There were many expectations – perhaps too many – that were generated around “Scooby!”, reinterpretation of the animated classic that debuted in the sixties and that until not long ago held the title of the series with the largest number of episodes broadcast, as it represents its definitive leap into the CGI field and promised to explore how the good man met Shaggy and his eternal friend Scooby.
For this, the director Tony Cervone – “The Flintstones & WWE: Stone Age Smackdown!” (2015) – and the writers Kelly Fremon and Ken Spears, decided to bet on a completely childish approach, which would not be a problem at all, if it were not that in this case it results in a conventionalization of the proposal, in addition to certain betrayal of the original concept; and is that the mystery to be solved, one of the features that define it and is the axis around which everything is usually woven, here is practically non-existent.
If this were not enough, instead of the usual unmasking in the style of traditional detective stories, now they face a real threat, with a clear intention to get closer to the guidelines of superhero cinema and its endless boom. The latter affects the inclusion of the famous Fabulman, who, in favor of a more youthful treatment, sees his personality changed, taking the funny role that his partner Dynamite usually displays, immersing himself in a story of maturity that, as it progresses, loses strength, until the well-known and announced self-discovery comes almost in an incidental way.
In counterpart, the film succeeds in developing the relationship between the protagonists, from the aforementioned encounter between Shaggy and Scooby, which alludes to the stories of lonely children, to the dilemma they must face as adults. It breathes charm and offers quite nice and emotional moments. The same happens when they meet the rest of the team, resulting in a sequence in which, against the backdrop of the Halloween party, they present us with the rules that characterize their adventures, including the nice chases with background music. It is a pity that later they transgress some of them.
A special mention deserves to recover another of the old characters from Hanna-Barbera to make him the great villain, respecting the traits that distinguish him, and which, incidentally, are very convenient for the type of adventure. As for the desire to exploit the interconnected universe to which they belong much more, it offers promising notes, such as the extravagant presentation of the popular Captain Caveman, in addition to the sequence of final credits that gives much more information than might come in that regard.
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In short, it is said that a good children’s movie will always be good for adults too; Pixar, Disney, Aardman and Laika studios have given many examples of this. This is not the case, but despite its inconsistencies it is quite entertainingIn addition to the colorful design of its characters and the agility of the general rhythm, it will help to hook new generations of young children. “Scoob!” —Or “Scooby!” for its title in Spanish—, Due to the health contingency it did not reach the cinema screens, but it is already available on digital platforms.
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