Review: Third 'Shrek' Forgettable Fairy Tale

'Shrek The Third' (PG)(out of four)

First and foremost, let's get this straight: "Shrek the Third" delivers absolutely everything it promises to, and everything that most carefree opening night audiences are asking for. It's an important point, to note that it hits its marks in an efficient, and sufficiently entertaining way.

But what's missing from this third "Shrek" variation is perhaps more important than simple technical merits. What's lacking is that intangible sense of fun, of inventiveness, of ingenuity, that made the first "Shrek" something you ran to your friends, grabbed them by the arms and told them they simply had to see.

If it was a sports competition, say an ice skating routine, it would get a perfect 10 for technical merits, but a zero for artistic expression -- a perfectly-executed, but profoundly boring, spectacle. And while a strong weekend box office take -- which, given the franchise's more than $1 billion in profits would indicate is a strong likelihood -- will almost guarantee a fourth "Shrek," it's becoming increasingly obvious that once the last film is made, the franchise will simply evaporate from our collective consciousness.

It's not all that different from another prominent Mike Myers movie series, "Austin Powers." No one really talks about it today, or recalls it as a high-mark of comedy. And in a similar vein, "Shrek" will disappear from the conversation surrounding animation, while the likes of "Spirited Away," "Cars" and "Toy Story" will endure.

All this said, discussing the story almost seems irrelevant. Audiences surely already know if they want to see Shrek and Co. have a go at it for another round, flipping popular fairy tales upside-down while bringing a post-modern twist to the standard prince-and-princess formula.

This time around, Shrek (Myers) and Fiona (Cameron Diaz) are happy together and in love, moving forward from "Shrek 2" with the hopes that they might start raising a family sometime soon. But because of some complications regarding Fiona's father -- the king of Far, Far Away -- the kingdom looks to Shrek, the son-in-law, to take his place.

But a throne is no place for an ogre, and Shrek is first to admit it. He wants to return home, to the filth and the rats of his cozy little swamp, and in hopes of getting out of the gig, he asks if there is anyone else who could step into the spotlight, in Shrek's place?

There is, he's told, a teenager by the name of Arthur (Justin Timberlake) -- yes, as in King Arthur -- who is the second in line to the throne. Setting out to bring Arthur back to Far, Far Away, however, leaves the kingdom vulnerable, and suddenly Prince Charming (Rupert Everett), the bad guy from the last "Shrek" tale, re-emerges, rallying together all the villains and outcasts of this fairy tale universe (as in the ugly stepsister of the "Cinderella" story, and Rumpelstiltskin) to stage an attack.

They will have their "happily ever after" too, Charming says, and as Shrek, Donkey (Eddie Murphy), Puss in Boots (Antonio Banderas) and Arthur return to the kingdom, they realize their home is under siege.

One can almost see the pages turning in the script during this run about the familiar "Shrek" formula. Here, there seem to be six big fairy tale themes that are dissected and rearranged.

What's not there, however, is the sense of new ground being broken. Shrek makes ogre jokes, Donkey makes a fool out of himself, and we keep getting glimpses at most of the fairy tale creatures we've already seen -- the Three Blind Mice, the Gingerbread Man, etc.

The first "Shrek" opened to a fairy tale book being flipped open, as it then proceeded to hilariously twist the recognizable form into all new shapes. Now "Shrek" has become the calculated formula, and while we will still head out in hopes that it will pack the same punch, it has become as predictable and methodical as the original stories it mocks.