Don Bluth. All packaged in imagery, audio-visual, ultra-pop, flashy and, frankly, incomprehensible at times… TROLLS is the kind of movies capable of leaving an audience of children silent, unable to understand the strange sight which they attend, and therefore to give meaning to their emotions.

“This schizophrenic Trolls will probably not unanimously, and will soon be forgotten, despite the huge smiles happy that there is a risk you get.”

However, as an adult… Even with our critical eye, it is hard to be completely insensitive to this nostalgic bulimia cultural, speaking via a such a good mood that she eventually contaminate us. If we can’t help railing against the lack of depth of this story or in front of the artificiality and absolute to each of the characters, one remains fascinated by the aesthetic “plush” cute-all-full of trolls and even antagonists to the Bergen, recalling that of the video game in the spirit of DIY : Little Big Planet. The world of TROLLS is, no logical (nor script, neither environmental nor artistic), but the film aligns yet sufficiently inventive visual to get the pill. Hide the consistency in the WTF – a criticism that we had made in respect of them As beasts, but who here works because it is completely assumed. The voice casting is very generic when it comes to give life to the characters, is also musically at the top, which brings us to the playlist of the movie, as recognizable as eclectic and effective, picking up pop hits as varied as Sound of Silence (Simon & Garfunkel), Hello (Adele) or Move your Feet (Junior Senior) to illustrate the emotions of the characters – only moments or they may take life. As such, the tube of the summer Can’t stop the feeling of Justin Timberlake, takes on a whole new fantastic dimension, when delivered in context.

Too silly and inconsistent to be called mature, but too for the adults in the background to convince an audience of kids… This schizophrenic TROLLS will probably not unanimously, and will soon be forgotten, despite the huge smiles joyful that it may be fixed on your figures of thirty-quarantine, the time of some great times.


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