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There is a moment in "Shrek" when the despicable Lord Farquaad has the Gingerbread Man tortured by dipping him into milk. This prepares us for another moment when Princess Fiona's singing voice is so piercing it causes jolly little bluebirds to explode; making the best of a bad situation, she fries their eggs. This is not your average family cartoon. "Shrek" is jolly and wicked, filled with sly in-jokes and yet somehow possessing a heart.

The movie has been so long in the making at DreamWorks that the late Chris Farley was originally intended to voice the jolly green ogre in the title role. All that work has paid off: The movie is an astonishing visual delight, with animation techniques that seem lifelike and fantastical, both at once. No animated being has ever moved, breathed or had its skin crawl quite as convincingly as Shrek, and yet the movie doesn't look like a reprocessed version of the real world; it's all made up, right down to, or up to, Shrek's trumpet-shaped ears.

Shrek's voice is now performed by Mike Myers , with a voice that's an echo of his Fat Bastard (the Scotsman with a molasses brogue in " Austin Powers: The Spy Who Shagged Me "). Shrek is an ogre who lives in a swamp surrounded by "Keep Out" and "Beware the Ogre!" signs. He wants only to be left alone, perhaps because he is not such an ogre after all but merely a lonely creature with an inferiority complex because of his ugliness. He is horrified when the solitude of his swamp is disturbed by a sudden invasion of cartoon creatures, who have been banished from Lord Farquaad's kingdom.

Many of these creatures bear a curious correspondence to Disney characters who are in the public domain: The Three Little Pigs turn up, along with the Three Bears, the Three Blind Mice, Tinkerbell, the Big Bad Wolf and Pinocchio. Later, when Farquaad seeks a bride, the Magic Mirror gives him three choices: Cinderella, Snow White ("She lives with seven men, but she's not easy") and Princess Fiona. He chooses the beauty who has not had the title role in a Disney animated feature. No doubt all of this, and a little dig at DisneyWorld, were inspired by feelings DreamWorks partner Jeffrey Katzenberg has nourished since his painful departure from Disney--but the elbow in the ribs is more playful than serious. (Farquaad is said to be inspired by Disney chief Michael Eisner, but I don't see a resemblance, and his short stature corresponds not to the tall Eisner but, well, to the diminutive Katzenberg.) The plot involves Lord Farquaad's desire to wed the Princess Fiona, and his reluctance to slay the dragon that stands between her and would-be suitors. He hires Shrek to attempt the mission, which Shrek is happy to do, providing the loathsome fairy-tale creatures are banished and his swamp returned to its dismal solitude. On his mission, Shrek is joined by a donkey named the Donkey, whose running commentary, voiced by Eddie Murphy , provides some of the movie's best laughs. (The trick isn't that he talks, Shrek observes; "the trick is to get him to shut up.") The expedition to the castle of the Princess involves a suspension bridge above a flaming abyss, and the castle's interior is piled high with the bones of the dragon's previous challengers. When Shrek and the Donkey get inside, there are exuberant action scenes that whirl madly through interior spaces, and revelations about the dragon no one could have guessed. And all along the way, asides and puns, in-jokes and contemporary references, and countless references to other movies.

Voice-overs for animated movies were once, except for the annual Disney classic, quickie jobs that actors took if they were out of work. Now they are starring roles with fat paychecks, and the ads for "Shrek" use big letters to trumpet the names of Myers, Murphy, Cameron Diaz (Fiona) and John Lithgow (Farquaad). Their vocal performances are nicely suited to the characters, although Myers' infatuation with his Scottish brogue reportedly had to be toned down. Murphy in particular has emerged as a star of the voice-over genre.

Much will be written about the movie's technical expertise, and indeed every summer seems to bring another breakthrough on the animation front. After the three-dimensional modeling and shading of " Toy Story ," the even more evolved " Toy Story 2 ," " A Bug's Life " and " Antz ," and the amazing effects in " Dinosaur ," "Shrek" unveils creatures who have been designed from the inside out, so that their skin, muscles and fat move upon their bones instead of seeming like a single unit. They aren't "realistic," but they're curiously real. The artistry of the locations and setting is equally skilled--not lifelike, but beyond lifelike, in a merry, stylized way.

Still, all the craft in the world would not have made "Shrek" work if the story hadn't been fun and the ogre so lovable. Shrek is not handsome but he isn't as ugly as he thinks; he's a guy we want as our friend, and he doesn't frighten us but stir our sympathy. He's so immensely likable that I suspect he may emerge as an enduring character, populating sequels and spinoffs. One movie cannot contain him.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Shrek (2001)

Rated PG For Mild Language and Some Crude Humor

Cameron Diaz as Princess Fiona

John Lithgow as Lord Farquaad

Eddie Murphy as Donkey

Mike Myers as With The Voices Of

Based On The Book by

• William Steig
• Joe Stillman
• Ted Elliott
• Terry Rossio
• Roger S.H. Schulman

Directed by

• Andrew Adamson
• Vicky Jenson

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Shrek , which is partly derived from William Steig’s illustrated children’s book about a gruff, kindhearted ogre, continues a welcome trend in animation: The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself. This trend is particularly rampant in the field of computer animation, notably the  Toy Story  movies and, to a lesser extent,  Antz,  as well as live-action movies, such as the  Babe  films, which include computer-animated techniques. There’s a marvelous slapstick irreverence to the script for  Shrek,  written by Ted Elliott, Terry Rossio, Joe Stillman, and Roger S. H. Schulman, which adults, perhaps more so than the children they accompany, will appreciate. Just about all the famous fairy tales are sent up, as well as everything from  The Hunchback of Notre Dame  to  The Dating Game.  We’re watching a celebration of the nutty new ways in which our pop memories can be recycled and made sport of.

The animation, directed by Andrew Adamson and Vicky Jenson, is often on the same wriggly, giggly level as the script, although the more “human” characters, such as Princess Fiona and Lord Farquaad, are less interesting than the animals and creatures – a common pitfall in animated films of all types. Among the celebrity voices, best are Mike Myers’s Scots-accented Shrek and Eddie Murphy’s Donkey, who is so funny and so gloriously an emanation of the actor that, afterward, you might make the mistake of thinking Murphy was actually in the movie, braying at full comic throttle.

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Shrek Review

29 Jun 2001

An ugly, big, green bloke and his smartarse donkey sidekick rescue a prissy princess from a lovelorn dragon for a self-obsessed lordling lacking in stature? And it’s a clever-clever parody-type thing? An animated fairy tale all about animated fairy tales? Tee-hee, how postmodern. Yes, but it works a treat.

