Directors: Jeff Rowe and Kyler Spears
Writers: Seth Rogen, Evan Goldberg, and Jeff Rowe
Stars: Ayo Edebiri, Jackie Chan, Brady Noon
Synopsis: The film follows the Turtle brothers as they work to earn the love of New York City while facing down an army of mutants.
There has never been a Teenage Mutant Ninja Turtles film that genuinely captured the original cartoon series’ humor, relatable characters, and innovative concept. One reason for this could be that the original series was ahead of its time and can now be viewed through a more socially conscious lens. Another reason is that the movies were subjected to corporate demands, prioritizing merchandising and product placement over crafting a story that could resonate with both the loyal fanbase and new audiences (especially evident in the rushed one-year turnaround of the sophomore follow-up effort, Teenage Mutant Ninja Turtles II: The Secret of the Ooze). However, the latest iteration, now led by a creative group of Turtleheads who respect and appreciate the mark that TMNT made on pop culture, returns to the roots of what made the Peter Laird and Kevin Eastman characters so special in the first place.
The story follows the four Turtle brothers, raised by Splinter (Jackie Chan), an anxious mutant rat suffering from crippling agoraphobia. Before mutating, however, his life takes on new meaning when he comes across his four sons, a tiny bale of little slowpokes covered in DNA-altering green ooze. He absorbs the stuff through his skin when he picks up the little hatchlings. He becomes a human-sized rat and watches videos to become skilled in ninjutsu by ordering VHS tapes over the phone (kids, this was the original YouTube university).
Raphael (Good Boys’ Brady Noon) is a turtle of action in the group with a rage problem that causes him to act first and think later. Michelangelo (The Chi’s Shamon Brown Jr.) is a charming, loquacious brother who can talk himself out of almost any situation. Then you have the tech-savvy Donatello (Micah Abbey), who constantly questions why his weapon of choice is just a big stick. Finally, you have Leonardo (The Fabelmans’ Nicolas Cantu), the group leader and truly loyal to his father’s wishes. As the little guys mutate and age, their father excuses why they should not interact with the human world.
Remember what Paul Newman’s John Rooney said in Road to Perdition? “Sons are put on the earth to trouble their fathers.” The boys love seeing movies in the park and people-watching. They witness the community and relationships being formed and want more out of this life of theirs, like going to school. That’s when they start to fight crime when they run into April (The Bear’s Ayo Edebiri), who has her scooter stolen by a chop shop operation with ties to an infamous villain named Superfly (Ice Cube), the head of a mysterious crime syndicate. If they help her, they hope to be heroes in the human world and be welcomed with open arms.
What sets apart this new cinematic version of TMNT are the genuine laughs, the message about acceptance and tolerance, and the quirky storytelling freed by the franchise returning to its animated roots. The credit should go to the deep bench of filmmakers and writers behind the production, which includes two sets of talented writing partners and a director known for one of the best-animated films of the decade, The Mitchells vs. the Machines, by Jeff Rowe. Throw in Superbad and Pineapple Express maestros Seth Rogen and Evan Goldberg, who co-wrote the script with The Tick and Detective Pikachu’s Dan Hernandez and Benji Samit’s writing team. With comedy zingers spewing from different angles that are super clever, even smart, and have a direct line to everyone’s funny bone. In particular, Jackie Chan’s Splinter—like Ashley Park said in Joy Ride, he’s a great father—and Raphael’s rage-filled turtle is amusing here. Not to mention Donatello reflecting on what we thought as kids and why we never wanted to play with him.
Also, there are more positives regarding the underlying themes when examining socioeconomic issues and at-risk groups, which accurately reflect the environment in which the cartoon takes place and are more attuned to the race and ethnicity patterns of New York City. For instance, changing the character of April O’Neill from Caucasian to a BIPOC is a refreshing and welcome pivot. (Eastman commented in a recent interview that the original concept of April was someone of APIDA descent but was later changed into a white female character.) Additionally, the script reflects acceptance, inclusiveness, overcoming adversity, empowerment, and even mentorship. This applies to the four main characters and the rival mutants, as they show two sides to every story. Also, the sudden new trend of 3D and 2D animation (Spider-Man: Across the Spider-Verse and Puss in Boots: The Last Wish) used here by Cinesite and Mikros Animation gives the film a sense of grittiness. One of my mild complaints about the Teenage Mutant Ninja Turtles: Mutant Mayhem is the limitation on how far Rogen, Rowe, and the company were allowed to push the envelope regarding comedy. The simple explanation is that the movie is primarily for families, not adults, despite some dark undertones. (Remember, this is a joint Paramount and Nickelodeon production.) However, the film works because it treats the iconic pizza-loving characters not as comic book superheroes but as teenagers who yearn for acceptance and a father who just wants to keep them safe. Combining these elements with quirky characters, modern storytelling, socially conscious themes, and a unique point of view, there’s something for everyone in the latest TMNT film. It’s truly a “Shell Shockin'” good time for the entire family.
