‘Megamind’ Review

The basic superhero vs. super villain movie is given an edgy twist in DreamWorks’ newest animated feature “Megamind,” when the neurotic bad-guy actually kills the town hero in the opening act. So much for good always defeating evil.

Megamind (Will Ferrell) and nemesis Metroman (Brad Pitt) have been fighting ever since they were babies sent to Earth in pod-like spaceships. As a child Megamind tried to do good but realized that, no matter how hard he tried, he was destined to be evil. Megamind dedicated his life to destroying the one person who ruined his childhood and adult life, but when he finally defeats Metroman, Megamind finds himself without a purpose.

Opposite Ferrell is Megamind’s crush Roxie Ritchie (Tina Fey). Roxie brings a sensible voice to the otherwise over-the-top characters of Metroman, Megamind and his minion, Minion, a fish with a robot body built by Megamind. Minion is voiced by the ever-talented David Cross, who plays his typical adorably clueless sidekick reminiscent of past roles such as Tobias Funke of “Arrested Development”.

Ferrell and Cross’ on-screen bromance is permeable even through the animated masks. Minion’s soul purpose in life is to protect and serve Megamind: he cleans the lair, drives the invisible car and is even Megamind’s personal evil-outfit designer. Megamind often calls Minion his ‘fantastic fish’ and even says that “sometimes…it’s just me and Minion against the world.”

While Pitt is top billed on the poster and in all previews, he takes a backseat to Jonah Hill who plays Roxie’s cameraman turned super villain Hal. Hill’s superbad character is a step away from Hill’s usual background roles, yet he eases into the spotlight seamlessly and delivers a convincing performance. Pitt is in the film a total of 10 minutes while Hill becomes an evil leading-man. Channelling his angsty nerd background, Hill’s character develops from love-struck dork to vengeful villain with the use of voice-cracks as well as deep guttural cries of anger.

The witty dialogue of first-time writing duo Alan J. Schoolcraft and Brent Simons is relatable for children yet still has lines aimed at the older demographic, a trait found in any good animated film. The naivety and desire to be ‘bad’ is displayed through lines like “Oh, I’m shaking in my custom-made baby seal leather boots” early on in the film creating a balance between potty-humor and more subtle, educated humor. The dialogue is heightened by Megamind’s speech impediment, which causes him to mispronounce school as ‘shool’ and Metro City as ‘Matrocity’. Even though Megamind is the ‘bad guy,’ his character is revealed through flashbacks and conversations to be a sensitive soul who really wants to do good.

The 3D adds an extra dimension as well as a more realistic sense to the animation. Keeping with the tradition of objects leaping ‘out’ of the screen, “Megamind” manages to seamlessly incorporate these gimmicks while also keeping them to a minimum. Things ‘pop out’ of the screen less than three times. One instance is when Minion plays keep-away with the invisible car keys, his arm swings out over the audience and is retracted with a snap. This use of 3D creates a more effective visual while not distracting from the story, many times I even forgot I was wearing the 3D glasses.

Although there are cliches built into the otherwise unique plot, the film is supported by the vocal talents of gifted actors and twists that will keep the viewer on their toes. “Megamind” may not have been as successful as “The Incredibles” but it is sure to be a superhero film for the ages.