“Trolls” embodies a hyperactive, saccharine-infused rendition of the animated world, reminiscent of “Shrek,” where the senses are overwhelmed by a kaleidoscope of glitter, rainbows, and unicorns. Imagine being ensconced within a 3-D inflatable castle, bombarded by an onslaught of vibrant visuals and cuddly creatures with hair reminiscent of vintage dolls from the ’60s. Yet, amidst this riot of color and cheer, one can’t help but notice echoes of another DreamWorks classic. However, the twist lies in the reversal of roles: instead of a solitary, grumpy ogre, we’re presented with two discontented male protagonists whose salvation is found through the love and intervention of their female counterparts, a refreshing departure from the norm.
While “Shrek” boasted depth and emotional resonance, underscored by Leonard Cohen’s poignant “Hallelujah,” “Trolls” feels more like a calculated commercial venture, a tool to maintain DreamWorks’ profitability in a saturated market of sequels. The film’s extensive tie-in products and focus on revenue streams seem to prioritize financial success over artistic innovation.
Despite its lack of narrative depth, “Trolls” is adept at captivating both children and adults with its sugary escapism. Its message about finding happiness within oneself may be trite, yet its infectious soundtrack and visual charm are irresistibly captivating. The film’s playlist, featuring reimagined classics spanning decades, taps into nostalgia, ensuring broad appeal.
While critics may fault “Trolls” for its commercial motives and superficiality, it undeniably entrances audiences with its catchy tunes and vibrant visuals. It stands as a testament to the power of escapism and the allure of a feel-good musical fantasy, albeit at the expense of depth and originality.
The vocal talents of Anna Kendrick and Justin Timberlake elevate the film’s irresistible beats, leaving a lasting impression akin to the unforgettable earworm “Everything is Awesome.” However, the heart of any film lies in its story.
Set in a whimsical world, “Trolls” unveils a charming backstory through scrapbook-style animation. Here, tiny, adorable trolls live joyously, their existence marred only by the annual visit of their grumpy foes, the Bergens. These giants, with their unkempt appearance and dismal attitudes, starkly contrast with the trolls’ vibrant world. The Bergens celebrate Trollstice by devouring trolls, a concept hovering on the edge of cannibalism. King Peppy, with the rallying cry “No troll left behind,” safeguards his subjects until Princess Poppy’s celebratory fireworks attract unwanted Bergen attention.
Poppy embarks on a mission to rescue her friends, joined reluctantly by the perpetually glum Branch. Their journey introduces Bridget, a Bergen maid secretly infatuated with King Gristle, adding depth and humor to the narrative. Despite the eventual triumph of love, the storyline feels overshadowed by the film’s musical numbers and merchandising agenda.
Zooey Deschanel’s portrayal of Bridget injects much-needed depth and humor into the tale, balancing pathos with comedic energy. Despite the narrative’s commercial overshadowing, viewers should remain wary of the looming threat of the hungry Bergens, ensuring that merchandise allure doesn’t overshadow the film’s thematic depth.
| Aspect | Description |
|---|---|
| Genre/Style | Animated musical fantasy akin to a hyperactive version of “Shrek” |
| Themes | – Finding happiness within oneself – Love and friendship as saviors – Escapism |
| Characters | – Poppy: Exuberant princess – Branch: Glum protagonist – Bridget: Bergen scullery maid – Chef: Villainous Bergen |
| Voice Talents | – Anna Kendrick and Justin Timberlake deliver catchy tunes perfectly – Zooey Deschanel shines in her role as Bridget |
| Storyline | – Trolls vs. Bergens: A whimsical conflict – Poppy’s rescue mission with Branch’s reluctant help – Bridget’s role |
| Musical Numbers | Infectious soundtrack with a broad appeal |
| Visuals | Colorful and vibrant animation style |
| Depth vs. Commercialism | – Lack of depth in narrative overshadowed by commercial aspects – Merchandising focus evident in tie-in products |
| Overall Impression | – Catchy tunes and colorful visuals captivate audiences – Lack of thematic depth and originality |
| Critique | – Weak storyline, overshadowed by commercial motives – Reminder of the influence of merchandising on film production |
