---
title: "Shrek"
year: 2001
kind: "film"
canonical: "https://film.one/film/shrek"
fi1m_id: "shrek"
imdb_id: "tt0126029"
tmdb_id: 808
wikidata_id: "Q483815"
fi1m_score: 80
critics_score: 74
critics_reviews: 9
published: "2026-09-14"
updated: "2026-09-18T08:38:27.746846+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Shrek (2001)

Directed by Andrew Adamson, Vicky Jenson · 1h 30m · MPA PG · Animation, Comedy, Fantasy, Adventure, Family

## Identity

Shrek

- **Canonical:** https://film.one/film/shrek
- **Type:** Film
- **Fi1m ID:** shrek
- **IMDb ID:** tt0126029
- **TMDB ID:** 808
- **Wikidata ID:** Q483815
- **Same entity:** https://www.imdb.com/title/tt0126029/, https://www.themoviedb.org/movie/808, https://www.wikidata.org/wiki/Q483815

**Fi1m score: 80** · Critics 74 from 9 reviews

*In a sentence:* A talking donkey is excellent company, provided Eddie Murphy is doing the talking

> *Shrek* is a funny, warm-hearted fairy-tale comedy whose characters outlast its pop-culture jokes. Andrew Adamson and Vicky Jenson get plenty from an ogre and a talkative donkey, even when the storytelling settles for the familiar.

## Synopsis

Shrek (voiced by Mike Myers) is an ogre taking the leading role in a fairy tale, with all the expectations about heroes and monsters that brings. Eddie Murphy voices the fast-talking Donkey, while Cameron Diaz plays Princess Fiona and John Lithgow plays Lord Farquaad. Their story involves adventure, romance and the business of being judged by appearances. Shrek’s own feelings about himself complicate the question of who might accept him. Familiar fairy-tale characters and conventions become part of a comedy that mixes slapstick, toilet humour and pop-culture references with its story about acceptance.

## Review

*Shrek* wants to be rude about fairy tales, and it is funniest when it remembers to make us like the people behaving badly. Directors Andrew Adamson and Vicky Jenson put an ogre in the leading role and set about teasing the conventions. We recommend it for the voices and the affection beneath the bad manners. The jokes about other entertainment are a less reliable attraction, especially when recognising the reference is most of the joke.

Mike Myers gives Shrek enough defensiveness to make his dislike of himself matter, without making him tiresome company. Eddie Murphy’s Donkey is the more immediate pleasure: the speed of the chatter suggests another thought has arrived before the previous one has been dealt with. We laughed at Donkey’s verbal persistence, and then found ourselves warming to it. Murphy makes all that talking sound like a need for company, which is more useful than merely giving the comic sidekick extra lines.

Cameron Diaz gives Princess Fiona enough firmness to hold her own against the louder performances, while John Lithgow makes Lord Farquaad’s self-importance enjoyably silly. The cast can make an exchange funny before the script has finished arranging its punchline. Writers Ted Elliott, Terry Rossio, Joe Stillman and Roger S.H. Schulman do their most satisfying work when they let these personalities irritate each other. Pointing at a familiar fairy-tale convention produces less dependable laughs.

James Hegedus’s production design makes the fairy-tale setting immediately recognisable, which gives the parody a useful start. There is pleasure in the computer animation’s attention to surfaces, though the polish itself is not what makes the characters engaging. Their expressions need to keep pace with the voices, and mostly they do. The visual comedy works because we can follow a reaction as well as hear a gag, without being distracted by the effort involved in making it.

Editor Sim Evan-Jones gives the rapid dialogue room to land; at 90 minutes, the film seldom makes a comic idea serve longer than it should. John Powell and Harry Gregson-Williams’s music takes the adventure and the feeling seriously enough to support them. That helps when the jokes make way for the story’s concern with appearances and acceptance. The film needs some straightforward tenderness if its hero’s unhappiness is to mean anything, and the music is willing to supply it.

