#SCOOBY DOO GAY TEST TIKTOK MOVIE#
Who really cares? The key thing is that a movie with more confidence in either its core material or its audience wouldn't feel the need to laboriously spell out this sort of stuff. Is he warning her because he doesn't want her to go there or because he does and knows that a dire warning is the quickest way of getting her there? Or is it, as Daphne muses, more complicated than that?
#SCOOBY DOO GAY TEST TIKTOK FULL#
When Daphne stumbles across a bungling voodoo apprentice ('go home, before evil befalls your little, aerobicised booty') and he warns her about the haunted mansion, we have to go through the full routine. Things do look up a little here, with an on-formĪtkinson injecting a muchneeded bit of class the production designer, Bill Boes, having stylish fun with his sets and knockpark-about adventure finally coming close to gaining the upper hand.īut, alas, irony is never far away. Someone, it seems, is brainwashing his springbreak, college-student customers and he wants them to find out who. Then, suddenly and mysteriously, they find they have all been invited to Spooky Park, an island amusement run by Emile Mondavarious (Rowan Atkinson). Which they do for about as long as it takes for one cheap joke about clouds of smoke rising from Shaggy's camper van, a couple of Scooby snacks and a 'two years later' caption to pop up. With thick, vain Fred always doing what someone has just told him to do and Shaggy and Scooby not getting a vote, it's unanimous: it's time to wind up the ghostbusting gang. Daphne (Sarah Michelle Gellar), all red hair and Seventies purple wardrobe, is fed up with being kidnapped every time: 'I'm so over this damsel-in-distress nonsense.'Īs for brainy Velma (Linda Cardellini), she's fed up with Fred (Prinze Jr) always taking the credit for her plans and, because this is 2002 rather than 1972, with nobody taking her seriously as a sex object either. One in-joke is fine to get the older members of your audience on-side and chuckling, but it's followed by far too many others as the writers opt for smug irony rather than genuine entertainment. Surprise: 'It's Old Man Smithers - the creepy old janitor.' Instead, after a modestly spectacular chase through a creepy old toy factory, we cut to the traditional Scooby-Doo unmasking of the first far-from-ghostly villain. The opening is bizarrely low-key, with one of the best recognised theme tunes in television history dispensed with in seconds and the best recognised camper-van, the Mystery Machine, barely getting a look-in.
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As a result, it's too often easiest not to laugh at all. Computers may be able to draw a furry Great Dane and place that furry Great Dane on the screen with real, live human actors (oh, and Freddie Prinze Jr, too) but they can't - and don't - convince you that he's real.Ī much bigger problem, however, is the wretchedly uneven comic tone which can never decide whether Scooby-Doo is a film that you laugh at or with. Technology is certainly part of the problem. Sure, it has one or two comic moments but it remains - Matthew Lillard's decent turn as Shaggy apart - pretty much a steaming pile of Scooby doo-doo.
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It takes a bit of a getting used to.īut fur turns out to be the least of the problems with Scooby-Doo, the latest lazy nostalgia-fest from a Hollywood film industry clearly still short of new ideas of its own. I mean, 30 years ago, when Scooby-Doo was just an oldfashioned, two-dimensional cartoon hound, he was very much a smooth Great Dane.īut now, thanks to the wizardry of computer-generated animation, he is, as the Book of Genesis might put it, 'an hairy Great Dane'.