by Rianne Hill Soriano

Created on: June 05, 2010

The best thing about the Shrek movies is that you are offered a patented comic blend of fairy tale tradition and pop culture references. These recreate a comic flavor and moral implications for its wide commercial range of movie audience. The main charm of the Shrek franchise is its organic ability to mix fairy tale sweetness and pop culture tradition with a horde of fun personalities and a lovable green ogre on the forefront. In its world of fanciful fable, its clever originality has bought genuine thrills and belly laughs to the world of animated films. And with the vibrant characters as original as Shrek, it takes advantage of the fairy tales known many generations.

No doubt, the Shrek movies have made a pretty good fan base that it somehow becomes complacent in providing more quality installments (branding now comes before quality).

Shrek the ThirdThe Shrek franchise comes up with its third installment quite inferior to the first two. Shrek the Third tries to do its best to bring out some laugh-inducing slapstick from the can. At the least, it has the very humor that Shrek fans have come to expect. The jokes and comic pacing and nearly constant, with enough silliness for its type of comedy.

It is tough to keep up with the pressure after offering two delicious treats in a row. Shrek the Third isn't as smart as the first two; but it brings big laughs still. With its fun fairy tale, pop references and the satirical situations, it works as a light comedy offer.

Being a cash cow that it is, this movie still gives a dose of laughter while keeping up with its high-end computer animation. The corporate mind is very much apparent in its overall package. But this playful fable filled with vivid fairy tale characters and pop culture fun still engages its story with some moral lessons for the kids and some light streaks of feminism. It tries to give enough "Shrek-ish" ingredients for its all-ages audience: a joke for the kids, for the teens, and for the parents (jokes about parenthood, high school, girl power, among others).

Directors Chris Miller and Raman Hui make a collection of riffs and gags to spoof a number of movies, myths, and pop icons. The treatment generally chooses gags over character. It generally works for its level amidst some classic cartoon non-sense parts and obviously calculated jokes, probably due to the zestfully conceived slapstick that puts heart to the details that

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