Visual nods to Pixar pepper the feature, and these definitely elicit a few laughs. There is some top-notch work on display here, making the whole supermarket world feel much larger than it actually is. It’s the animators you really have to feel sorry for. It’s the earliest of many purile scenes that betrayed a juvenile attitude towards homosexuality, undercutting any points of tolerance the film might otherwise preach. At its worst, the film is completely unfamiliar with the lines of good taste, as the Douche not only appears to rape a juice box to death, but makes light of such encounters along the way. The Mexican food hangs out in a border-town cantina, for example, while the Firewater is a Native American Chief, the potatoes are Irish and so on. However, unable to let go of its stoner comedy roots, the film never allows itself to go any deeper than this, repeating a series of hackneyed gags using stereotypical portrayals of ethnic groups. (Edward Norton) is a microcosm of the Middle East conflict, or at least a limited version of it. The food refuses to believe the truth about the world despite evidence to the contrary, and the frequent squabbling between the Arabic-looking Kareem Abdul Lavash (David Krumholtz) and the Woody Allen-esque Sammy Bagel Jr. It all begins harmlessly enough, and on the surface there’s a interesting attempt at dissecting humanity’s relationship to religion. Thus, a small group of products band together on a voyage of self-discovery and dick jokes.Īlthough SAUSAGE PARTY is a constant barrage of puns, most of them are based around double (and sometimes single) entendre. Jilted Douche (Nick Kroll), an actual feminine hygiene product, seeks revenge on the others for robbing him of his chance to do what he was made for. When they are both finally chosen, an accident results in the breakage of multiple comrades. As “Red, White, and Blue” day approaches, the foodstuffs look forward to the human “gods” choosing them and taking them into the “afterworld.” In particular, hot dog sausage Frank (Seth Rogen) is keen to finally fulfill his destiny and slip himself inside Brenda the bun (Kristen Wiig), and that’s about as far as the sex comedy stretches in a script that shockingly has four people credited. The result is something that might pay tribute to all those classics, but falls short of pulling anything more than a single-joke narrative together.įollowing in the footsteps of Toy Story or Cars, SAUSAGE PARTY anthropomorphises the items on the shelves of a supermarket chain. While this adults-only feature may frequently tip the hat to those classics and help change perceptions about what US animation can be, its ambitions are far baser than that. Yet its success led to a legacy of animation that stands today, inspiring the likes of Pixar and DreamWorks to challenge the Mouse’s mantle. ![]() Prior to the 1937 release of Snow White and the Seven Dwarfs, the first full-length cel animated feature film, it was referred to as “Disney’s Folly” by the media. The history of animation is filled with daring attempts to change people’s perceptions of what cartoons can be. It is amazing SAUSAGE PARTY made it to cinemas. Seth Rogen and Evan Goldberg’s foray into the world of animation is like a systematic catalogue of every racial and cultural stereotype, using food as a barrier.
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