from heroes to zero
For this new spin-off of the saga Shrek, Puss in Boots embarks on one last mission (it’s in the title) to find a new magic item (a wishing star, for originality), in the company of a new friendly dumb sidekick (a dog, what a surprise) and some wickedly flawed new enemies. Suffice it to say, that said, the pitch didn’t promise anything particularly innovative for the license or the characterwho no longer seemed to have much to tell.
You expected it, but you didn’t know
However, it is not necessary not stopping at the agreed narrative scheme and predictable strings on which the plot of this second part draws, at the risk of missing the originality of the proposal. If the first film particularly insisted on the status of fugitive, outlaw and pariah of Potté, as well as on his turmoil in the face of this rejection, the second remains in continuity by reinstating him as the valued hero and savior he became after his encounter with Shrek .
The opening sequence thus exaggerates his popularity with the villagers, his charisma, his arrogance, and his skills in battle to better break him and highlight weaknesses and insecurities that hinders it, in a more introspective approach. As a disempowered superhero who must prove that it’s not his costume that makes him great or an aging wild west cowboy whose legend is eroding, Potté loses everything that made him special until he becomes a or other tomcat on early retirement. In a daring way, therefore, the story takes away his boots and his sword to better deconstruct him and force him to fall back to start anew.
Decline before the respawn
Puss in Boots 2: The Last Quest obviously uses the recipe that has already proven itself in previous films: a generous dose of hydrofluoric acid poured on the stories of Charles Perrault and the Brothers Grimm, cinematic references to the shovel, a clever mix of genres (with more and more influence cloak and dagger films), imaginative surroundings, as well as an offbeat humor that borders on the absurd by converting everyday situations into magical settings. After rewriting Jack and the Magic Bean, the license attacks this time Goldilocks (Florence Pugh), renewed for the occasion as a bohemian teenager, but also “Little” Jack Horner, who has become a psychopath and magic mogul, whom even Jiminy Cricket cannot equip with a conscience.
Worse than Lord Farquaad and Charming combined
But these antagonists are ridiculed to give way to the real threat hanging over Potté and the main reason for his decline: Death itself, embodied by the big bad wolf, terrifying at the slightest appearance and all the more impressive as doubled by Wagner Moura. The tomcat is therefore as much a victim of existential crises as of anxiety attacks, while the treasure hunt is coupled with a race against time, in which it has exhausted eight of its nine lives.
Nevertheless, if the relationship between Kitty Paw of velvet and Potté grows in thickness, and that the story of Goldilocks and the three mafia bears has a more touching result than expected, the real emotional heart of the film is Perrito. The extremely ugly chihuahua, which at first glance plays the substitute donkey with its simplicity, turns out to be disarming and – don’t be afraid to be stupid – particularly heartbreaking.
I promise, you’ll still want to give him a hug
NEW LOOK FOR A LAST LIFE
For this new adventure, the license has been given a makeover with a new graphic charter that moves away from the more outdated photorealism of the films. Shrek and primer an aesthetic revival for the animation studio (and industry at large). As for The Bad Guysthe previous Dreamworks animated feature, the studio went for a more artisanal and pictorial feel with cel-shading effects and textures applied directly to the characters.
Painted backgrounds provide more contrast and play on different saturated colors to create different moods and makes the narrative more immersive (especially the blood red that floods and dominates the screen when Death goes after Potté).
Goal: to impress
This mix of 2D and 3D became very popular Spider-Man: The Next Generation from Sony comes with different frame rates that allow certain movements to be better appreciated and to make them more spectacular, like the opening sequence, which the rest of the film failed to match despite increasing combat.
More global, the film is a visual firework. In addition to color explosions, smooth and flashy camera movements, Puss in Boots 2 demonstrates great ingenuity, whether it is a character’s appearance, a transition or the changing and moving scenery of the dark forest, which opens up all fields of possibility.
However, one of the disadvantages concerns the ending, which does not seem do not assume the fact to end the story of Potté almost too easy to drag him back into the franchise he’s taken from when he ultimately works better on his own than with a certain green troll who has already stolen enough of the spotlight from him.