Ever since Toy Story shookthe animation rafters, CGI’s awe-inspiring intricacies have become a matter of course. So, naturally, the work in this inverted fairy tale is a knock-out: humans with proper human faces, not bubble heads, actual furry fur and landscapes that hover delightfully between lush, 3-D, Oz-like backdrops and photo-realistic video game aesthetics. Yet it’s not the dazzle factor that impresses so much with Shrek , as the directors’ flare for storytelling on a sumptuous visual level, letting the script (based on William Steig’s book) do the talking.

And it’s one joyous miracle of a script (how is it that only animation writers seem able to do great comedy anymore?) doing the yakking. This is more than simply ex-Disney honcho Katzenberg taking sly potshots at his former employers; it’s a full-scale parody of the Mousedom’s chirpy ethic of old. Snow White, Sleeping Beauty, Cinderella , every Andersen/Grimm fantasy is caught in a fusillade of affectionate piss-take (Farquaad’s rigid kingdom is a direct dig at Disneyland).

Like the Zucker spoof-principals, the film teems with incidental genius - we defy you not to bust a gut laughing at Farquaad’s interrogation of the Gingerbread Man, or the untimely arrival of the Three Blind Mice at Shrek’s hovel, or Robin Hood’s posse Riverdancing. Don’t panic, though, this doesn’t begin to scratch the surface of the whirlwind of gags, hinting that repeat visits may be in order.

Shrek genuinely offers something for all ages: fart jokes for the tots, WWF-style bouts and Matrix skits for the teens, while Eddie Murphy’s hysterical, jabbermouthed Donkey’s stream of psychobabbled relationship talk - for defensive ogre and attitudinal princess - is hip for grown-ups. Murphy hasn’t touched these comedy heights for years; his chorus of city-literate jive never allows the movie a flat moment.

There are weaknesses. Myers gives Shrek an inconclusive Scottish accent and seems strangely confined playing the straight guy. And when the story finally begins to wrap itself up, the counter-classic edge succumbs to predictable, sturdy, moral outcomes. Not to worry too much, though - the movie crashes out with a musical number boasting Donkey (with shades)’s soul-ribbed version of The Monkees’ I’m A Believer. Pinocchio this is not.

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• Animation , Comedy , Kids , Sci-Fi/Fantasy

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In Theaters

• Mike Myers as Shrek; Eddie Murphy as Donkey; Cameron Diaz as Princess Fiona; John Lithgow as Lord Farquaad

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• Andrew Adamson, Vicky Jenson

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Movie review.

At home in his swamp, a flatulent ogre named Shrek defends his life of solitude—though deep down it’s probably not his first choice. “People judge me before they know me. That’s why I’m better off alone,” he says. Indeed, he’s an intimidating presence with a chip on his shoulder, automatically assumed to be evil and cruel. Not that he doesn’t play it to the hilt at times. Shrek exploits that misconception to protect his privacy (when confronted by torch-bearing, pitchfork wielding villagers, he describes the gruesome fates awaiting those who disturb him). When the evil Lord Farquaad banishes hundreds of fairy tale characters (Pinocchio, the three little pigs, Snow White, the three blind mice, etc.) to his swamp, Shrek will do anything to restore peace and quiet. So he cuts a deal. In exchange for solitude. Shrek promises to rescue the beautiful Princess Fiona from a castle tower guarded by a fire-breathing dragon (Farquaad selfishly wants to marry Fiona solely for her royal standing so that he can become king). Accompanying Shrek on this adventure is a wise-cracking, jive-talking Donkey, an annoyingly loyal beast of burden who keeps the ogre on his toes … and keeps the audience laughing.

positive elements: Themes of inner beauty, forgiveness, loyalty, friendship and romantic love are central to this comic adventure. We also learn that words can cut deeply. By film’s end, in an unusual plot twist, viewers appreciate the concept that genuine beauty runs deeper than outward appearance. A discussion about not holding grudges concludes with an excellent motto: “That’s what friends do, they forgive each other.”

spiritual content: The magic spells of fairy tale land pop onto the screen from time to time, as do witches. Pivotal to the story is a witch’s curse that must be reversed.

sexual content: Adults and teens will pick up several subtle lines about physical relationships and penis size. There’s a comment that Snow White wasn’t “easy” even though she lived with seven little men.

violent content: Most of the violence is slapstick and cartoonish. Shrek and Donkey take on Lord Farquaad’s henchmen with cleverly choreographed action parodying WWF wrestling moves. Younger viewers may be frightened by the fire-breathing dragon’s attempts at toasting Shrek and company. A talking gingerbread man has his legs removed and is cast in the garbage by evil Farquaad (at the end, he reappears alive and on crutches). While singing to a bluebird, Fiona massacres a high note causing her little winged friend to explode (she then fries the bird’s eggs for breakfast). Fiona’s feisty martial arts moves (with a mid-air freeze straight from The Matrix ) take out Robin Hood’s merry men. Fiona must remove a stray arrow from Shrek’s backside. A sword is put to Fiona neck. At a wedding, soldiers attack Shrek, Lord Farquaad is devoured by a dragon, and Snow White and Cinderella violently compete for the bride’s bouquet.

crude or profane language: For some families this will be the troll lurking underneath the bridge. There are about 10 instances of crude slang or mild profanity. With a striking resemblance to Disneyland’s It’s a Small World exhibit, a cast of toys performs a song that leads up to the phrase, “wipe your [pause]” (though the toys actually break the rhyme structure by singing “face,” the real rhyme is assumed to be “a–,” demonstrated by the toys bending over and turning their posteriors toward the audience).

drug and alcohol content: In separate scenes, both Shrek and Farquaad drink what appear to be martinis. The princess is said to like Pina Coladas.

other negative elements: The film’s strong message that inner beauty really counts gets undermined a bit when Farquaad is unfairly maligned for being short. He’s got a lot of faults, but his modest stature isn’t one of them. Scatological humor abounds with a special emphasis on flatulence (which folklore actually does connect with ogres). Fiona matches Shrek belch for belch. Donkey urinates on a campfire. Shrek removes a long hunk of wax from his ear and uses it as a candle. It’s obvious that Fiona has bought into the conventions of fairy tale romanticism hook, line and sinker. Her skewed perspective on love and marriage undermines agape love and spiritual discernment in relationships.

conclusion: Former Disney animation guru Jeffrey Katzenberg denies that he’s taking potshots at the characters and theme park once responsible for his paycheck. Yeah. Right. The result is occasionally hilarious. But at other times, mature viewers may feel a bit guilty chuckling at the expense of symbols of childhood innocence. For example, is it funny or pathetic to see Geppetto voluntarily handing Pinocchio over to authorities for a handful of coins? Okay, a little bit of both , but there’s definitely a cynical edge. The injection of pop/rock tunes (The Monkees’ “I’m a Believer,” Smash Mouth’s “All Star,” Rupert Holmes’ “Escape,” etc.) adds to the film’s fun-loving irreverence. The technical wizardry of this 90-minute computer-animated comedy invites comparison to the quality and realism of Toy Story or A Bug’s Life . It’s impressive to look at, from the textures of clothing to the way computer-generated characters trample computer-generated grass as they walk through it. Unfortunately, Shrek takes a very un-Pixar approach to family entertainment by resorting to crudities, bathroom humor and profanity that will give pause to families, particularly those with younger children. Still, the film does a lot to redeem itself in the final minutes with a terrific message about inner beauty.