The crude jokes are uneven, but crudeness is hardly a betrayal of a film with this appetite for bad manners. The more wearing passages are the pop-culture nudges, where the writers seem pleased simply to have noticed something the audience knows. They interrupt the pleasure of spending time with these characters. Nor does mocking a familiar sort of story prevent *Shrek* from following one, and its sincerity sometimes arrives with more insistence than we need.

For a family fantasy, the useful achievement is that the comedy and the wish to be accepted belong to the same characters, rather than feeling like separate jobs. Adults can enjoy the personalities without waiting for a reference aimed over the children’s heads. The characters give us enough reason to care, even when the film is busy advertising its cleverness. Watch it with someone who claims not to like cartoons, and give Murphy a few minutes.

*Fi1m score 80, published 14 September 2026.*

## What the critics say

Most critics respond warmly to Shrek’s irreverent fairy-tale comedy, praising the way its Disney barbs and pop-culture jokes entertain adults without losing younger viewers. The praise clusters around the witty writing, expressive computer animation and lively voice performances, with Eddie Murphy repeatedly singled out. For the more enthusiastic reviews, the characters’ warmth matters as much as the mockery: the film finds room for affection and a message of acceptance alongside its ruder jokes.

The reservations concern how far that irreverence really goes, and the responses range from enthusiastic approval to outright dislike. Time Out admires the technical work and individual gags but finds a conventional story beneath them, softened by earnest sentimentality. Slant Magazine is more dismissive, acknowledging the challenge to Disney’s fairy-tale habits while arguing that crude humour and empty pop references squander it; the divide is chiefly over the writing rather than the animation.

## Straight answers

**Is Shrek worth watching?**

*Shrek* is worth watching for anyone who enjoys a rude, warm-hearted fairy-tale comedy, and we scored it 80. The voices are the attraction, Eddie Murphy's Donkey above all, and the affection beneath the bad manners outlasts the pop-culture jokes, which tire fastest. Adults can enjoy the personalities without waiting for a reference aimed over the children's heads.

**How long is Shrek, and what is it rated?**

*Shrek* runs 1h 30m and is rated PG by the MPA in the US. It is an animation and comedy film.

**Where can I watch Shrek in the US?**

*Shrek* is streaming on Peacock, Disney+, The Roku Channel and Amazon Prime Video in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How does Shrek compare to The Princess Bride?**

*Shrek* and [*The Princess Bride*](https://film.one/film/the-princess-bride) are both fairy tales that mock their conventions without spoiling their tenderness, and the earlier film is the more consistently funny of the two. Reiner's comedy relies on its swordplay and companions rather than pop-culture nods, so it dates less. *Shrek* suits younger viewers and anyone who wants Murphy's chatter; *The Princess Bride* suits those who prefer their jokes sharper and quieter.

**What should I watch after Shrek?**

After *Shrek*, try [*The Princess Bride*](https://film.one/film/the-princess-bride) (1987, Fi1m 86): Another fairy tale with jokes sharp enough to leave its tenderness intact. Then [*Wallace & Gromit: The Curse of the Were-Rabbit*](https://film.one/film/wallace-and-gromit-the-curse-of-the-were-rabbit) (2005, Fi1m 87): Creature comedy with patient visual jokes and an affection for the ridiculous; and [*My Life as a Courgette*](https://film.one/film/my-life-as-a-zucchini) (2016, Fi1m 84): A quieter animation about being unwanted, with warmth that survives difficult feelings.

