I had doubts.
A few years after its 1978 syndicated debut, the Garfield newspaper strip quickly devolved into a coldly calculated product, tediously recycling the same dozen bland gags for the next half-century. And still does so.
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| Otto, far right, goes over the precise details of an extremely improbable infiltration plan, while (from left) Vic, Garfield and Odie listen with a blend of disbelief, fear and respect. |
Point being, very little on which to hang a full-length feature film.
This became blatantly obviously when 2004’s Garfield: The Movie and 2006’s Garfield: A Tale of Two Kittiesdeservedly bombed. Bill Murray’s signature laid-back smugness may have been perfect as the voice of Garfield, but the scripts and direction were strictly from hunger.
Expectations for this new Garfield Movie therefore weren’t high.
Happily, director Mark Dindal and his three writers — Paul A. Kaplan, Mark Torgrove and David Reynolds — have gone in an entirely different direction, by re-inventing the sarcastic orange feline’s tone and world. Granted, this Garfield still hates Mondays, is insufferably snide, and eats 75 times his body weight in lasagna, pizza and spaghetti. Every day. (And somehow doesn’t gain a pound.)
But Dindal and his writers have adjusted the character dynamics — a vast improvement — while delivering a hilariously frantic adventure paced more like a 101-minute Road Runner cartoon, complete with clever animation, snarky one-liners, well-timed reaction shots and all manner of droll pop-culture references and inside jokes.
The best transformation: Garfield’s yellow canine buddy Odie, no longer the dumb and hapless victim of the cat’s nasty pranks, has morphed into a wise, resourceful and impressively ingenious sidekick. And, unlike all the other characters in this wild romp, Odie remains Buster Keaton-style silent, often with a tolerantly stoic gaze that screams, “See what I have to put up with?!?”
After a prologue that introduces Garfield (enthusiastically voiced by Chris Pratt), Odie and their hapless owner, Jon Arbuckle (Nicholas Hoult), the saga gets underway with the unexpected appearance of Vic (Samuel L. Jackson), our feline hero’s long-estranged father.
This prompts a flashback sequence that reveals how Garfield, as an adorably cute kitten — who could resist those saucer-size eyes? — is adopted by Jon, after being abandoned by Vic.
Garfield therefore is less than thrilled to re-unite with dear ol’ Dad, particularly after he and Odie are snatched by tough dogs Roland (Brett Goldstein), a huge and massively wrinkled Shar Pei; and Nolan (Bowen Yang), a malevolent little whippet apparently modeled on Steve Buscemi. They work for a villainous Persian cat named Jinx (Hannah Waddingham), who — years ago — was betrayed by Vic.
Now she’s determined to get even.
Her demand: a truckload of milk which Vic, Garfield and Odie somehow must steal from a dairy operation dubbed Lactose Farms. And although the place has the superficial, family-friendly atmosphere of a dairy-style theme park, its well-guarded production end is sealed tighter than Fort Knox.
No matter. If Vic can’t deliver, Jinx promises to eliminate all of his nine lives.
Well.
Our critters clearly will need help from somebody with insider knowledge. That comes — only after some lengthy persuasion — from Otto (Ving Rhames), a morose purple Scottish Highland bull once an important half of the Lactose Farms operation, until he was unceremoniously ejected by nasty new plant manager Marge (Cecily Strong).
She sports a rural Minnesota dialect straight out of Fargo. (Whose cast included Steve Buscemi. Makes one wonder...)
Poor Otto has since pined over this forced separation from his beloved cow sweetheart, the gentler half of Lactose Farm’s character brand. Once satisfied that Vic, Garfield and Odie mean business, Otto is only too happy to help.
What follows unfolds in distinct set-pieces: Otto training the trio for their seemingly hopeless task — and goodness, Lalo Schifrin must make a lot of $$$ from the frequent use of his “Mission: Impossible” theme — the infiltration of Lactose Farms and subsequent confrontation with Marge; and a pell-mell melee aboard a train speeding toward Mile High Ravine.
Along the way, Garfield and Vic endure all manner of side-splitting punishment: much of it potentially dire, until the calm and quick-witted Odie saves the day each time. This is where Dindal and his writers work against established character, because the insufferably smug Garfield deserves the abuse.
The best — and funniest — running gags involve impromptu catapults, acorn transmitters and Garfield’s ambitious use of fast-food drone delivery services.
Otto is funny every time he speaks, thanks to Rhames’ gruff, basso molto profundo vocal range. The verbal jousting between Pratt and Jackson alternates between sardonic, defensive, mordant and — this is a surprise — unexpectedly tender. The latter is one of this film’s pleasant surprises: occasional bursts of heartfelt sentimentality.
The bulk of the animation has the crisp CGI look of Blue Sky films such as Ice Age and The Peanuts Movie, interlaced with occasional two-dimensional sequences for flashbacks and planning details. Mark Keefer’s editing and John Debney’s energetic score keep things moving at a lively clip (although, having said that, the first act drags a bit).
Color me pleasantly surprised. This is ideal family-friendly entertainment for the Memorial Day weekend.
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