Bob Smithouser

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Shrek Review: The 2001 DreamWorks Hit Movie About a Lonely Ogre

Review: Shrek stays winning! I don’t think its in the pantheon of great animated movies this century (Pixar has made movies superior to this just in the last few years), but it’s pretty entertaining and funny for what it strives to be. Mike Myers and Eddie Murphy are terrific voice actors.

I’ll venture to say I originally got deeply invested in the film industry only a few years ago. Since then, I’ve had a great time going back and reevaluating a bunch of old movies that I liked as a kid for their entertainment value, but I haven’t given much time of day to interpret their worth in the arc of the industry’s recent history. I’m mostly talking about kids movies (many of them animated) that I held in high regard nearly two decades ago and want to go back and watch again.

And for kids my age (which at the time of writing this is 23), one of those landmark pieces of children entertainment in the early 2000s is Shrek . A tentpole DreamWorks release in 2001, Shrek looks every bit its age and now relies mostly on the remarkably unique content and world that it lives in. I caved and bought the 4k release about a week ago, and the restoration looks both glorious and severely exposes early 21 st century animation when constructed through a computer program.

It looks old compared to current day computer-generated animated movies, but when reexamining it to other DreamWorks movies , I’m not sure it’s a night and day difference. The Madagascar and Kung Fu Panda movies look fine, but they aren’t the cream of the crop in an industry that’s recently been in a renaissance for visual storytelling.

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And so, like mentioned above, I wanted to see how the story held up over 20 days later – and I’m happy to report back that I was satisfied! The comedy is much more adult-oriented than I remembered. Much of it went over my head when I played this movie endlessly as a kid. Mike Myers and Eddie Murphy are even better than I remembered, too, now that I have some history with both of them in stuff outside of this universe. I think I’m planning to revisit the others sometime soon, but this was always my favorite of the series and I’d be surprised if that changes.

And perhaps the original Shrek is my favorite of the series because it spends most of the time building a really fun and engaging world to be in. The different pieces of childhood fairy tales that it picks from are always engaging and new. The jokes land at a surprisingly high rate. The story and design is about what I remembered, but the little details now grow in my estimation as I begin to understand them as a viewer who wants more out of my movies.

So Shrek stays winning! I don’t think its in the pantheon of great animated movies this century (Pixar has made movies superior to this just in the last few years), but it’s pretty entertaining and funny for what it strives to be. The movie also has a quick 90 minute runtime, which I’m never opposed to. DreamWorks hasn’t made many bona fide smash hits in their studio’s history, but it every movie since Shrek has been built on this film’s success. There’s apparently a fifth Shrek movie coming out, which means I’m sure I’ll return to this again in the near future for the harmless fun.

Genre: Adventure , Animation , Family , Comedy

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Shrek Cast and Credits

Mike Myers as Shrek

Eddie Murphy as Donkey

Cameron Diaz as Princess Fiona

John Lithgow as Lord Farquaad

Vincent Cassel as Monsieur Hood

Directors: Andrew Adamson ,  Vicky Jenson

Writers: Ted Elliott ,  Terry Rossio ,  Roger S.H. Schulman ,  Joe Stillman

Editor: Sim Evan-Jones

Composer: Harry Gregson-Williams ,  John Powell

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FILM REVIEW

FILM REVIEW; So Happily Ever After, Beauty and the Beasts

By Elvis Mitchell

• May 16, 2001

The filmmaking team behind ''Shrek'' takes the bare bones of William Stieg's children's book about an ogre who thinks filthiness is next to godliness and glories in bad manners and ickiness and uses that as a taking-off point for a new animated film that rejoices in its own brand of perversity.

The opening sequence of the film -- a Dreamworks movie directed by Andrew Adamson and Vicky Jenson and written by Ted Elliott, Terry Rossio, Joe Stillman and John Powell -- features the title monster (voiced by Mike Myers) enjoying a mud bath. It isn't merely because it will keep his glowing green skin supple and youthful; like the picture's young target audience, who love to display mouthfuls of half-chewed food to giggly friends and outraged adults, he loves creepy slop. (He garnishes his martinis with a human eye instead of an olive.) The movie itself is a giggly cocktail, though it's more foam than drink, a return to the frothy riffing on pop culture that started back on Bugs Bunny's watch in the Vitaphone days, before Disney created the fairy tales that were 90 percent merchandising and 10 percent boredom. ''Shrek'' maintains that beauty is on the inside, not the outside.

Mr. Myers subtly nudges his fans by giving Shrek a gentler version of the Scottish burr he employed for the least likable characters in ''Austin Powers: The Spy Who Shagged Me'' and ''So I Married an Ax Murderer.'' Eddie Murphy is also one of the voices in ''Shrek,'' playing a needy donkey who has been promoted from supporting character in the book to sidekick. It gives Mr. Murphy a chance to reprise his desperate-to-ingratiate character from ''Mulan,'' probably the subtlest of the film's many relentless jabs at the bland ubiquity of Disney's animated characters.

Shrek is just as desperate as the donkey, but it's because he wants to be alone. Lord Farquaad (John Lithgow) gives him the opportunity to return to his jolly, green hermetic state. If Shrek can deliver Princess Fiona (Cameron Diaz) for Farquaad to marry, Farquaad will ensure that Shrek's swamp is restored to its isolated status. The ogre sets off on his adventure with the donkey scampering behind, keen to help. Farquaad is responsible for Shrek's plight. He has assigned all of the magical creatures of the kingdom to ''a designated resettlement facility'' and many of them -- the Three Little Pigs, Pinocchio and others -- are on the run. They're using Shrek's mossy home as a hideout, which makes his mission all the more urgent.

Much of ''Shrek'' is scrappy, brash comedy, and the brio of the actors adds to the dynamism. The cycle of kiddie musicals typified by ''Aladdin'' seems to be drawing to a close, possibly because video stores have walls of these animated sing-along films already. Nonetheless, in a bleak nod to that tradition Shrek himself has been saddled with a bit of pathos: he's only vile because he wants to pre-empt responses to his appearance. Fortunately, he doesn't break into song to explain his aching psyche, though he might as well.

