Happy Feet Two (PG)
Carmike 10, Chapel Hills 15, Cinemark 16, Cinemark 16 IMAX, Hollywood Interquest, Tinseltown
Late in Happy Feet Two, a penguin named Erik (Ava Acres), previously a timid and quiet little thing, bursts into operatic voice at a moment when hope seems dim. "Nothing makes sense in this world," belts out young Erik. "It's all a big pile of crazy."
And that, friends, is about as pithy a summation as one could hope for.
It's my own fault for wanting animated features to move beyond a decade of variations on "be true to yourself" themes, mixed with random pop-culture gags. The original 2006 Happy Feet was already a step in that direction; steeped though it was in the familiar misfit's-journey premise, it also incorporated live-action actors to surreal effect and presented a hard-to-miss allegory for tolerance of "alternative lifestyles." HFT is, in its way, utterly distinctive from the great mass of contemporary animated fare, yet it's also far too frantic and muddled to work as simple storytelling.
The emperor penguin colony has been changed forever after coming to terms with the dancing oddball Mumble (Elijah Wood), and embracing dancing to accompany their singing ways. But it's still a hard world for those who are a little different, including the aforementioned Erik — who happens to be the son of Mumble and Gloria (pop singer Pink, replacing the late Brittany Murphy). When Erik runs away with two friends, Mumble heads off to find them, just before a calving chunk of Antarctic ice leads to a catastrophe that could seal the colony off from the rest of the world and its only food source.
Not surprisingly, HFT brings Mumble's old traveling companion Ramon back into the story, since nothing that was ever wild and bizarre found its necessary restraint in a Robin Williams performance. Director George Miller and his screenwriting team also introduce a flying "penguin" named Sven (Hank Azaria), a surly elephant seal named Bryan (Richard Carter), a marauding flock of skua seabirds and a pair of krill named Will (Brad Pitt) and Bill (Matt Damon) who have separated from their swarm and are trying to find a new direction and purpose in life.
You could call such an approach "ambitious," and in fairness to Miller — the Mad Max auteur who similarly went bananas with a sequel to a popular kid-flick in Babe: Pig in the City — it's admirable that he refuses to play it safe. He again brings real humans into his CGI world and unapologetically aims for a message about how even the smallest individual can play a role in fending off the effects of potential disasters like climate change.
But it's tough to cut the film too much slack, because it is such a colossal mess. There's no focus to the narrative or to the tone, as Miller bounces between big musical production numbers and high-energy chases, frequently interrupted by awkward attempts at comic relief. There are so many different characters with so many different individual journeys and back-stories that it starts to feel like a 1970s disaster movie in animated form.
Weirdness, as Rango proved, isn't, of course, an automatic deal-breaker when it comes to animated features. And I can honestly say that the experience of watching this movie won't vanish into an innocuous puff of "so, that happened" like so many other cookie-cutter cartoons. But nothing here coheres in a meaningful way. It's all a big pile of crazy, with no one scooping up after it.
The striking colors and textures are reminiscent of Southern Colorado and New Mexico. Lovely work.