For illumination, migration is something distinct. Following a string of films that seemed to be made only to make money, such as the incredibly successful Minions franchise and this year’s Super Mario Bros. Movie: The animation company produced a film that is essentially filmmaker-driven, marking their first entirely original production in seven years.
Still, it seems somewhat inaccurate. With a prologue that is rendered in opulent classic 2D animation, Migration certainly gets off to a daring start. Given the French director Benjamin Renner’s background, it almost seems fitting that we then switch back to Illumination’s CGI house style to tell the tale of a family of ducks who learn things. That’s not to suggest that there isn’t creativity or beauty in this scene; two particularly striking scenes are a flying sequence in sun-dappled clouds and a beautiful representation of a New York City that seems like Oz emerging from fog. However, it’s possible that this studio is too hedonistic to force something unique; in any case, what we end up with is a quite charming, basic, uncomplicated children’s movie that is undemanding but underdeveloped.
Few of the jagged edges from Mike White’s work on The White Lotus are present in the script. For the most part, it all feels fairly familiar: there’s a clear nod to the heritage of family American comedies like National Lampoon’s Vacation (note low-hanging jokes about stopping to have a wee on a long car journey, or the bird equivalent thereof). Sadly, there is no “These gays, they’re trying to murder me” equivalent here. A few of the components are sadly and subpar copies of other animated films featuring birds, such as Chicken Run: Dawn of the Nugget and The Boy and the Heron.
Everything is well. It will undoubtedly spend all the money it anticipates.
Some entertaining vocal twists give it life. In their roles as Daddy Duck and Mummy Duck, respectively, Kumail Nanjiani and Elizabeth Banks are dependable. David Mitchell defies stereotypes as Googoo, a duck that teaches yoga. Uncle Dan, played by Danny DeVito, automatically makes any scene he’s in better. Cute newcomer Tresi Gazal, who plays the small girl Gwen, almost steals the whole movie.
However, the antagonist of the story, simply referred to as “The Chef” (Jason Marin), is unsatisfactory. He is a largely silent, grunting, muscular Salt Bae-type who is given some ridiculously exaggerated character design but little in the way of personality or clear motivations, all while pursuing the ducks—by helicopter! — with such a ferocious mania that he will seem excessive even to young toddlers. (Does New York not have any meat markets?)
Everything is well. It will undoubtedly spend all the money it anticipates. But, Migration feels less innovative than it should because of its attachment to now-established studio conventions. For example, it concludes with all the characters participating in a pointless dance scene, which appears to be company policy.