VIDEO: Turbo (2013)

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…it’s Power Rangers Turbo-tastic TIIME!!!! Yeah, who saw that joke coming?

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  • Gallen_Dugall

    Minor nitpick those aren’t NASCAR vehicles, they look more like Formula One racing or something. NASCAR is supposed to be regular vehicles – although it’s hard to tell because regular vehicles aren’t generally covered in advertising.
    Otherwise I don’t feel that the film has a hope of being as entertaining as your review of it.
    As for the cliche issue I’ve got nothing, it’s like looking for the perfect drop of water in the ocean.

    • Joseph Patrick

      I had that feeling that it wasn’t NASCAR. I kept it in mainly for editing and getting it out in time. Added on the fact that.. no offense to car-racing fans out there… I just flat out didn’t care. They both really seem the same to me. You can call me out as an ignorant a-hole on that one!

      • Muthsarah

        The only major difference, besides the shape of the cars, is that NASCAR is American through-and-through, whereas Formula One is a lot more international, hence the French(?) badguy here. So the Mason-Dixon/redneck thing doesn’t apply. All you need to know is that it’s the racing equivalent of football vs. soccer. They both bury their cars in ads, though.

        —–*****The More You Know

  • hoohah

    I wish Dream Works and Pixar would go f@@@ themselves. The “batman/superman” rivalry is old.

  • Muthsarah

    So if Turbo is the most derivative mainstream animated movie of recent times (which you didn’t explicitly say), what would you say is the least derivative, since…2000 or something?

    As for cliches, that’s a tough one, as it comes down to two very different cliches:

    1. Stylistic: Everybody has to have big eyes and round faces. To look like friendly, safe, cuddly-wuddly, non-threatening cartoons.

    2. Narrative: Even MORE big-eyed-round-faced cuddly-wuddly comic relief characters. And usually at least two of them.

    OK, that doesn’t really count. Basically the same problem.

    2B. Narrative: The stories always being about the blandest character in the movie, a cipher, a supposed everyloser, who dreams big and has to make the same damn hero’s journey with the kooky sidekick(s), always to discover that the real magic – confidence, friendship, love, family – was either inside of him/herself all along, or right in front of them the whole time. That mine was stripped bare a long, LONG time ago. I imagine even the people working on these movies hate that one.

    We need more movies about characters who start out confident and competent (if still eccentric or facing hard times) and use their starting gifts to do something great, rather than have to discover them sometime in the second act. For example: The Great Mouse Detective. Or what Brave LOOKED like it was gonna be. Or just take the hero’s journey part away, and give us a plot without a villain. You can have obstacles and setbacks without cookie-cutter, mustache-twirling evil. And whatever happened to movies about people going out on quests to save kingdoms or rescue their families, or discover a cure to a plague or something? It’s always about the hero gaining the respect of their family or community – who never listened to or appreciated them – or making their mark on the world, rarely about them doing something for others, or doing something just because they feel it’s right. You can have character development without the lead character starting out at the very bottom and spending the first 2/3rds of the movie just sorting out their own problems, with the villain only in there to provide them someone to defeat at the end.

    Yeah. 2B is the worse one. I don’t care too much what the characters look like, I’d just like more original stories.

    Oh, wait, there’s also the runner-up:

    3. Even in the more action-orientated movies, the hero never kills the villain, and the villain ends up “killing” himself (if that). Seriously, this is dumb. The villains are often among the most interesting characters, yet they keep slipping or losing their balance at the worst possible times. It really sours them at the end, and we all see it coming. By now, villains should know to stay away from cliffs and tall buildings. A genre-savvy villain would be AWESOME. Stay firmly on the ground until you’re sure the hero’s dead. Prince Philip killed Malificent. With a sword. Erik killed Ursula. With a giant bowsprit in the gut. Since then…? (And those were both examples of men killing female characters…huh….)

    Sure, they’re kids’ movies, with morals and stuff (but always the same ones – be true to yourself; friendship is awesome; if your parents don’t respect you, defy them repeatedly and take stupid risks and you can be sure it’ll work out soon). But if some guy killed your father and is in the process of murdering your girlfriend….I think it’s OK to stab him. That’s a good lesson.

    • Joseph Patrick

      I can’t tell you how much #1 personally bothers me! It gets so abused for kids appeal. A study was done along time ago when Mickey Mouse was going through his own cute stages. A psychologist analyzed that these characteristics made the character seem more innocent, cuter and “approachable” with the larger eyes and body.

    • It’s amazing how you can point out and eloquently explain all of the stagnant, overused and overdone kids-and family move cliches and just say how played out they all are in an honest, and well-thought out way. How do you do this?

  • Necroglobule

    Dated pop culture references in lieu of actual jokes, aka The Dreamworks Effect. Definitely.

  • danbreunig

    The 2/3 plot effect. It’s in nearly every feature animation (romcoms too) where we see happy
    fun comedy non-stop until BAM! two-thirds of the way into the plot the story jarringly turns to deep drama, sad songs, deep sighs, and real contradiction to whatever fun and humor was present up to that point. Often it involves the lead character admitting a huge lie, realizing his limits (also happens to nearly only male characters wronging a female friend, whether or not also the love interest), suddenly seeing others worse off than himself, having an adult wrong a child, or seeing a villain’s plans foil the lead’s dreams and efforts. Then there’s the rushed ending with only one hope left in sight but is guaranteed to work in time and end with more happy fun comedy, which is too little too late to make up for getting derailed at the sudden dramatic turn a third of the plot ago. I described all this in Animated Heroine’s list review a few months ago but I’ll say it again because I really want studios to stop with this plot setup.

    And as long as I’m at it: big name celebrity voice actors who aren’t true voice actors to begin with (drawing away attention from the actual story), top 20 pop songs of the current year (instantly dating the movie with no nostalgia factor years later), movie-length cgi which is too real for a supposed non-live-action movie but too fake to justify using cgi in the first place (kinda your own point), and musicals when songs aren’t absolutely necessary to the plot (studios caving in to formula).

    • Muthsarah

      When are songs ever absolutely necessary to the plot, except in adaptations of stage musicals or movies about people putting on stage musicals? The musical is a viable genre, and one of the oldest forms of performing arts. It’s no more a cliche than the dramatic depictions of good vs evil or the pursuit of love.

      • MichaelANovelli

        Songs can actually advance the plot when used in place of exposition. They’re faster and don’t drag as much.

        • danbreunig

          True, they do that, and when they work, they work. It’s the formula that gets to me.
          “Animated kids movie we usually make? Quick, stick a song in there per usual!” as if it’s both certainty and necessity. But unwarranted songs wasn’t the top of my list–it’s the whole “I’m enjoying this movie, this is fun, this is [super-dramatic turn two-thirds of the way in]–NO! this isn’t fun anymore! Nothing fun after this for the rest of the movie can make up for it now!” Repeated indefinitely in any theatrical animated feature film. THAT’s my least favorite cliche.

  • V

    Pretty much anything having to do with a romantic subplot, all the contrivances and illogic necessary to make them “work” (especially when a love triangle is involved).

  • Zee Panda

    Least favorite cliche: the comic relief doofus. Sometimes seen as the sidekick doofus or the “funny animal” doofus. Bonus hate points if the doofus “accidentally” screws things up for the hero who then becomes the bad guy for getting angry at the person who just effed everything up.