Yes It’s Fun… but For Kids

14 Juni 2012
Sutradara: Eric Darnell / Tom McGrath / Conrad Vernon
Produser: Mireille Soria / Mark Swift
Penulis Naskah: Eric Darnell / Noah Baumbach
Pemain: Ben Stiller / Chris Rock / David Schwimmer / Jada Pinket Smith / Sacha Baron Cohen
Sinematografi : –  
Editing: Nick Flecther
Ilustrasi Musik: Hanz Zimmer
Studio: Dreamworks Animation / Pacific Data Images
Distributor: Paramount Pictures
Durasi:  93 menit
Bujet: $145 juta


Kisah berlanjut dari seri sebelumnya, Madagascar 2, dimana mereka masih terjebak di tempat leluhur mereka di Afrika. Alex dan kawan-kawan memutuskan untuk kembali ke New York namun sebelumnya menjemput rekan-rekan mereka, para penguin, di Monte Carlo. Disana mereka membuat ulah sehingga menjadi buronan polisi hewan yang dipimpin Captain DuBois. Petualangan pun dimulai hingga mereka harus bergabung dengan sebuah kelompok sirkus sebagai jalan untuk pulang ke New York. Kekonyolan demi kekonyolan terjadi selama petualangan mereka dengan kisah yang mengalir sangat cepat dari satu tempat ke tempat lain.
Seperti seri sebelumnya, saru hal yang menjadi isu pokok pada seri film Madagascar adalah selera humornya. Berikut adalah petikan review Madagascar 2 yang diambil dari review di blog ini sebelumnya.
“Film-film animasi produksi Dreamworks memang memilih pendekatan yang berbeda dengan studio animasi lainnya (seperti Pixar misalnya). Karakter-karakter binatang dalam film-filmnya lepas jauh dari sifat dan perilaku alami mereka. Mereka mampu bertindak dan bergaya layaknya manusia, serta memiliki pengetahuan luas dan skill tinggi jauh di luar kemampuan alami mereka. Para penguin misalnya, dikisahkan bisa mengoperasikan kapal laut dan pesawat terbang. Bagi sebagian penonton rasanya ini bukan masalah namun bagi penonton lain ini bisa menjadi isu serius. Dalam Madagascar 2 karakternya bahkan jauh lebih lepas dari sifat dan perilaku asli mereka dengan logika cerita yang lebih longgar dari film pertamanya. Di Madagascar kita semua tahu mengapa Alex tidak memakan Marty (makanan di kebun binatang terjamin) namun ketika ia lapar maka insting alaminya muncul walau akhirnya ia memilih makan ikan ketimbang sobatnya. Di Magadascar 2 entah mengapa isu ini menguap jauh. Afrika bukanlah kebun binatang di New York, tapi hewan karnivora dan herbivora bisa hidup selaras tanpa takut satu sama lain. “Sori Marty.. akulah yang merusak Ipod-mu!!” jerit Alex ketika pesawat menukik tajam ke bumi dan Marty pun meradang. Jika bisa menerima banyolan ini rasanya Anda bisa menikmati filmnya.”

Di Madagascar 3, “logika” yang sama masih berlaku, bahkan jauh lebih longgar dari seri sebelumnya. Para Penguin bisa mengoperasikan kereta api, Beruang bisa menunggangi motor Ducati, dan sebagainya dan sebagainya. Apa ini masalah? Bisa jadi tidak bagi kebanyakan penonton apalagi anak-anak. Penonton anak-anak yang sepertinya bisa menikmati film ini jauh lebih baik apalagi kisahnya kali ini lebih full aksi serta dukungan musik dan lagu pop populer, plus gambar yang penuh warna. Dengan formula seperti ini sekuel berikutnya tinggal menanti waktu saja. Enjoy the movie kids… (C)
Artikel SebelumnyaSnow White and the Huntsman
Artikel BerikutnyaGet the Gringo
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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