**What order should I watch the Shrek films in?**

Release order is the safe choice for Shrek, and it is the order [our collection page](https://film.one/collections/shrek) lists them in. *Shrek* is the first of the 4 Shrek titles on Fi1m; after it [*Shrek 2*](https://film.one/film/shrek-2). [The full order.](https://film.one/collections/shrek.md)

### Reviews we read (16)

- **RogerEbert.com**, Roger Ebert (90/100, inferred): The critic praises the film's witty, subversive humor and visual innovation, highlighting its departure from typical family animations while maintaining heart and likability in the characters. [Read](https://www.rogerebert.com/reviews/shrek-2001)
- **Variety** (90/100, inferred): Calls it an instant animated classic that rudely sends up fairy tale traditions while embodying them, with smart writing, game vocal performances, and stunning visuals. [Read](https://variety.com/2001/film/awards/shrek-3-1200468574/)
- **Los Angeles Times**, Kenneth Turan (80/100, inferred): The critic finds it a gleeful, witty fractured fairy tale with clever writing, standout voice work especially from Eddie Murphy, and smart pop culture references that appeal to both kids and adults. [Read](https://www.latimes.com/archives/la-xpm-2001-may-16-ca-63922-story.html)
- **Radio Times**, Andrew Collins (4/5): This irreverent, occasionally scatological fantasy launched a hit franchise; the characters carry the beauty-and-the-beast story, with kids loving it and adults enjoying the Disney-mocking. [Read](https://www.radiotimes.com/movie-guide/b-4nzkrd/shrek/)
- **Screen Daily** (80/100, inferred): An enchanting animated feature providing constant delights for the eye while never neglecting the mind, with sophisticated subtext, racy Disney barbs and family fare at its best, destined to become a classic. [Read](https://www.screendaily.com/shrek/405756.article)
- **Sight and Sound**, Kim Newman (70/100, inferred): The critic calls it a film of marvels if not quite a marvellous film, praising its gag-filled approach to fairytale parodies, zany characters and CGI innovations in texture and effects. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-marvels-if-not-quite-marvellous-film-shrek-reviewed-2001)
- **Time Out**, NB (60/100, inferred): Technically a triumph with a stream of merrily irreverent gags, visually and vocally, but the bigger picture is conventional, merely freshening clichés with earnest sentimentality. [Read](https://www.timeout.com/movies/shrek)
- **Slant Magazine**, Ed Gonzalez (40/100, inferred): The critic notes the film's success in subverting Disney fairy-tale tropes through its story of acceptance and self-loathing but complains that it devolves into crude jokes and soulless pop references. [Read](https://www.slantmagazine.com/film/shrek/)
- **Empire**, Ian Nathan: The critic praises the film as a clever, subversive parody of fairy tales that works brilliantly for all ages, with strong animation, a witty script full of gags, and standout voice work especially from Eddie Murphy. They single out the joyful, postmodern take on Disney-style stories and the visual storytelling as highlights, while noting minor weaknesses in the lead performance and conventional ending. [Read](https://www.empireonline.com/movies/reviews/shrek-review/)
- **The Guardian**: The critic praises the film's breathtaking state-of-the-art animation and the star voice cast for delivering constant laughs and invention. The story and script stand out amid comparisons to more daring animated features like Toy Story. [Read](https://www.theguardian.com/film/2001/jun/29/1)
- **The Hollywood Reporter**, Kirk Honeycutt: The critic praises the film's wit, compassion, and technical advances in computer animation, comparing it favorably to classic Disney like Dumbo for its fractured fairy tale approach. [Read](https://www.hollywoodreporter.com/news/general-news/shrek-review-movie-2001-1294965/)
- **The New York Times**, Elvis Mitchell (Critic's Pick): The review celebrates the film's perverse, irreverent take on fairy tales, noting its blend of slob comedy with a young audience appeal and strong voice performances. [Read](https://www.nytimes.com/2001/05/16/movies/film-review-so-happily-ever-after-beauty-and-the-beasts.html)
- **The Times**: The review hails Shrek as hilarious, original and absolutely brilliant, with human-like animation and a story delivering the message not to judge by appearances. It notes the star voice cast and positions the film as a special, unprecedented achievement. [Read](https://www.thetimes.com/culture/tv-radio/article/shrek-review-theyve-created-a-monster-vvwsgl523pq)
- **Total Film**: The critic calls it the most likeable, light-hearted fairytale comedy since The Princess Bride, highlighting the impressive yet restrained animation and perfectly toned voice performances. They note some shortcomings in joke density and plot set-pieces but praise the monster-as-hero premise and the strong ensemble of Myers, Murphy, and Diaz. [Read](https://www.gamesradar.com/shrek-review/)
- **Vulture**: The critic highlights the delightful script full of slapstick irreverence and pop culture satire, singling out the strong voice performances especially by Mike Myers and Eddie Murphy. [Read](https://www.vulture.com/article/movie-review-shrek.html)
- **Eye for Film**, Angus Wolfe Murray (80/100, inferred): The critic praises the film's remarkable computer animation and witty script, highlighting strong voice performances especially from Eddie Murphy as the fast-talking donkey and the enjoyable characters and story. [Read](https://www.eyeforfilm.co.uk/review/shrek-film-review-by-angus-wolfe-murray)

