The real pitfall here is how bad and unenthusiastic the voice acting is. I was interested that Patton Oswalt and Ron Perlman were in the movie -- Oswalt as the fish man Aesop and Perlman as the villain -- but was shocked by their performances. Perlman in particular sounds monotone, as though he’s reading a phonebook. He has an extensive resume in videogames and animation, so I can only assume his lackluster performance here is because of a lack of direction or knowing that the material wasn’t worth the effort.

These are all characters embedded in American childhood and how we remember them is due to the careful process Jones employed as an animator for WB Inc. He saw his characters as actors themselves, taking anthropomorphism to a new level in the cartoon sphere. The exhibit begins with layout drawings and detailed notes Jones wrote next to the sketchy preliminary drawings of Bugs. Next to the figure he would write how to form the movement: “In a walk: humans, rabbits, or ducks, the shoulders are always an opposite angle to the hips,” and when Bugs is tired “think of a dollar sign” for his shape. 

There are appealing elements in both “Rio” films, most notably director Carlos Saldanha’s colorful depiction of South American wildlife and scenery. Since “Rio 2” is a musical, Saldanha also deserves credit for collecting a nice batch of tunes and working them into his feature in organic and pleasing ways. The trouble is, these strong points are saddled to a pedestrian script. The story is set after events in the original Rio, and it is essentially an animalized version of “Meet the Parents.”

Imagine a future where the dollar has lost its value. A future where the government has taken over housing and Americans riot in the streets over exorbitant gas prices. Considering the events of the past five years, this isn’t such a hard thing to conjure in the mind. Highbrow Magazine recently had the opportunity to review the new animated thriller, Silver Circle, by director Pasha Roberts. It’s a project that explores these economic pitfalls and how those of a certain controversial mindset might seek a resolution for those issues. 

Although this synopsis sounds interesting and relevant to our country’s current socio-political discourse, this film is neither of those things. Director Pasha Roberts brings a potentially compelling Libertarian vision of rebellion to the screen but chooses to do so through an animation style that is too stunted for genuine emotional impact. In speaking with the director, he admits the budget was limited, but even South Park’s creators were able to deliver social commentary that was enlightening and entertaining with limited financial resources. In addition, the animation isn’t the only thing holding the film back.