19th opus in queer director's David Decoteau's career. Cheap infra-production with stock footage, stock characters and stock sequences already presented and seen in the last two movies. Filled with reiterative narrative excuses to simply reset what was built in the last movie and create a similar story about the mini-dinos solving family conflicts but with less of a presence and not nearly as personal this time around.
Decoteau doesn't have much to grab onto this time, the script provides the characters with cartoon-like behaviors and adds a mocking tone of cynical children schlock, leaning on the over the top performances and decidedly absurd/cleverless jokes that giveaway it's careless and utterly self-conscious condition.
Having said that, David's touch is unquestionable, with the expected immersion-breaking kitchyness (perhaps not as potent as the one in his more radical searches for modern camp like A Talking Cat), the gender transgressions and unexpected stereotype-free female characters, but perhaps the biggest staple it's the unabashed quirkiness and the earnestly eccentric spirit.
Besides that, there's nothing here other than the shoddy children fiction tropes one can point out since it shares a screenwriter with Foodfight! (2012). Five writers got their hands on the project and it shows in its eclectic structure and messy concatenation of jokes.
The flaws turn into virtues for the warned spectator, enjoyable for those who like weird cinema, they will find what they seek for in this negligible little piece of infantile camp without remorse or reservations.
Decoteau doesn't have much to grab onto this time, the script provides the characters with cartoon-like behaviors and adds a mocking tone of cynical children schlock, leaning on the over the top performances and decidedly absurd/cleverless jokes that giveaway it's careless and utterly self-conscious condition.
Having said that, David's touch is unquestionable, with the expected immersion-breaking kitchyness (perhaps not as potent as the one in his more radical searches for modern camp like A Talking Cat), the gender transgressions and unexpected stereotype-free female characters, but perhaps the biggest staple it's the unabashed quirkiness and the earnestly eccentric spirit.
Besides that, there's nothing here other than the shoddy children fiction tropes one can point out since it shares a screenwriter with Foodfight! (2012). Five writers got their hands on the project and it shows in its eclectic structure and messy concatenation of jokes.
The flaws turn into virtues for the warned spectator, enjoyable for those who like weird cinema, they will find what they seek for in this negligible little piece of infantile camp without remorse or reservations.