In Mr. Steig's book, Shrek is unapologetic about his looks; for him, life is not trick or treat, it's trick and treat.

Like many movies nowadays, ''Shrek'' is a blistering race through pop culture, and what the movie represents is a way to bring the brash slob comedy of ''The Simpsons'' and ''South Park,'' as well as the institutional irreverence of ''Saturday Night Live,'' to a very young audience. This leads to some very funny scenes, like the torture of the Gingerbread Man. Such rambunctious heartlessness has become a way of life in children's animation, but television isn't equipped to do it as well as films can.

When ''Shrek'' is cooking, thanks to the writing as well the improvisational skills of stars like Mr. Myers and Mr. Murphy and the performance of Mr. Lithgow, the jokes have a bark. The film's co-producer, Jeffrey Katzenberg of DreamWorks, is taking cartoons back to their roots. They weren't originally created for children but were consigned to the early morning children's ghetto in the early days of television because they were colorful, imaginative and short.

Beating up on the irritatingly dainty Disney trademarks is nothing new; it's just that it has rarely been done with the demolition-derby zest of ''Shrek.''

''Shrek'' is rated PG (''Parental guidance suggested'') for some slightly adult references that parents may have to find a way to explain.

Directed by Andrew Adamson and Vicky Jenson; written by Ted Elliott, Terry Rossio, Joe Stillman and Roger S. H. Schulman, based on the book by William Steig; edited by Sim Evan-Jones; music by Harry Gregson-Williams and John Powell; production designer, James Hegedus; produced by Aron Warner, John H. Williams and Jeffrey Katzenberg; released by DreamWorks Pictures. Running time: 89 minutes. This film is rated PG.

WITH THE VOICES OF: Mike Myers (Shrek), Eddie Murphy (Donkey), Cameron Diaz (Princess Fiona), John Lithgow (Lord Farquaad) and Vincent Cassel (Monsieur Hood).

A film review on Wednesday about the animated feature ''Shrek'' misidentified a screenwriter. He is Roger S. H. Schulman, as shown in the list of credits; John Powell wrote some of the music.

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F or 70-odd years, New Yorker writers and cartoonists have had a sideline in writing books for children. The practice of lucid prose, the wit and the injunction never to patronise their readers gave them a head start. Even Charles Addams joined them back in the 1960s in turning out The Chas Addams Mother Goose, a collection of grisly, illustrated nursery rhymes.

The magazine's pre-eminent children's writers have been E.B. White, author of Stuart Little and Charlotte's Web, and James Thurber. But equally distinguished and productive has been William Steig, who began contributing to the New Yorker as early as 1930 and gave up orthodox cartooning in the 1940s in favour of fanciful drawings of an erotic and fantastical character much influenced by Picasso.

The computer-animated film Shrek, the joint directorial debut of Andrew Adamson and Vicky Jenson, is, I believe, the first of Steig's 20 children's books to reach the screen and in its properly modest fashion seems to me family entertainment of the highest order. It is, however, in its smooth, sculptured style visually far removed from Steig's own idiosyncratic line.

Like the Rob Reiner-William Goldman live-action fable The Princess Bride, Shrek is a fairy story about fairy stories and it begins disarmingly with a bland tale being read from the turning pages of a traditional children's book. This is deliberately misleading, because the book is being read in the strong Scottish accent (provided by Mike Myers) of a hideous, green-faced ogre who is using the book as lavatory paper in his outdoor privy and mocking its contents. This ogre is called Shrek, which is roughly German for shock and horror, and is the name of the hideous-looking actor Max Schreck, who played Dracula in Murnau's Nosferatu, a film to which this one centrally refers.

The ogre, who begins the day bathing in mud and uses the wax from his ears as candles, lives alone in a hideous swamp, believing himself to horrify and be abhorred by other men. Suddenly, creatures from fairy tales arrive in his domain - the three blind mice, Snow White and the seven dwarfs, Pinocchio and so on - exiled there by Lord Farquaad (John Lithgow). The dreadful Farquaad wants to rule a conformist city of obsequious citizens who behave according to TV-style studio cards telling them to 'Applaud', 'Laugh' or maintain 'Revered Silence'.

Attaching himself to the ogre as a very reluctant companion-assistant is a talking donkey, a real wise-ass amusingly voiced by Eddie Murphy, who accompanies Shrek on a quest to win the hand of the beautiful Princess Fiona (Cameron Diaz) for Farquaad. The tyrant needs her, for only by marrying a true princess can he proclaim himself king. The vainglorious Farquaad is too cowardly to undertake the mission to Fiona's Piranesi-like castle himself because she's protected by a ferocious, fire-eating dragon.

Needless to say, Shrek and the Donkey succeed, but then comes the homeward journey with their beautiful prize and the turning of the tables on the wretched Farquaad. There are here, of course, parodic elements of Cyrano de Bergerac in Shrek's courtship of Fiona and his inevitable love for her.

Naturally, they quarrel endlessly, but in several respects they strike it off well, because she has a sharp tongue, some skills in karate, which serve to repel Robin Hood's rapacious band, and when the ogre inflates a toad into a floating balloon she does the same with a snake. But she also has an unusual characteristic, the result of some sort of spell, which makes her like Dracula, a victim of the change between night and day, and produces a twist on the fairy-tale convention. Her heart is true, but her beauty is skin-deep.

The movie is a constant delight for its exuberant simplicity, its avoidance of sensational effects, its wit and a true feeling that transcends sentimentality. Except for a single scene, it avoids the usual animated movie songs by the likes of Elton John and Tim Rice and, indeed, makes jokes about the awful voices of Fiona, whose high notes make a friendly bluebird explode, and the Donkey, who is only allowed to hum.

And the picture concludes with an ensemble version of the Monkees' 'I'm a Believer', a tribute to four untalented musicians.

