In a sentenceGarfield has been given so much to do that he barely has time to disapprove
Garfield (Chris Pratt) is an indoor cat who prefers to do as little as possible. An account of his beginnings leads into an outdoor adventure that disrupts his routine, with Vic (Samuel L. Jackson) and Jinx (Hannah Waddingham) among those involved. Garfield wants to remain comfortably detached from other people’s problems, but his own family is harder to ignore. His relationship with his father becomes central as the demands on him increase. The cat who would rather do nothing has to contend with both family complications and an unwelcome amount of physical activity.
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Mark Dindal finds some good physical comedy in Garfield’s outdoor adventure, but the cat’s dry indifference gets lost in the bustle. Appealing images and a lively Hannah Waddingham cannot make the routine story worth a family evening.
Mark Dindal’s The Garfield Movie has enough good slapstick to make its shortcomings irritating. This is a mixed family adventure, with an appealing animated cat and too little of the indifference that makes him funny. Taking Garfield out of the house is a reasonable way to fill 101 minutes, but keeping him busy leaves the film struggling to distinguish itself from other animated adventures. The opening account of his beginnings suggests that warmth and character might do the work. Before long, activity takes precedence.
Chris Pratt supplies Garfield’s voice without giving him much comic resistance to what is happening around him. The delivery is amiable enough, but the dry contempt for effort needs more than a generally agreeable leading voice. Hannah Waddingham gives Jinx a welcome forcefulness, making the character sound as though she has arrived with ideas of her own. A more distinctive Garfield might have made a stronger centre for this cast.
The training montages are where Dindal most clearly knows what to do. We laughed at their concentrated physical comedy, because the quick succession of movements gives the jokes a precision the dialogue seldom manages. Mark Keefer’s editing gives the individual routines a useful snap, although the passages joining them feel much less sure of their pace. The uneven rhythm becomes harder to ignore whenever the story resumes.
Pete Oswald’s production design favours an illustrated look that suits the broad expressions, and the fur has a softness that makes the cat appealing even when the jokes do not. The brief comic-strip-style montages are particularly welcome, allowing simpler images to carry the comedy. These passages suggest that the film need not keep straining for bigger action. John Debney’s music supports the energy, but the busy stretches would benefit from more quiet around the punchlines.
David Reynolds, Paul A. Kaplan and Mark Torgove’s screenplay has a tender interest in Garfield’s relationship with his father. That deserves some room, and the opening earns affection before the plot starts asking for it. The difficulty is how often the family material feels like something included because an animated adventure is expected to have it. With the story already weak between set pieces, the sentiment slows things further without making Garfield much more interesting.
The conspicuous product placement does not help. It makes an already generic adventure feel more calculated, particularly when the brands are easier to remember than the jokes. A family comedy does not have to preserve every habit of its source, but changing the central character ought to bring some comic advantage. Here, the extra action leaves less space for Garfield to react, and the moments of deadpan humour are too scarce.
The physical comedy may be enough for children who mainly want a succession of mishaps. We cannot recommend it for the whole sofa: the jokes and character are too uneven to sustain the running time. Come for the occasional well-timed tumble, and expect long waits between them.
The reviews lean towards disappointment, though several critics find enough slapstick and warmth to make this an enjoyable children’s film. Praise centres on the opening, bursts of physical comedy and occasional tenderness in Garfield’s relationship with his father. Some also welcome the illustrated look and expressive animation, while Hannah Waddingham’s voice performance stands out even in otherwise unfavourable reviews. The recurring complaint is that a busy, formulaic adventure leaves little of Garfield’s deadpan wit or defining laziness intact.
The spread is wide, with comic timing and animation drawing sharply opposing assessments. The Guardian welcomes the frantic cartoon energy and sharp jokes; Paste also enjoys the slapstick, despite finding Chris Pratt’s voice work generic. Less persuaded critics describe weak storytelling, intrusive product placement and action that could belong to almost any animated character. Even among the more favourable reviews, enjoyment often comes with caveats about originality and how much will linger afterwards.
Ide finds this animated Garfield adventure a refreshing step up and worth watching. She praises its frantic Looney Tunes energy and genuinely sharp comedy.
Read the full review →Walsh finds the film formulaic and overly energetic, but cute and irreverent enough to entertain children and adults alike. She praises its illustrated visual style and its playful film-history references, especially the Tom Cruise nods.
Read the full review →The page could not be accessed, so the critic’s verdict is unavailable. No specific praise or criticism could be verified.
Read the full review →The review calls the film unoriginal but spirited. It criticizes the kid-friendly screenplay for sanding away the original comic strip’s deadpan wit.
Read the full review →Erbland argues the film loses what makes Garfield distinctive and should return to the drawing board. She praises the energetic opening and the training montages, but faults the weak connective story and intrusive product placement.
Read the full review →Monson finds the film a generic, identity-free adaptation that struggles to entertain either children or adults. The review faults its lazy humor and uneven pacing, with little to praise beyond occasional slapstick.
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A Town Called Panic · not reviewed yetFor families who prefer their animated chaos stranger, faster and less predictable.
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