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Spongebob Squarepants and his trusty friend Patrick Starfish must leave their beloved Bikini Bottom to find King Neptune’s crown after Spongebob’s boss Mr Krabs is framed for stealing it by the evil Plankton. And they only have ten days before Neptune finishes off the owner of the Krusty Krab. Can he and Patrick make it in time, especially when everyone thinks they’re just kids?
Mention the name Spongebob Squarepants to anyone under the age of twelve and odds are they’ll regale you with tales of the cubically-trousered hero and his bizarre friends (who include a sub-aquatic squirrel and a meowing sea snail). Mention him to anyone over the age of twelve and half of them will remain blank-faced while the other half turn into under-twelves and regale you with the same stories you heard from the real kids. As you may have already guessed, Spongebob is something of a cult character. Those crazy Americans have even created a church of Spongebob. Maybe it’s because he’s such a simple soul, bright-eyed and optimistic in an increasingly cynical world. Maybe it’s because he lives in an anachronistic world where people still talk to their neighbours and live in giant pineapples and Easter Island heads under the sea. Or maybe it’s just because the whole cartoon is so damned weird; I mean a sponge with a fast food obsession, living in a pineapple, in a town with cars, television and a thriving restaurant business? What kind of twisted mind came up with that? Well, the answer would be Stephen Hillenburg, director and writer of the Spongebob Squarepants series and movie.
“The
Spongebob Squarepants Movie” combines traditional two-dimensional animation (rendered on computers of course) with brief live-action interludes and occasional amalgamations of both. The style of animation is simple and cartoonish, with no attempt at realism. Why else would the sponge hero look more like a kitchen sponge than a naturally occurring one? The backgrounds are kitsch, murky watercolours that rely heavily on stippling and spattering for texture and the characters are almost crude in their construction. There is no regard for believable musculature or any of that malarkey but with these characters that’s not an issue. Real sponges don’t have eyes or mouths and as far as I’m aware there are any sea creatures that wear clothes or drive cars either. The simplicity of their design, if anything, makes them more endearing and reflects their nature. Combining them with live-action sequences may seem and odd idea but is inspired lunacy that makes for great hilarity as Spongebob and friends come in contact with the real world (represented by David Hasselhoff). Where else are you going to find such oddity?
The script on the is far more sophisticated than you might expect. There are lots of sight gags and bum jokes for the kids, but there are plenty of film references and pops at movie conventions for the grown-ups to enjoy too. The most obvious nod is to George Romero’s “Dawn of the Dead”, with zombie-like sea creatures wandering around the sea-bed. But there are plenty of road movie staples in there too with Spongebob and Patrick turning up at a gas station looking like Thelma and Louise, a brawl at a roadside bar, a motorbike mercenary in hot pursuit and a couple of thigh-slapping hillbillies taking the mickey out of our heroes. There are further blink-and-you’ll-miss-them references that include the superhero movie staple of an underground lair or Spongebob’s seaweed moustache being ripped, sounding like “The Bionic Man” powering up. The cream of the comedy comes from the sheer absurdity of the cartoon, whether it’s the all singing, all dancing live action pirates that introduce the film, Spongebob and Patrick getting plastered on ice-cream, mariachi fish, Hasselhoff’s bionic pecs or people being referred to as a “knucklehead spazmatron”. If this sounds weird, it’s because it is, but that’s part of the fun and I defy you not to laugh out loud at least once whilst watching the film.
The voice talent engaged in making this film is superb and though you may not recognise the names, you’ll no doubt have heard their voices as many cartoon characters. Tom Kenny provides the voices for both Spongebob and the strangely accented narrator. He gives the sponge a marvellous enthusiasm and excitability that are endearing without being too irritating and his timing is wonderful. Bill Fagerbakke is the voice of Spongebob’s constant companion Patrick. Just listening to his slow, nasal voice you can tell he’s not the sharpest starfish in the ocean, even before you see him flying through the air with a flag wedged in his butt. Clancy Brown (probably best known as the Kurgen in “Highlander”) lends his vocals to Spongebob’s boss Mr Krabs. He’s got the ideal tone for a salty seadog lobster, who wants to make as much money as possible. The villain of the piece is voiced by the formal-sounding Mr Lawrence, who has a surprisingly deep and resonant voice for a tiny creature hell-bent on taking over the world. His maniacal monologuing is on a par with Kelsey Grammer doing his Sideshow Bob on “The Simpsons” for sheer eeevil. It’s unclear why the producers felt the need to have star names attached to the voice-overs, but that’s why Alec Baldwin and Scarlett Johansson are there. Baldwin, on one hand has a suitably gravely voice for Dennis, the menacing mercenary following the two main characters, but Johansson’s scratchy and slightly adenoidal vocals leave a lot to be desired as Neptune’s mermaid daughter Mindy.
The score by Gregor Narholz is as peculiar as the script, juxtaposing seventies’-style funk with Hawaiian guitar music and stereotypically evil themes for Plankton. Then there are the song and dance numbers that include a salty version of the “Spongebob Squarepants” theme sung by a shipload of pirates and the hilarious “Now We Are Men” number sung by Spongebob and Patrick as they cross a treacherous trench, convinced that the ability to grow a moustache renders them invincible. It’s like a jaunty march from a Rodgers and Hammerstein musical. It’s got to be heard in context for you to fully appreciate it as they are first menaced by and then celebrated by the trench floor monsters, but believe me it’s hilarious. That being said, it’s not quite as funny as the climactic musical number that preaches the power of rock as Spongebob wigs out to “I’m A Goofy Goober” in full glam rock mode, aping virtually every star of the genre. It’s even better when you consider it was written by Thomas F Wilson, better known as Biff Tannen in the “Back to the Future” films.
The film is no great shakes in the animation stakes, eschewing technological advances in favour of good old-fashioned laughs. It’s the sort of film that won’t initially appeal to many people, but if you’re forced to watch it with a group of kids you’ll probably end up laughing like a drain. I know I did. It will appeal to your sense of the absurd and there are enough different types of humour on display (from the sublime to the downright stupid) that there’s bound to be something to make you chuckle. Unless of course you have no sense of humour, then I suggest you go and see something else. It’s silly and stupid, but has a warm heart and a strong moral about believing in yourself and so is the perfect Sunday afternoon kids’ film. But do be warned that after seeing it your little people will be referring to each other as Goofy Goobers and knucklehead spazmatrons for weeks to come.
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I had to change that to an E because of all of the little bits of trivia.I watched this at the weekend and it was so funny x
KTDouthwaite 04.04.2005 09:39
great review! my brother's 19, but this seems to be quite a student hit at his univeristy! we're always buying him Spongebob merchandise! not see this movie, but I'll get it on DVD (for my kids, obviously. Alright, for me.) It's great to see a kids movie actually aimed at kids. Seems like they're all full of innuendo and stuff nowadays. KT x
purplelynne 31.03.2005 19:18
My son desperately wants to see this, I wasn't so sure., Might have a rethink now though. Lx