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• A mean lord exiles fairytale creatures to the swamp of a grumpy ogre, who must go on a quest and rescue a princess for the lord in order to get his land back.
• When a green ogre named Shrek discovers his swamp has been 'swamped' with all sorts of fairytale creatures by the scheming Lord Farquaad, Shrek sets out with a very loud donkey by his side to 'persuade' Farquaad to give Shrek his swamp back. Instead, a deal is made. Farquaad, who wants to become the King, sends Shrek to rescue Princess Fiona, who is awaiting her true love in a tower guarded by a fire-breathing dragon. But once they head back with Fiona, it starts to become apparent that not only does Shrek, an ugly ogre, begin to fall in love with the lovely princess, but Fiona is also hiding a huge secret. — Film_Fan
• Once upon a time, in a far away swamp, there lived an ogre named Shrek whose precious solitude is suddenly shattered by an invasion of annoying fairy tale characters. They were all banished from their kingdom by the evil Lord Farquaad. Determined to save their home -- not to mention his -- Shrek cuts a deal with Farquaad and sets out to rescue Princess Fiona to be Farquaad's bride. Rescuing the Princess may be small compared to her deep, dark secret. — Jwelch5742
• It's the story of a terrifying green ogre by the name of Shrek, who lives in a swamp. But all of the sudden, the evil Lord Farquaad banishes a bunch of fairy tale creatures to Shrek's swamp. So Shrek now must go on a quest to save Princess Fiona, along with a fast-talking donkey whose name is literally Donkey in order to get his swamp back.
• A male ogre teams up with a male donkey to rescue a princess who is locked up in a tower. They need to rescue her in order to gain property back. While they getting to know the princess, they do not know that she has a secret that could change everything. — RECB3
• Shrek, a grouchy, mean, selfish yet insecure green ogre that has always enjoyed living in peaceful solitude in his swamp, finds his life disrupted when numerous fairy-tale beings, including Pinocchio, the Three Little Pigs, and Donkey, are forced into the swamp by order of the obsessive, perfectionist, fairy-tale despising Lord Farquaad. Shrek leaves the swamp to ask Farquaad for the return of his privacy, with his new friend Donkey happily tagging along. Meanwhile, Farquaad tortures the Gingerbread Man into revealing the whereabouts of the remaining fairy-tale creatures until his guards rush in with an object Farquaad has been searching for: the Magic Mirror. The Mirror tells him that Farquaad can only become a real king by marrying a princess (completely disregarding his original question regarding if his kingdom was the fairest of them all). The Mirror gives him three princesses to choose from (in a parody of The Dating Game): Cinderella, Snow White, and Princess Fiona. Farquaad chooses Fiona and silences the Mirror before he can mention "the little thing that happens at night" (which is later revealed to be a curse). Shrek and Donkey arrive at Farquaad's palace in Duloc, where they find themselves in the midst of a tournament. The winner will have the "privilege" of attempting to rescue Fiona from a castle surrounded by lava and protected by a fire-breathing dragon so that Farquaad may marry her. Shrek (with some help from Donkey) easily beats the other knights in a fashion that resembles a wrestling match and Farquaad agrees to remove the fairy-tale creatures from the swamp if Shrek rescues Fiona. Shrek and Donkey travel to the castle and split up to find Fiona. Donkey encounters the dragon and sweet-talks the beast to save himself before discovering that the dragon is female. Dragon takes a liking to Donkey and carries him to her chambers. When Shrek finds Fiona, she is appalled at his lack of romanticism. As they are leaving, Shrek manages to save Donkey, caught in Dragon's tender clutches, and causing her to become irate, chasing Shrek, Fiona, and Donkey out of the castle. At first, Fiona is thrilled to be rescued but quickly becomes disappointed when Shrek takes his helmet off and she realizes that he is an ogre. The three make their return journey to Farquaad's palace, with Shrek and Fiona finding that they have more in common with each other along the way and falling in love. However, at night, Fiona refuses to camp with them, taking shelter in a nearby cave until morning. Shrek and Donkey stay awake and watch the stars while Shrek informs Donkey that he plans to build a 10-foot wall around his swamp when he returns. When Donkey persistently asks Shrek why he is doing this, Shrek sadly confesses to him that everyone judges him before they get to know him. Therefore, he feels he is better off alone, despite Donkey's admittance that he did not immediately judge him when they first met. Fiona hears this and decides to be kinder to Shrek the next day. The next night, Fiona takes shelter in a nearby windmill. When Donkey hears strange noises coming from the windmill, he finds Fiona has turned into an ogress. Fiona explains she was cursed as a child and turns into an ogress every night, which is why she was locked away in the castle, and that only a kiss from her true love will return her to her "love's true form". Shrek, about to confess his feelings for Fiona, overhears part of their conversation, and is heartbroken as he misinterprets her disgust at her transformation into an "ugly beast" as being disgusted with him. Fiona makes Donkey promise not to tell Shrek about the spell, vowing to do it herself, but when the next morning comes, Shrek has brought Lord Farquaad to Fiona. The two return to the castle, while a hurt Shrek returns to the now-vacated swamp, not long after breaking off his friendship with Donkey, out of anger. Shrek finds that, despite his privacy, he is miserable and misses Fiona. Donkey comes to the swamp, angry at Shrek and Shrek reveals that he overheard their conversation. Donkey keeps his promise to Fiona and tells Shrek that she was talking about someone else. He then tells him that Fiona will be getting married shortly, urging Shrek into action to gain Fiona's true love. They are able to travel to Duloc quickly, thanks to Dragon, who had escaped her confines and followed Donkey. They interrupt the wedding before Farquaad can kiss Fiona, but not before the sun sets, which causes Fiona to turn into an ogress in front of everyone. While her transformation causes Shrek to fully understand what he overheard at the windmill, Farquaad, disgusted over the change, orders Shrek killed and Fiona imprisoned, but Shrek whistles for Dragon, who bursts in and devours Farquaad. Shrek and Fiona admit their love for each other and share a kiss; Fiona is bathed in light as her curse is broken but is surprised to find that she has remained an ogress, as she thought she was supposed to become beautiful, to which Shrek replies that she is beautiful. The two of them get married in the swamp and depart on their honeymoon while the rest celebrate by singing "I'm a Believer".

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By Peter Travers

Peter Travers

Shrek , a screwball fable from debuting directors Andrew Adamson and Vicky Jenson, also looks good enough to justify some preening. Based on a children’s book by William Steig, the film represents a new peak in computer animation from PDI/ DreamWorks — the folks who brought you Antz . But this time they’ve added humans to the mix. Shrek, voiced by Mike Myers with the same Scottish burr he gave Fat Bastard in the last Austin Powers flick, is a big, green, stinking ogre who sticks close to his home in the swamps to avoid people who call him a big, green, stinking ogre. But then the badass Lord Farquaad (voiced by John Lithgow), a three-foot-tall bully with a giant ego, demands that Shrek rescue Farquaad’s feisty intended, Princess Fiona (voiced by Cameron Diaz), from a fire-breathing lady dragon who has her mojo going for Shrek’s pal Donkey (brayed to comic perfection by Eddie Murphy). Insiders will tell you that Farquaad is DreamWorks chief Jeffrey Katzenberg’s revenge on his former Disney boss Michael Eisner. What, just because Farquaad’s kingdom is a theme park with turnstiles and his subjects include Pinocchio , Cinderella and Snow White ? Forget the in-jokes, the moral messages about beauty being skin-deep (No! Really?) and the rock soundtrack. By the time Smash Mouth sing the Monkees’ hit “I’m a Believer,” you’ll be a believer, too. What matters about Shrek is the wonder of the photorealistic animation — only God can make a tree, but a million digital polygons come damn close — the humor of the storytelling and the way the characters touch your heart without making you puke. Cannes judges might blanch at the product tie-ins (green ketchup from Heinz — puh-leese!), but Shrek is a world-class charmer that could even seduce the Academy when it hands out the first official animation Oscar next year. A hermit hero whose farts kill fish, the first smart ass to talk onscreen since Ace Ventura , a hidden dragon of a princess who sings off-key and a villain based on Disney’s CEO — what’s not to like?

