'œShrek the Third starts strong and ends strong,' said Nicolas Rapold in The New York Sun. 'œBut in between it feels like an assembly line of gags and Romper Room'“volume song cues.' Though the enormous team of directors, animators, and screenwriters has stuffed plenty of poop jokes and grown–up'“pleasing pop–culture references into the movie's 92–minute run–time, the third Shrek movie still feels empty. That's partly because the prattle–based formula feels tired, and partly because the plot is bland. Since Shrek got married in Part 2, he's due for baby ogres in Part 3. He's also struggling with the idea of assuming the throne now that his father–in–law has croaked. These adult anxieties are out of place in a children's film, said Stephanie Zacharek in Salon.com. Sometimes kid–sized versions of domestic comedies are smart and funny, but Shrek the Third works too hard to appeal to grown–ups. Steeped in '70s music and inappropriate adult jokes about pot smoking, Hooters, political doublespeak, commitment phobia, and job anxiety, this 'œwhole affair stinks of boomeritis.' That means Shrek the Third's creative team is two generations off, said Lisa Schwarzbaum in Entertainment Weekly. Baby boomers are the grandparents of today's preschoolers. This film's 'œOne Cool Thing' is also its only attempt at contemporary humor: the SNL–style riffing of nonboomers Amy Poehler, Amy Sedaris, Cheri Oteri, and Maya Rudolph as obnoxious princesses.
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