When your film is blessed with the presence of Keanu Reeves, and it still isn’t a good movie, that is not a good sign. “The SpongeBob Movie: Sponge on the Run” is the third animated comedy in the “SpongeBob” film series based on the famous Nickelodeon cartoon. This is yet another film that was scheduled for a theatrical release but is getting a digital release. 2020 has not been a good year.
The film is directed by Tim Hill, the man behind cinematic masterpieces such as “Garfield: A Tale of Two Kitties,” “Grumpy Cat’s Worst Christmas Ever,” and the very recent Robert De Niro classic, “The War with Grandpa.” How could this film been anything but perfection?
Now, SpongeBob is an iconic cartoon character that many, including myself, grew up watching. This film begins with a very creative opening, diving into Bikini Bottom like a nature documentary á la Richard Attenborough.
But the rest of the movie isn’t as smart, with much of the film feeling like a soulless product manufactured by a studio. This film follows SpongeBob and Patrick as they go on an adventure to a dangerous city to save SpongeBob’s pet snail, Gary, after a king uses Gary to rub his face and stay free of wrinkles.
This feels somewhat reminiscent of the first film’s plot, but this film puts a spin on that adventure story that is unique and inferior. Like “The SpongeBob Movie: Sponge Out of Water,” this is a feeble script with comedy that unfortunately does not manage to be funny, as it never takes the time to flesh out comedic moments.
It doesn’t feel very much like a “SpongeBob” film either, as this film utilizes CG animation rather than the first two, which primarily relied on traditional 2D animation. The animation looks strange, appearing to be animated on twos, and it nearly resembles a stop-motion.
While the film brings back all of the show’s prominent cast members, it brings in a few new players. As shown in the trailer, Keanu Reeves appears in the film as a wise sage in the form of a tumbleweed who guides SpongeBob and Patrick on their journey. Of course, Reeves is a shining light in this film.
Furthermore, we have a very peculiar musical number involving cowboy pirate zombies, which added nothing whatsoever to the story but serves to shoehorn in cameo appearances from a certain rapper and an iconic actor.
As likable as the characters in the film are, their potential is not realized. There is a scene where Mr. Krabs, Sandy, and Squidward talk about how much SpongeBob means to them and how caring he is. These are great character moments, but they do not pack the emotional punch they need because nothing is set up on the contrary.
Had SpongeBob began the movie feeling like he was unappreciated by his friends, and the ending illustrated their character arcs, it would have worked much better. However, this scene feels like a ham-fisted attempt at giving the film emotion even though it is generally unrelated to the Gary plot-line, and it just feels unearned.
Moreover, this scene where they voice their appreciation for SpongeBob is very time-consuming and serves as a very obvious backdoor pilot for the show’s upcoming spinoff, “Kamp Koral: SpongeBob’s Under Years.” We see extended flashbacks to the characters as children, but this creates a continuity error.
The film depicts SpongeBob and Sandy meeting for the first time as children in a flashback, but SpongeBob and Sandy do not meet until season one of the show. And as Stephen Hillenberg has stated that he does not want any SpongeBob spinoffs, the creation of this spinoff feels gross.
But there are a few good ideas in the film; it contains references to the show and the first films, including a scene in the Chum Bucket where we see the robot chef where Plankton surgically implanted SpongeBob’s brain in an early episode of the show.
Unfortunately, the lack of real stakes throughout the film cheapens the story. We have the characters going to Atlantic City, which is said to be this dangerous, scary city, but they don’t encounter any obstacles or anything remotely threatening. SpongeBob and Patrick go there and gamble in a casino, a strange activity to depict in a children’s film.
As for the comedy, it doesn’t work. There is a scene where SpongeBob and Patrick find themselves on stage with an audience expecting a performance. This situation lends itself to great awkward comedy, but instead, they do a clapping singing performance that isn’t good ironically or un-ironically.
It’s a film that feels like the brainchild of a longtime SpongeBob fan hallucinating on LSD after watching “John Wick.” The musical number at the end doesn’t work because of how bad the song is. While it’s not an excruciating watch (primarily due to Reeves’s presence), it manages to be nothing more than a disappointing adventure.