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Ranking Every Shrekiverse Movie From Worst To Best

From all-star to dud...

It’s hard to overstate what a significant impact the Shrek franchise has had on the world of animation, for better or worse. When the first film debuted in 2001, it was seen as a sign that Pixar wasn’t the only studio that could make computer-generated films that became critically and financially successful . Although casting celebrity voices and subverting fairy story stories was something that animated films had done before, Shrek was unique in its radical approach to pop culture, featuring film references, popular music, and meta jokes. It became the first Academy Award winner for Best Animated Feature (memorably beating Monsters Inc. ), and even earned a nomination for Best Adapted Screenplay.

The voiceover performances by Mike Myers and Eddie Murphy were quickly taken advantage of by DreamWorks Animation for marketing purposes, and the franchise has spawned a number of merchandising opportunities. While the reviews tended to decline with each installment, the box office for Shrek continued to be strong; it is currently the second-highest-grossing animated film series behind Despicable Me . The series launched the 2011 spinoff Puss in Boots , which brought back Antonio Banderas after he had become a staple of the franchise in Shrek 2 .

With Puss in Boots: The Last Wish hitting theaters now and earning rave reviews, it appears that the future is very bright for the franchise. A third Puss in Boots is likely, and the possibility of Shrek 5 seems very high considering The Last Wish ’s ending. Outside of the films, the Shrek series has included a 4-D event special, a Christmas installment, several music videos, and the Netflix television series The Adventures of Puss in Boots . Here is every Shrekiverse movie, ranked from worst to best.

6 Shrek Forever After

The fourth installment in the Shrek franchise truly felt like the franchise was out of ideas, and was simply returning to its roots. Although the sequels had gradually gotten sillier, Shrek Forever After attempted to ground the series in more gravity by exploring a “what if” scenario where Shrek never rescues and marries Princess Fiona ( Cameron Diaz ). Due to a misbegotten deal with the new villain Rumpelstiltskin ( Walt Dohrn ), Shrek has to fight against a dystopian version of Far Far Away to restore balance to the timeline.

The film doesn’t take advantage of showing the alternate timeline, and seeing Shrek gather his old allies like Donkey simply feels tedious. Additionally, Shrek’s decision to leave his family behind (even for one day) seems very out of character, and the attempts at seriousness are dramatically inert. Rumpelstiltskin is a rather dull villain compared to other antagonists, and the lack of new characters signified that the series had lost its steam.

5 Shrek the Third

Shrek the Third is one of the most bonkers animated sequels ever made; while dramatically it's one of the weaker films, the film is just so crazy that it’s actually worth watching. Surprisingly, the premise actually makes sense; after the death of King Harold ( John Cleese ), Shrek, Donkey, and Puss go out to find his heir, a teenage version of King Arthur nicknamed “Artie” ( Justin Timberlake ). Artie actually allows Shrek to become a mentor of sorts, as he’s currently struggling with the possibility of Fiona being pregnant. It also marked the return of Prince Charming, who thanks to Rupert Everett ’s endearing performance manages to steal the scene with his ineptitude.

While the storyline featuring Fiona teaming up with the other princesses is rather dull, Shrek’s adventures with Artie and his allies get progressively weirder. The appearance of fellow Monty Python alum Eric Idle as a crazed version of Merlin is surprisingly fun, as are the awkward moments where Puss and Donkey switch bodies due to a magical curse. There’s nothing deeper at play, but as a conclusion to Shrek’s arc as a hero, husband, and now father, it’s satisfying enough.

4 Puss in Boots

After the first Shrek , there may have been concern that the series could create another supporting character that would be as beloved as Donkey, but those anxieties evaporated when Puss in Boots showed up in Shrek 2 . The master feline swordsman got his own spinoff prequel, which told his dramatic origin story and how he earned his name. Puss in Boots was able to correct the issues of the later Shrek sequels by dropping a lot of the crass humor, pop culture references, and musical numbers in favor of more action. The action is definitely an improvement, adding creative swordplay and inventive chase sequences to the story.

While Puss proves to be a compelling hero in his own right, especially when paired up against the feline femme fatale Kitty Softpaws ( Salma Hayek ), the prequel utilizes an odd narrative structure that simply prolongs the reveals about Puss’ childhood. Zach Galifianakis is entertaining enough as the villainous Humpty Dumpty, but he’s ultimately a one-joke bad guy who doesn’t any subtle moral contrast to Puss; it may have been better to spend more time with the villainous Jack and Jill, voiced memorably by Billy Bob Thornton and Amy Sedaris . It’s a solid adventure movie that may have worked better if it wasn’t trying to be an origin story.

Shrek is oddly one of the most influential films of its decade, and the film has definitely shown signs of age. The novelty of Mike Myers and Eddie Murphys’ performances has worn off over time, and the pop culture references are now very dated. It’s no longer “radical” to use pop songs and toilet humor, but Shrek does have the biggest heart of the series. The film tackled the tough conceit of making a monstrous, grumpy lead character into an endearing hero who learns about acceptance.

The romance between Shrek and Fiona is actually fairly dynamic, and Donkey is far less irritating than he is in later installments. The supporting characters are given appropriate roles and don’t overstay their welcome, and there’s a surprising amount of tension in the encounters with the Dragon. However, the very melancholy third act feels like an attempt to replicate the Pixar formula that simply doesn’t work alongside moments like the infamous “All Star” opening.

RELATED: 10 Raunchy Jokes In The Shrek Series You Missed As A Kid

Shrek 2 does everything that a good sequel should do; it features a better villain in the Fairy Godmother ( Jennifer Saunders ), introduces fun new heroes like Puss, features upgraded animation, and actually gives Shrek an interesting dilemma. He knows that Fiona loves and accepts him, but what about her family? It would’ve been easy to turn King Harold and his wife ( Julie Andrews ) into generic “Disney bad parents,” but their complex feelings about their daughter’s married life are actually fairly nuanced. The pop culture references are stronger and more diverse than the predecessor; did you ever expect to see an animated movie that references From Here to Eternity ?

