Anthomation Assesses Arlo the Alligator Boy

Howdy guys, Anthomaton here. Today I shall review another film from Netflix: Arlo the Alligator Boy. 

Arlo the Alligator Boy is a 2021 animated film by Ryan Crego in his directorial debut. The film is led by Michael J. Woodard and Mary Lambert in their debut acting roles as Arlo and Bertie respectively.It premiered on Netflix on April 16, 2021, and will be followed by a streaming television series titled I ♥ Arlo.

To find the father he never knew, optimistic Arlo leaves his swampy Southern home for New York City, making friends along the way.

The story of the movie is extremely predictable. It’s almost as if the film was written by producers with a clipboard of cliches. Tell me if you have not heard of this one before: a young boy who is a misfit among his peers adventures to New York City to find his real dad and to see where he truly belongs. If you guessed every movie ever made, then you get a free Oreo milkshake! Did I mention that this movie is also a musical? Yeah, the score is full of modern pop songs that are trying to appeal to the current generation of listeners. It feels more forced than authentic, just like the rest of the film. Also, it feels like Arlo was on fast forward for the entirety of the first act. I will not give much away as I have a thing for spoilers, but let’s just say that the interactions between Arlo and his dad feel rushed and undeveloped. This should not come as much of a surprise because we do not meet Arlo’s dad until there is only a half an hour left in the film. That does not give the audience nearly enough time to get to know Arlo’s dad, what he is going through, the realization that his son is right in front of him, and the resolution between father and son. 

The animation feels like high TV show quality with a smattering of theatrical film quality. The characters designs contain the basic lines and symmetry seen often on the small screen and the movements of the characters match the simple, yet zaniness of the overall tone. The backgrounds are a bit stylized, especially in New York city when the glamor is showcased. The one thing I did enjoy was the lighting. From the backgrounds to the character shadows to the literal spotlight being shown on the lead during many musical numbers, you can tell that this was the aspect that the animators tried the hardest to exceed at. 

The characters overall have a one note feel to them and remembering their names can even be a stretch. There is Arlo Beauregard, the optimistic alligator boy looking to find his father in New York City. There’s Bertie, a big teenage human giantess that Arlo quickly befriends. There’s a whole slew of side characters. They are Alia, a tiger girl, Furlecia, a pink flamboyant furball-like creature, Marcellus, a fish creature with legs, and Teeny Tiny Tony, a rodent-like creature. There’s Edmée, Arlo’s adoptive mother. The villains of the film are a couple of gator-catching hillbillies named Ruff and Stucky. And then there is Ansel Beauregard, Arlo’s father who wants to turn the newby neighborhood in New York from a dump to a paradise. I’m literally typing up this review 5 minutes after watching the film, and I’m already starting to forget half of the characters.

Overall this is a film that is made for really little kids. With a predictable story, good enough animation, and forgettable characters, this film is harmless to have on for the little ones but not for those over the age of seven.

Score:

4.5/10