With some rather eloquent morals, the first part of The Croods, nominated for the 2013 Oscars in the best-animated film category and directed by Kirk DeMicco and Chris Sanders, made us understand how excess parental protection did children a dissent, causing them insecurity, fear, and nullifies their ability to fend for themselves. Produced by Dreamworks and distributed by 20th Century Fox, the success of the first part was such that it even moved to the gaming industry with The Croods: Prehistoric Party!, the video game developed by Torus Games and distributed by Bandai Namco that we could enjoy on various platforms such as Nintendo 3DS or Wii U.
However, we have had to wait eight long years to enjoy its sequel, this time directed by Joel Crawford, who debuts as a director after participating in the art department of films such as Kung Fu Panda 3 (2019), SpongeBob: An Out of Water Hero (2015) or The Origin of the Guardians (2012). A long cinematic experience that brings him down in his work as a director in The Croods: A New Age, a sequel even more fun, rebellious, and piped than its predecessor and that will make us debate between individualistic comfort and collective empathy, a theme that feels like a ring to the finger to this 2020.
In its beginning, the same premise of the first part is collected: the cave family in search of "the morning", a perfect place to settle and to call home. But it all takes a 360-degree turn when Phil, Hope, and Alba Masmejor suddenly appear, an evolutionarily superior family that has already outperformed cavemen in the task of finding a home, and also has all the amenities to be very addictive. For this reason, the family nucleus of The Croods will be divided between those who prefer to continue to take root in traditions, and those who contemplate evolution as a more comfortable way of life, without understanding that differences are actually the key to conceiving life in a balanced way, taking advantage of each of the attributes that range from tradition to progression.
The North American version has voices as recognized as those of Emma Stone, Ryan Reynolds, Peter Dinklage, Nicolas Cage, or Catherine Keener, and in its Spanish version Anna Castillo and Raúl Arévalo premiere in the field of dubbing with the characters Alba and Phil Masmejor. Suffice it to say that the whole cast already did in the first part an exceptional work that accompanied every gesture and histrionic moment of the character. An impeccable voice work that is in line with the lively, organic, and colorful animation of the feature film, accompanied by a crazy staging, and with some very epic moments full of humor in slow motion.
Feminism also doesn't go unnoticed and floats with fun plot-twists that make the apparent rivalry between the female characters transform into company, team, and friendship. A rivalry that - after long years of competition between female characters in both animation and fiction - costs quite a bit to get out of the head, and that seems remarkable to me within the film. As is its criticism of the absorption state of those who start to see the world through a framework to enjoy a virtual space that is directly related to the screens of our electronic devices, mobiles, televisions, and tablets. That's why if we wrap ourselves in the story of the film, we will understand that each of the characters acquires important learning during their journey. But in addition to learning, the Croods also teach us something, which is that it doesn't matter where, but with whom, nor does it matter when, but how.
The perfect balance to be mature and childish at the same time.
Sorority between female characters.
Lively, organic, and colorful animation.
Some moments are redundant.
Certain touches of humor that don't work.
The Croods: A New Age is an animated film that meets all the requirements to charm both a children's audience and an adult audience. To the satisfaction of the former, we will have humor, dynamism, and a fast-paced film of action and adventure. For the latter, we will have mature morals that will leave reflective poses about how comforts separate us from the family nucleus and how new technologies negatively influence us.