Shrek 2 goes for a lot of easy jokes, but Puss’ involvement in the story actually adds something new to Shrek and Donkeys’ dynamic. The ending sequence in which Shrek is turned human is actually really fun, and Fiona gets in on more action when she stands up to Prince Charming. It’s a funnier film that actually manages to weave in its more serious moments without getting too sappy.

1 Puss in Boots: The Last Wish

While the first Puss in Boots film didn’t have any noticeable stylistic differences from the Shrek series, Puss in Boots: The Lash Wish takes a page from the Spider-Man: Into the Spider-Verse playbook with how it captures storybook imagery. This step up in animation makes the action scenes eye-popping, the mystical elements inviting, and the stakes more grounded . As a continuation of Puss’ adventures after the Shrek series, The Last Wish gives its hero a compelling issue; if he’s lost eight lives already, is it worth risking his last one for the sake of a good cause?

The Puss and Kitty relationship is complicated thanks to some revelations about their past, and the quest is nonstop. The film is structured like a chase, and makes the smart decision to introduce all the villains early on in order to drop any laborious exposition. John Mulaney ’s role as Jack Horner isn’t anything special, but the striking Death Wolf ( Wagner Moura ) is surprisingly demented; similarly, Goldilocks ( Florence Pugh ) is given a difficult dilemma of discovering what “family” really means that goes in an interesting route in the final act. It’s a relentless and dynamic western adventure that should appeal to all ages; if this is the direction the series is headed, then its future is very bright.

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Shrek Parent Guide

This hybrid fairy tale contains enough irreverent humor to keep audiences--and parents--upright in their seats..

What is green and crusty on the outside, but softhearted on the inside? Shrek of course! Follow the computer-animated antics of this multi-layered ogre (Mike Meyers) and his loud-mouthed donkey sidekick (Eddie Murphy) on their quest to rescue Princess Fiona (Cameron Diaz).

Release date May 17, 2001

Run Time: 93 minutes

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The guide to our grades, parent movie review by rod gustafson.

Near a bubbly soupy swamp in a forest of strange creatures, lives the ogre Shrek (voiced by Mike Meyers of Saturday Night Live and Austin Powers fame). Feared and hunted by townspeople (all “normal” humans), the large ugly green being with horns for ears has grown accustomed to his solitary life… until the day when ruler of the land, Lord Farquaad (voiced by John Lithgow), decides to administer an ethnic cleansing of sorts. Rounding up the strange fairy tale characters living amongst the people, he orders them to reside in a designated area—Shrek’s peaceful swamp.

This hybrid fairy tale contains enough irreverent humor to keep audiences—and parents—upright in their seats. Shrek is the type of guy who enjoys blowing flatulent bubbles in his swamp water, and Donkey—not surprisingly—resembles Eddie Murphy after he’s been fitted with a crude humor muzzle. Then there’s the princess. Let’s just say she’s not quite what you’d expect either.

Shrek does have its laughable moments, and strengthens its theme of racial tolerance in a humorous way. Yet the bathroom humor, double entendre sexual jokes (hopefully vague enough to pass by young children), occasional cartoon style violence, and handful of mild profanities (including a synonym for “donkey”), may leave some parents wondering if the good makes up for the bad and the ugly in this movie.

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Shrek rating & content info.

Why is Shrek rated PG? Shrek is rated PG by the MPAA for mild language and some crude humor.

Overall: B- A simple tale of an ugly ogre, beautiful princess, and hard hearted ruler. The writers of this computer animated adventure threw in enough original twists and spoofing comedy to make for an interesting watch. Unfortunately, they also added enough burps, flatulence, and double entendres to bring our overall grade down to a barely recommendable B-.

Violence: B- Men come to capture ogre. The Gingerbread Man (a fairy tale creature) is threatened with being drowned in milk and having his legs removed. Creatures deemed different or unusual are rounded up and sent away. Large keg of ale sprayed on attackers. Various conflicts between creatures and knights result in wrestling, punches, kicks, and hitting with chairs and other objects. One character teases another by increasing his fear of crossing a rickety bridge. Leg bones sticking out of a pair of boots seen, along with other skeletons littered about inside a dark castle. Dragon spews flames at characters. Character injures crotch. Woman stops band of men with martial arts moves. Character shot in rear with an arrow. Dragon eats a man.

Sexual Content: B Carefully positioned objects block views of Sherk’s “private” areas when shown bathing. Sexual implications in lines such as: Snow White lives with seven other men but “She’s not easy;” Gingerbread man says “Eat me;” Farquaad’s castle size is assumed to be compensating for something else. Animal character urinates on fire. One creature unknowingly kisses the backside of another. Sleep-talking male character comments about a female in his dream. Song mentions a lady’s backside. Female character accidentally ends up lying on top of male character, and a bystander asks if they would like to be alone.

Language: B At least: 6 mild profanities (one in a song, and two as a double meaning for a donkey), also one obvious mild profanity that should be in a rhyme, but isn’t said. 3 terms of Deity used as expletives. Occasional name-calling. Flatulence jokes.

Alcohol / Drug Use: B- Shrek drinks some sort of ale, and a pina colada is mentioned.

Page last updated July 17, 2017

Shrek Parents' Guide

Can you see parallel examples between the story told in Shrek and the injustices done to the Jews and other races by Adolph Hitler during World War II? How does the characterization of Lord Farquaad add to this comparison?

While we may not see big green ogres in our society today, what types of people are often misjudged or not invited to be part of mainstream community life?

The most recent home video release of Shrek movie is November 1, 2001. Here are some details…

Related home video titles:.

For other movies about people who are ostracized, see our reviews for Beauty And The Beast (suitable for young children and over), The Mighty (good for young teens and up), and The Man Without a Face or Pay It Forward (for older teens and adults).

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Shrek Dominates Netflix Movie Charts Following Announcement of Fifth Installment

Shrek races to the top of Netflix's streaming charts, as excitement builds around a fifth installment.

• Shrek's popularity on Netflix soared, taking the top spot on the streaming chart.
• Shrek's success on Netflix boosted the viewership of its sequels, including Shrek Forever After .
• DreamsWorks had little faith in Shrek at first, using it as a punishment project for animators.

Even at 23 years old, Shrek still holds a special place in audiences' hearts. The Mike Myers-led animated comedy first released in 2001 and introduced audiences to the iconic green ogre. The fire of Shrek 's fandom isn't just flickering softly though, it's blazing strong as the film has catapulted to the top of the Netflix streaming chart after being added to the streamer's catalog.

