And now The Boss Baby makes three, to my utter surprise. Trolls was nothing less than eruption of creative energy, bringing the spirit of midcentury cartoon character animation back to 3-D CGI production, playing around with camera angles, and having a complete blast with playful arts & crafts-style texturing. Kung Fu Panda 3, while mostly content to build on the previous Kung Fu Pandas, has that breathtaking, painterly spirit realm. DreamWorks, since the start of 2016, has been on quite a hell of a run of doing stuff with their movies. Still, Disney and Pixar films are aesthetically safe: just keep iterating ever closer towards photorealism and call it a day. Not that "interesting" is the same as "best" - at the basic technical level of making animated movies, nothing DreamWorks has is up to the level of Disney's Zootopia and Moana, and even when they're being as blatantly lazy as in these sequel-obsessed days, nobody can match the power of Pixar's computers (meanwhile, I'd say that none of the three are telling particularly groundbreaking or complex stories, certainly not with Laika sitting right there, but that's a different complaint for a different time). * So imagine my surprise that here we are, just one decade later, and I think I'm ready to officially declare that DreamWorks is by far the most interesting American animation studio.
If you had asked me ten years ago, when Shrek the Third was farting its way through theaters, which major American animation studio I expected to be pushing the medium forward the most in 2017, between Pixar, Disney, or the Shrekmeisters at DreamWorks, I would have frankly looked at you like you'd just grown two extra heads.
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