  Shrek 2 Shrek, on its release, shocked many people by its ability to break the Pixar/Disney computer animation stronghold, and beat Monsters Inc. to an Oscar. It’s popularity came from its subversive nature (“Lord Farquaad”, a gingerbread man shouting “Eat me!”) and its popshots at Disney (the lead animator being fired from the studio six year earlier) while still remaining a true fairytale in nature. The voice cast was pretty impressive as well, with Mike Myers and Cameron Diaz, and Eddie Murphy proving again, after his work in Mulan, that his best work nowadays comes when we can’t see him. As with every successful film, the idea of a sequel is banded about. Is Shrek strong enough to survive another instalment, or do pop culture references and unexpected hidden smut tire quickly? The film picks up straight after the last – Shrek and Fiona return from honeymoon, to find Donkey, who’s been kicked out by his dragon girlfriend, and an invitation to Far Far Away Land, a Hollywood style kingdom, by Fiona’s parents, the King (John Cleese) and Queen (Julie Andrews). Upon arriving to meet Fiona’s human parents, Shrek and the King have a fall out, upsetting Fiona and allowing the manoeuvrings of her Fairy Godmother (Jennifer Saunders), who wants her son, Prince Charming (Rupert Everett), to marry into the royal family.
Meanwhile, the King plots to remove his troublesome son-in-law by hiring a feared assassin – Puss In Boots (Antonio Banderas). I’m not ruining the plot in any major way by revealing that the story revolves around being “true to yourself” – it’s a tired old story that repeated use by Disney has worn very thin. The main crux with Shrek is how funny the jokes and references are on the journey. In this area, Shrek has to be considered a success. The range of jokes is phenomenal. There is the basic level for the young to enjoy – farting ogres and the like.
The main shock is the range of jokes in there for the older people to enjoy - digs at Disney musical numbers with dancing furniture; film references from the likes of From Here to Eternity and Predator; the sexual orientation of Pinocchio; the metaphysical jokes, poking fun at the movie itself (“the position of annoying animal sidekick is taken”); jokes at modern culture, with townspeople fleeing a destroyed coffee shop straight into an identical shop across the street. Nearly every one of these hits home, and even if it doesn’t, there’s another one just behind it that will.
Two of the new characters, Puss In Boots (a Latino, smooth deadly hitman, who can use his inherent cuteness to his advantage) and the Fairy Godmother (a world worry social climbing schemer, with a talent for show-stopping musical numbers and a sweatshop factory producing potions), steal the film. Both are brilliantly realised and you can tell that both Banderas and Saunders are enjoying themselves. There are downsides. As mentioned, the plot has been done death. There is also the music – as in the first film, with Smash Mouth and The Eels, there is an alt-rock soundtrack, but this is ruined by some appalling song choices, including a criminal version of David Bowie’s “Changes”. There is also a bizarre attempt at adapting the film for international audiences. The change of The Ugly Sister from Larry King in the US version to Jonathan Ross in the UK doesn’t really hamper the film, but does seem unnecessary, as King is known on this side of the Atlantic.
This is nothing to the change from Joan Rivers, who has a distinctive voice and is well known worldwide for introducing people on the red carpet on Oscars night, is replaced by Kate Thornton, sometime journalist and presenter who is barely known outside of her own house. While it does have it’s flaws, Shrek 2 is a brilliant piece of popcorn cinema, where you can just lie back and enjoy yourself. I’d highly recommend it, but just hope Dreamworks realise that the formula is just about stretched now and don’t produce a Shrek 3. 4/5 
