I have no opinion on Madagascar. But if I did, this would be it. A group of neurotic New-Yorkers being dumped into the jungle and left to, rather pathetically, fend for themselves, has undeniable potential on the gag/pathos scale. As does the ironic twist that these city slickers are a gang of pampered zoo animals. So, with genuinely innovative animation, and some impressive acting talent, Madagascar should be, at least, diverting escapism. So why isn’t it? Simple. Madagascar isn’t funny. Which begs the question, why would one review this as a comedy, as opposed to “just” a children’s film? There are a few answers, the first being that it is a comedy. It is quite clearly pitched as a comedy and it’s certainly fair to expect a family movie to chuck in some laughs. But lazily referencing a talent pool of superior film is not comedy. Neither is, much as it pains me to admit it, being really, really in-your-face. Madagascar sadly falls prey to the notion that these things add up to a coherent script, plot and character be damned! Ted Elliot and Terry Rossio, the writing team behind both Pirates of the Caribbean and Shrek, understand that this isn’t the case. The first Shrek had moments of genuine poignancy and was consistently funny when I watched it again as a real person (read; grownup). Pirates 1 may not exactly be Woody Allen, but Captain Jack is – in that movie, anyway – a laugh.

I would be remiss if I didn’t comment on the undeniably genius animation – and the concept behind it, as a kind of love-letter to the Looney Toons. Chuck Jones’s comic timing is honoured extremely well - particularly under the constraints of the weak script, his influence stamped onto every visual gag. You can also expect to be entertained by Sacha Baron Coen and David Schwimmer (channelling Ross), who are both blatantly having a ball. Whilst I would always rather hear the polish that you only get with an experienced vocal artist, the two are perfectly cast and know it. It is difficult for me to comment on the characters themselves because whilst Coen, Schwimmer and co are entertaining, they are also one-dimensional caricatures. You have the Blandly Dissatisfied Hero One… The Sissy One, the Sassy One, the Fat One, the Fat AND Sassy One, the Quirky One and so on and kill me. These stereotypes are too often excused in animation, the argument being that animated characters are inherently one-dimensional. They are also too often allowed to pass for legitimate children’s entertainment. That in particular, has to stop.