Is anyone surprised that Dreamworks turned out a sequel to Shrek? Is anyone surprised at how much money that sequel made, $104.3 million (the second-biggest three-day tally in movie history behind 2002’s “Spider-Man,” which took in $114.8 million), in its first weekend? I’d venture to say that the answer to both of those questions is no. What is surprising is that the sequel very ably lives up to the original in both charm and quality of script (that the animation is fantastic is only to be expected given the amazing leaps in computer software and rendering algorithms).
Shrek 2 picks up almost immediately after the end of the first film: a charming montage shows us the happy ogre couple on their honeymoon during which they check-in to the honeymoon lodge (a gingerbread cottage complete with icing shingles and gumdrop decorations), frolic on the beach (in a sly tribute to From Here to Eternity) and in general do the things that newlyweds do. The conflict comes after Shrek and Fiona have returned to the swamp only to be immediately set upon by a Herald, complete with a full compliment of trumpeters (again: a sly tribute to Herb Alpert), bearing an invitation from Fiona’s parents, the King and Queen of Far Far Away. After a long trip in their carriage, a hollowed out clove of garlic, Shrek’s worst fears are confirmed when Fiona’s parents aren’t exactly thrilled to see either him or their ogre of a daughter.
I won’t go into all the details but suffice it to say that Shrek 2 is just as rich in sight gags and visual references as the first film. In many ways, however, the story is much more adult: the main theme addresses the fact that “happily ever after” is, sometimes, quite a lot of work. The magic of this film is that it manages to address such a complex theme while simultaneously pleasing the PG-13 audience at which it is aimed.
For these accomplishments and a host of clever sight gags and pop-culture references I say 4 out of 5 popcorn boxes.
