Otis, the barnyard bull, has udders. Because, kids, that’s what bulls have, isn’t it?
Voiced by Kevin James, and with a first name that is generally appended to a male, it’s clear that either Otis is a transgender animal or cowardice has taken hold somewhere at the design stage in the latest animal CG comedy off the conveyor belt.
This “me too” effort from Paramount also has a plot that seems determined to fit in, not stand out, it being a recycling of The Lion King.
Growing a pair, ironically, is what it’s about too. Otis is the young motorbiking cowlet (I’d call him a bullock but he clearly isn’t) about town who has to learn how to take over from his dad, king of the barnyard, after dad dies bravely defending the homestead. Until then, Otis has been a free spirit, living a dudeish lifestyle (Kevin James a good choice here). But suddenly he has to man up – with great udders comes great responsibility and all that.
Seemingly designed for dim rednecks and terrified of upsetting anyone at all, Barnyard comes with the sort of bright, technically accomplished animation that only a couple of years ago would have looked exceptional. Buried behind the sort of prissiness that once drove Victorians to cover up table legs. there is some fun intelligence – the underused Jersey Cows with New Jersey accents, the zippy music and the pantomime sense of knockabout. And the voice cast is pretty good too. As well as James, there’s Courteney Cox as the heifer Otis has an eye on, plus Sam Elliott and Danny Glover.
But the Udders Issue isn’t the only conceptual problem with the film. There’s the fact that all the animals walk on their hind legs – if you’re going to go that far in humanising your beasts, why not go the whole, er, hog. And not a cow, hen or pig seems destined for the table – when Otis’s dad dies, he is buried six feet under, with a headstone, not chargrilled and served with mustard.
But it’s just for fun, I hear director Steve Oedekerk cry. Yes, but whose fun? The target age here seems to veer wildly from five to nine, to 15 to 27. But no matter how young or stupid the viewer, the film’s message – if only all the different animals could band together – is likely to be seen as bogus, only outdone for sheer lameness by the regular dumps of sentimentality. Yuk.
© Steve Morrissey 2006