DEATH AFTER LIFE
After three parts during which Dracula first accepted the relationship of Mavis and Johnny, then the fact that his grandson may not be a vampire before zincing with the great-granddaughter of his enemy Van Helsing, it was believed that the most famous Count of Transylvania had finally settled his relationship problems with humans, and in particular his son-in-law. Corn Hotel Transylvania: Monster Changes back pedal to explain that no, still not.
As opportunistic as it is after the $ 528 million inHotel Transylvania 3 at the global box office, the idea of make Dracula a future retiree worried about bequeathing his life’s work to his eccentric stepson in a final film, however, was consistent on paper. First to conclude the saga more properly, but also to definitely take a look at the character.
Retirement, the last step for Dracula
The fact that he accidentally turns into a simple paunchy quad was a way to reconcile him once and for all with his own humanity, in addition to allowing him to grow old with his new partner.
If mourning occupies an important place in the history of the first Hotel Transylvania, the previous sections have never addressed the fact that Johnny and Ericka will most certainly die decades, even centuries before Mavis and Dracula. In fact, a romantic relationship between mortals and immortals can only be fleeting (even Twilight says so), but the last film never takes the opportunity to explain and resolve this scriptwriting impasse.
When reality catches up with you
MONSTERS AND COMPANY
The return to normal in the last act is all the more disappointing and incomprehensible as the transformation of different watches into humans has no impact on their development. The mutation of Frankenstein, Wayne, Murray or Griffin is devoid of stakes and serves only as a comic factor, without any emotional interest. While it must refocus on Dracula’s relationship with his stepson, the script must also deal with the Van Helsings, and therefore counts too many characters to give them equal attention and do something other than funnier side-kicks.
The humor becomes more grotesque than burlesque, while the lines have lost their acidity and well-turned sarcasm. More generally, the story co-written by Genndy Tartakovsky (Dexter’s lab, The Powerpuff Girls) sinks into a laziness already detectable in the third opus.
The film may turn into the general cacophony, it does not offer anything very exhilarating, shivering or touching, whether it is the quest in the Amazon rainforest to find a magic contraption supposed to save the situation (original) or the transformation. of Johnny as Evil Elliott the Dragon. With its prefabricated scenario at the Freaky Friday – to which the film also refers – this last opus even more clumsily tosses his uninspired morality on understanding difference and accepting change, while taking care to restore the natural order of things at the end of the day.
More than the last nail in Dracula’s coffin, this last part is above all akin to a desecration of a grave. The film vampirizes everything that made the real charm of the franchise: its cartoony and gagesque dynamism which participated in the comic tempo. Even if we always find with pleasure his visual paw in traditional animation in the end credits, Genndy Tartakovsky has passed the baton to two new directors, Derek Drymon and Jennifer Kluska, and the animation suffers as a result. a lack of inventiveness shouting on the screen.
Hotel Transylvania 4 Will likely appeal to its target audience with its hyperactive storyline, but it will remain a wet firecracker and not the expected finale for the fallen Sony Pictures Animation franchise.
Hotel Transylvania: Monster Changes is available on Amazon Prime Video since January 14