## Details

- **Director:** Andrew Adamson, Vicky Jenson
- **Director:** Andrew Adamson, Vicky Jenson
- **Writer:** Ted Elliott, Roger S.H. Schulman, Joe Stillman, Terry Rossio
- **Editor:** Sim Evan-Jones
- **Music:** John Powell, Harry Gregson-Williams
- **Production design:** James Hegedus
- **Costume design:** Isis Mussenden
- **Producer:** Aron Warner, Jeffrey Katzenberg, John H. Williams
- **Cast:** Mike Myers as Shrek / Blind Mouse (voice); Eddie Murphy as Donkey (voice); Cameron Diaz as Princess Fiona (voice); John Lithgow as Lord Farquaad (voice); Vincent Cassel as Monsieur Hood (voice); Peter Dennis as Ogre Hunter (voice); Clive Pearse as Ogre Hunter (voice); Jim Cummings as Captain of the Guards (voice)
- **Runtime:** 1h 30m
- **Certificate (MPA):** PG
- **Release (the US):** 18 May 2001
- **Genres:** Animation, Comedy, Fantasy, Adventure, Family
- **Part of:** [Shrek](https://film.one/collections/shrek.md) · 1 of 4
- **Also in:** [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2001); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2001)
- **Budget:** $60 million
- **Box office:** $490 million
- **Trailer:** https://www.youtube.com/watch?v=ppDwfm6e498

## Where to watch in the US

- Peacock: streaming, uhd
- Disney+: streaming, uhd
- The Roku Channel: add-on, hd
- Amazon Prime Video: add-on, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: buy $14.99, hd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-14.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2002: Best Writing, Adapted Screenplay (nominated); Best Animated Feature (won)
- Kids' Choice Award for Favorite Movie 2002: Kids' Choice Award for Favorite Movie (nominated)
- Annie Award for Best Animated Feature 2001: Annie Award for Best Animated Feature (won)
- BAFTA Film Awards 2001: BAFTA's Children & Young People Award - Feature Film (won)
- Critics' Choice Awards 2001: Best Animated Feature (won)

## If you liked this

- *The Princess Bride* (1987), Fi1m 86: Another fairy tale with jokes sharp enough to leave its tenderness intact. — [Fi1m page](https://film.one/film/the-princess-bride.md)
- *Beauty and the Beast* (1946): For the monster’s loneliness, taken seriously and given room to be unsettling.
- *A Town Called Panic* (2009): Talking animals and appalling behaviour, with even less concern for sensible plotting.
- *Wallace & Gromit: The Curse of the Were-Rabbit* (2005), Fi1m 87: Creature comedy with patient visual jokes and an affection for the ridiculous. — [Fi1m page](https://film.one/film/wallace-and-gromit-the-curse-of-the-were-rabbit.md)
- *My Life as a Courgette* (2016), Fi1m 84: A quieter animation about being unwanted, with warmth that survives difficult feelings. — [Fi1m page](https://film.one/film/my-life-as-a-zucchini.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/shrek