{"id":133937,"date":"2023-03-11T19:53:47","date_gmt":"2023-03-11T14:23:47","guid":{"rendered":"https:\/\/www.imageantra.com\/mummies-drinks-from-dreamworks-and-disney-to-create-a-most-entertaining-family-show\/"},"modified":"2023-03-11T19:53:47","modified_gmt":"2023-03-11T14:23:47","slug":"mummies-drinks-from-dreamworks-and-disney-to-create-a-most-entertaining-family-show","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/mummies-drinks-from-dreamworks-and-disney-to-create-a-most-entertaining-family-show\/","title":{"rendered":"‘Mummies’ drinks from DreamWorks and Disney to create a most entertaining family show"},"content":{"rendered":"
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After the success of ‘mummies<\/strong>‘, we can say without fear that Buenos Aires blows for Spanish animated films<\/strong>. That his latest films are perfectly comparable to those that come to us from the big North American studios and from other latitudes, such as Japan or France. That his works are dynamic, fresh, effective, ingenious and virtuous. That to the technical improvement is added a laudable expertise for the construction of plots and characters. That within the good run that our cinema is experiencing, cartoons begin to demand not just an epigraph, but a separate chapter.<\/p>\n

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As an example, the good artistic and commercial results of ‘Tadeo Jones 3. The Emerald Table’, once again directed by Enrique Gato for Lightbox Animation, based on an exemplary script by Manuel Burque and Josep Gatell. The immediate sympathy aroused by the buzzing co-production with the United Kingdom ‘Inspector Sun and the Curse of the Black Widow’, by Julio Soto Gurpide. The animation for adults, hooligan, polyhedral and personal of ‘Unicorn wars’, by Alberto V\u00e1zquez, recognized at the Goya. And, why not, even the outsider irreverence of ‘Gora Automatikoa’, by Esau Dharma, David Gal\u00e1n Galindo and Pablo Vara.<\/p>\n

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The length is signed by Juan Jesus Garcia Galocha<\/strong>artistic director of the ‘Tadeo Jones’ films, with a script written by Jordi Gasull and Javier L\u00f3pez Barreira<\/strong>, trusted artists of Enrique Gato. It is natural, therefore, that the lightness and the sense of the spectacle of the films of the emulator of Indiana Jones pervade the new proposal, as well as that the technical virtuosity of those is repeated in this one.<\/p>\n

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‘Momias’ is a co-production made for a broad audience, which does not neglect the elderly, and which aspires to cross borders<\/strong>\u2026in this regard, it is curious that the double meaning of its title, the play on words between “mummies” and “mothers”, is lost in the version for the Spanish market.<\/p>\n

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Inexhaustible rain of gadgets, references and jokes<\/strong><\/h2>\n

The starting story is crazy but it is treated with enough faith in itself, a a good dose of a sense of adventure and an effective use of humor<\/strong>: an Egyptian city of mummies is located in the bowels of the earth and they enter our world when an unscrupulous explorer gets hold of a wedding ring.<\/p>\n

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The treatment drink a lot of disney<\/strong>in the outline of the characters and in some musical numbers that may be scarce but that work perfectly and that have wonderful music from the usual Fernando Velazquez<\/strong>. It is worth noting, in this regard, what is undoubtedly the most successful sequence in the film: the fight during the theatrical show.<\/p>\n

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However, those responsible for ‘Momias’ are also close to the model<\/strong> dreamworks<\/strong>, to the devious and slight na\u00efve irreverence of the sagas of ‘Shrek’, ‘Trolls’, ‘Kung-Fu Panda’, ‘The Croods’ and ‘Boss Baby’. This is especially noticeable in a modernization of the original model without losing respect for the sources<\/strong> and in a care and taste for detail, the use of hilarious gadgets<\/em> as well as continuous jokes that refer to the mismatch of its protagonists with their new environment and historical anachronisms, always used with brilliance and ingenuity.<\/p>\n

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