‘Migration’ Review: Elizabeth Banks and Kumail Nanjiani Head South in Benjamin Renner’s Delightful Animated Feature

Lovia Gyarkye
·5 min read
  • Oops!
    Something went wrong.
    Please try again later.

Benjamin Renner’s new comedy Migration offers a winning combination of a charming narrative and distinctive animation style. The film, which was written by White Lotus creator Mike White, is a tale of how a family of mallards embarks on an inspired journey from New England to Jamaica.

The Mallards, as they are aptly named, are a quartet of ducks living in a quiet pond somewhere in the Northeast. As in Renner’s striking 2012 animation Ernest & Celestine, Migration begins at bedtime. We meet Mack (Kumail Nanjiani) as he narrates a chilling story to his ducklings, Dax (Casper Jennings) and Gwen (Tresi Gazal), about the dangers of leaving their nest. He weaves an energetic tale about predatory herons and other monsters ready to devour adventure-seeking ducks. His stories have a fantastical edge to them — the preferred posture of overprotective parents. And they are brought to life by vivid 2D animations. There’s a painterly quality to the opening moments of Migration, which gestures at the filmmakers’ appreciation of beautiful illustrations.

More from The Hollywood Reporter

Mack’s active imagination can only be curbed by the stern and loving interjections of his wife Pam (Elizabeth Banks). She counters his scary details with softer, more encouraging conclusions. The hungry heron actually wants to help the ducks, she tells her youngest, Gwen — and no, the kids don’t die in the end. As the story comes to a close, Migrations cuts to show us the figures behind these voices. Two-dimensional portraits of herons are replaced by scenes that mix 2D and 3D animation in a sophisticated manner. The Mallards, rendered three-dimensionally, do not ever look out of place in their surroundings, which have an old-school storybook quality.

But some ducks do feel out of place. Pam craves adventure and dreams of life beyond the pond routines. When a flock of migrating birds stop to rest near their home, she’s keen to hear about their travels. The group invites the Mallards to join them on their trip to the south, where warmer temperatures, sandy beaches and allegedly glowing water await them. Mack refuses, and his rude outburst causes a brief alienation from his family.

Migration is a story about how the Mallards do eventually experience life outside the pond. The film moves briskly and with a sense of purpose — a relief considering how many children’s films these days are overly long and too concerned with proving their own cleverness. White’s script efficiently introduces our flock of characters and gets us into the sky. By the time Mack, Pam, Gwen, Dax and their Uncle Dan (Danny DeVito) fly into the clouds, we’re barely a half hour in.

Although the film adheres to a familiar formula, White’s screenplay offers plenty of real laugh-out-loud moments. Some of the funniest parts are early on, like when the family happens upon a heron who shares an uncanny resemblance to my favorite Disney villain, Yzma of The Emperor’s New Groove. It’s never quite clear if the long-legged bird has ill intentions or if Mack’s paranoia is infectious, but the situation gives off a healthy sense of danger and real stakes. Is Erin the Heron (a scene stealing Carol Kane) trying to eat the Mallards for dinner or is her version of hospitality just oddly frightening? The direction here adds to the ominous mood as Renner lightly applies some horror conventions, from creaking floors to minor jump scares.

The flock’s later adventures are less ambiguous. After leaving Erin’s home, the Mallards find themselves in the big city. A landscape of tall buildings with pointy things at the top, cars zooming through the streets and oblivious pedestrians? It’s Mack’s worst nightmare. As for Pam, she’s enthralled by the soundscapes of the bustling environment. In this version of New York, the Mallards meet a gang of pigeons led by their spiky leader Chump (Awkwafina). She introduces them to a Jamaican parrot (voiced by Keegan-Michael Key), who helps orient the novice travelers.

What’s nice about Migration is how, between the comedic bits and tangential adventures, it never loses sight of the lessons embedded in the Mallards’ story. This isn’t a film fueled by quips and cynical asides about modern life. Mack and Pam transform over the course of the narrative. Their shared experiences bring them closer together and offer new revelations about the other. The two exchange loving gazes throughout the movie that affirm that even when they are fighting, they are on the same team.

What about the kids? After all, this is a movie aimed at the young ones. I can assure you that Dax and Gwen grow too. Gwen is a cherubic duckling who surprises us with her astute observations and moments of bravery. (The one distraction is that the character’s accent doesn’t completely make sense given her New England family roots.) Dax takes after his mother and has a greater sense of adventure than his younger sister or his father. The tension between Dax and Mack boils over in one of the more emotionally salient moments of the film.

I’m praising Migration so effusively because it is, above all, an enjoyable film made with heart and a respect for its audience. Sure, there are rough patches ( a bit about a vengeful chef overstays its welcome), but most of that can be forgiven. Renner’s direction animates key moments. Scenes of the Mallards soaring, quite gracefully, through the clouds or huddled together as they try to cross a busy intersection visually affirm their love and intimacy. A well-assembled cast of voice actors brings the characters to life. Migration‘s considerable appeal perhaps lies in the simplicity of its premise: The hardest part of embarking on any new journey is taking off.

Best of The Hollywood Reporter