The tale of three unlikely heroes - a misfit mouse who prefers reading books to eating them, an unhappy rat who schemes to leave the darkness of the dungeon, and a bumbling servant girl with cauliflower ears - whose fates are intertwined with that of the castle's princess.
By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his lifelong dream to see the wilds of South America. Russell, a wilderness explorer 70 years younger, inadvertently becomes a stowaway.
When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.
Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
In this animated comedy from the folks at Disney, the vain and cocky Emperor Kuzco is a very busy man. Besides maintaining his "groove", and firing his suspicious administrator, Yzma; he's also planning to build a new waterpark just for himself for his birthday. However, this means destroying one of the villages in his kingdom. Meanwhile, Yzma is hatching a plan to get revenge and usurp the throne. But, in a botched assassination courtesy of Yzma's right-hand man, Kronk, Kuzco is magically transformed into a llama. Now, Kuzco finds himself the property of Pacha, a lowly llama herder whose home is ground zero for the water park. Upon discovering the llama's true self, Pacha offers to help resolve the Emperor's problem and regain his throne, only if he promises to move his water park. Written by
Patrick Warburton improvised when Kronk hummed his own theme song when he was carrying Kuzco in the bag to the waterfall. Disney legal department had Warburton to sign all rights to the humming composition over to them. See more »
When Yzma is explaining a cruel irony to Kronk, a pink iris appears in her right eye, only to disappear two seconds later. See more »
Oh, it's not the first time I was tossed out of a window, and it won't be the last. What can I say? I'm a rebel.
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"The Emperor's New Groove" is stylistically a break from Disney tradition - it's closer in tone to the Genie in "Aladdin" or some of their TV shows than most of their movies, making a refreshing change. In fact, you could be forgiven for thinking that this isn't a Disney movie at all... the only talking animal has a good excuse for yapping in the voice of David Spade, the only romantic relationship is that between Pacha and his wife (and even there it's more the sign of a happily married couple), and apart from the Emperor's Theme Song Guy ("He's the hippest cat in creation...") - and Sting over the end credits, but we'll forgive that - no one bursts into song. Plus the emphasis is more on Warner Bros-type energetic humour than usual. No wonder it was a disappointment at the box office; not your traditional Disney movie.
Then again, "The Rescuers Down Under" was an underrated pleasure as well.
The story isn't particularly different - you've got the ruler who has to change externally before he can change internally ("Beauty and the Beast"), Kronk, the good-hearted sidekick of the villain (Yzma) who can't bring himself to kill the hero ("Snow White and the Seven Dwarfs"), and so on - but as is often the case it's not so much what the plot is as how it's handled. Although the movie suffers from "Is-that...?" syndrome - it's too hard not to see Finch from "Just Shoot Me!" every time Kuzco speaks (strangely enough, even though Pacha's wife has the voice of Wendie Malick from the same show, I never pictured Nina Van Horn... which isn't the case with "Fillmore!", where Miss Malick voices Principal Folsom. Go figure) - the movie's speed, energy and high humour rate make it easy to forgive, with Kuzco and the bad guy's sidekick as standouts. The movie's also a bit more self-reverential than other Disney movies, notably in our hero's narration (plus at one point Yzma and Kronk notice they're leaving a blue trail behind them, which turns out to be the trail they leave on the map to the palace illustrating the race between them and our heroes).
The surprising thing is that it even works with character - though the Emperor is enough of a self-absorbed hedonist (to a prospective wife: "Let me guess - you've got a really great personality") to turn off Paris and Nicky Hilton, he and Pacha have a believable relationship throughout the movie, so that by the end we're rooting for him to get turned back into a human. Too bad Marc Shaiman's score was thrown out (he'd have been a natural, as opposed to John Debney), but no sense whining over what might have been. An adventure, a comedy and a drama all in one, "The Emperor's New Groove" has everything that was notably absent from DreamWorks' own South American-set cartoon "The Road to El Dorado" (charm, interest, no Elton John overdose and so on) and is the funniest movie from the House of Mouse since "Aladdin." It's easier to forgive them for giving the world "Dinosaur" in 2000 as well.
Why DOES she have that lever, anyway?
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