There’s little creative juice in the main story, which involves melting ice threatening to flood the valley and drown its inhabitants unless they can reach an immense boat-like fragment of a giant fallen tree trunk, a sort of natural Noah’s ark. The sad truth is, now that this threesome has more or less accepted each other, they’re not funny any more. Even Sid has lost most of his comic mojo, probably because no one is threatening to eat him or stomp on him. They have even less idea what to do with poor sabertooth Diego, here reduced to grumpy lines and given a lame fear-of-water conflict that does nothing for the character. But the filmmakers have no clue how to make their romance appealing, or how to make Ellie a worthy love interest. Romano gets a few laughs with awkward-lug lines, and kids may think it’s a scream when Manny compliments Ellie on her huge butt. Ellie’s character is woefully underdeveloped, and she and Manny have no chemistry at all. “She’s tons of fun… you’re no fun at all. “You’re perfect for each other,” Sid the sloth tells Manny in one of the movie’s few great lines. Every movie romance needs a complication, and the problem here is that Ellie thinks she’s an opossum - a conceit that is every bit as silly as it sounds and goes nowhere comedically. Will Manny and Ellie, um, save the species from extinction? Ice Age 2 tries to take Manny the mammoth beyond his bereaved status quo (his mate and offspring were killed by Neanderthal hunters) by raising the specter of mammoth extinction before introducing a female mammoth, Ellie (Queen Latifah). The benchmark here is Pixar’s brilliant Toy Story 2, which raises Woody’s crisis from the first film (what if another toy replaces me in Andy’s heart?) to an entirely new level (what happens when Andy outgrows us all?), and reverses the Woody–Buzz relationship, with Woody discovering a larger truth about who he is and where he came from, and Buzz the voice of reason recalling Woody to the central values of toydom. Ice Age 2 manages to be laugh-out-loud funny more often than the original, and Saldanha directs with a maturity and verve that suggests Blue Sky would do well to keep him in the driver’s seat.Īt the same time, Ice Age 2 lacks what such a sequel most crucially needs: a reason to revisit the central characters, a fresh take on their relationships, new places for them to go emotionally or dramatically. The sabertooth’s share of the credit presumably goes to first-time director Carlos Saldanha, co-director of the earlier films (Wedge takes an executive producer credit this time). ![]() ![]() There’s also a new creative exuberance and visual flair to Ice Age 2, an energy that suggests the film was fun to make, and makes it fun to watch. Visually, the world of the first film was serviceable the world of this one is a pleasure. The Ice Age world looks far richer and more appealing fur looks furrier, ice looks icier, and all the water everywhere looks real enough to splash in, despite being somehow subtly different from Pixar water in Finding Nemo. Technically, Ice Age 2 is light-years ahead of its predecessor. With Ice Age 2: The Meltdown, it’s clear both how far Blue Sky has and hasn’t come. At the same time, Robots raised a question about the creative range of the Blue Sky filmmakers: Do they have the ability to create emotionally persuasive characters that go beyond stereotypes - a key component in Pixar’s success? Can they create story-arcs that take their characters into new emotional territory? In fact, part of Ice Age’s appeal is its very lack of sophistication and irony, a refreshing change from the overly knowing tone of much family entertainment.įor their sophomore effort, Blue Sky went from the prehistoric to the future with Robots, a step forward both technically and creatively. or Shrek, it gets almost as much replay in my household as Monsters, Inc., and far more than Shrek, which gets none at all. Though not as original or sophisticated as Monsters, Inc. From where I sit, the original Ice Age has aged well.
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