Earlier in the week, Shrek sat at No. 3 on Netflix's Top 10, but the film has quickly risen to the top spot, overtaking the Netflix Original Unfrosted , a Pop-Tart origin story. However, it doesn't sit alone in that Top 10, as Shrek 's popularity has also bolstered the viewing figures of one of its many sequels, Shrek Forever After . Shrek 's success on Netflix marks another step in a long line of successes for DreamWorks Animations films on the streaming platform. Past successes include Trolls , Turbo , and Puss in Boots: The Last Wish . You can see the current Top 10 below:

The popularity of Shrek on Netflix comes following the recent announcement that a fifth movie is now in the works. While details remain largely unknown at this time, Shrek 5 is expected to bring back the core cast of Myers, Eddie Murphy, and Cameron Diaz, and is eyeing a 2025 release date .

Shrek Was a Punishment Project for DreamWorks Animators

Hindsight is a powerful thing. Looking back at Shrek nowadays, the film seemed like a surefire hit. A great cast, a hilarious script, and great (at the time) animation all combined into an Academy-Award winning movie which has evolved into its own franchise. However, during production, DreamWorks had almost no belief in the project, so much so that Shrek was actually a punishment project for some of their animators.

Animators working on Prince of Egypt , whose work wasn't up to standard, were sent to work on Shrek . This was revealed in Nicole Laporte's book, Men Who Would Be King: An Almost Epic Tale of Moguls, Movies, and a Company Called DreamWorks , Laporte revealed that the punishment even had a name - being "Shreked."

Shrek 2 Actually Holds Up Much Better Than the Original and Here's Why

Ironically, Shrek is still one of the most successful DreamWorks animated movies of all-time, with the first four movies in the franchise sitting at the top of DreamWorks Animation's lifetime earnings list (according to BoxOfficeMojo ). Meanwhile, The Prince of Egypt was an unremarkable success for the studio. The film has since become a cult-classic though, marking one of the last times DreamWorks utilized the hand-drawn style of animation.

Shrek is currently available to stream on Netflix.

Netflix's Top Spot Has Been Taken Over By A Familiar Ogre

Shrek has now been a part of pop culture for more than 20 years, which is a wild thought for any millennial who remembers when the Mike Myers-voiced swamp-dweller first arrived on the big screen in 2001. Though he'd previously been the focus of William Steig's 1990 picture book "Shrek!," it wasn't until the first movie debuted that the character became fully embraced by the mainstream. Since then, Hollywood has done its thing and produced a stultifying amount of "Shrek" sequels and spin-offs, to the point you'll probably need a refresher on the correct order to watch the Shrek movies before delving in. But if you wanted to just stick with the perennially charming original, we wouldn't blame you. Luckily enough, that very movie can now be found on the biggest streamer in the game.

Yes, Netflix, which this year has already managed to remind us all of the late Angus Cloud's impressive talents while simultaneously contributing to the slow decline of culture as we know it with Kevin Hart's "Lift," has now brought Dreamworks' lovable ogre to its platform — and wouldn't you know it, everyone's watching. "Shrek" was just one of a bewildering array of new films and TV shows that hit Netflix in May , but it's managed to distinguish itself by steadily climbing the most watched charts, where it now sits at number one.

Shrek's Netflix renaissance

The film that spawned a beloved blockbuster franchise and put Dreamworks Animation on the map, "Shrek" gathered beloved stars such as Mike Myers, Eddie Murphy, and Cameron Diaz, and wound up not only becoming a huge hit but winning the first Academy Award for Best Animated Feature . Since then, many of us found ourselves tuning out as more and more sequels and spin-offs materialized, although some of them are pretty dang good. But if you're in the mood to revisit the film that started it all, Netflix is currently home to somewhat of a "Shrek" renaissance.

The original 2001 film arrived on Netflix in the U.S. and a handful of other countries on May 1, 2024. According to streaming viewership tracker Flix Patrol , the movie then found its way onto the top 10 chart when it hit number 10 on May 3, before rising to number 5 as of May 4. Since then, "Shrek" has climbed one spot per day, making its way up the charts and finally taking the top spot as of May 8. Not only did it manage to claim number one, but, it can also claim to have unseated Jerry Seinfeld's very, very silly Pop Tart movie "Unfrosted," which had previously held the top spot since May 5.

A quick look at the Netflix Top 10 at the time of writing shows everyone's favorite ogre at number one, Seinfeld's movie at number two, and the Robert Downey Jr.-led "The Judge" in the third spot . Behind that, UK action thriller "One More Shot" is holding firm in the Netflix charts at number four, continuing the film's impressive run on the streamer. But the original "Shrek" isn't the only movie from the franchise seeing success on Netflix.

Shrek is making a comeback, and not just on Netflix

With "Shrek 5" still seemingly set to arrive at some point in the near future, now is as good a time as any to revisit where it all started. The recent box office success of the spin-off sequel "Puss In Boots: The Last Wish" might well have signaled the start of a more widespread "Shrek" renaissance and the original film's Netflix triumph is yet more evidence that audiences are ready to return to his world.

Interestingly enough, when it comes to Netflix's success, it seems "Shrek" could soon be facing some friendly fire in the form of 2010's "Shrek: Forever After," the fourth film in the franchise. At the time of writing, "Forever After" is sitting at number five on the U.S. Netflix charts, having worked its way up from number nine on May 6, and number six on May 7. Could the ogre and his fantastical friends soon occupy the top two spots on the Netflix most-viewed charts? If so, Universal, which owns Dreamworks, will be glad to see such a reception as they gear up for "Shrek 5."

Meanwhile, it looks as though "Shrek" is charting in a further nine countries around the world, including Canada, Mexico, and a handful of other South American nations. It hasn't yet hit number one anywhere else but has climbed to number six in Bolivia and Salvador. Overall, then, not a bad showing for the big guy, and it'll be interesting to see how long he can hold on to the top spot in the U.S.

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The 10 best new movies on netflix in may 2024 (updated).

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LaKeith Stanfield stars as the titular character in 'The Book of Clarence.' The film makes its ... [+] Netflix debut on May 11, 2024.

Every single week, Netflix Netflix continues to astound with awesome new movie additions. Sometimes it’s a brand new satire of religious hypocrisy featuring one of Hollywood’s best actors (this time it’s LaKeith Stanfield). Or it’s a refreshing twist on the rom-com formula that’s just in time for Mother’s Day. Or it’s an under-appreciated indie gem that features incredible performances that deserve much more praise and attention than they originally got. All of this and more is part of Netflix’s cinematic lineup this week. So, as a subscriber, where should you start?

I’m here to help. Below, I’ve highlighted the best new movie options available so far this month (going up to Sunday, May 12) on the streaming platform. Then at the bottom of the article, you can find a full list of every single new film that’s been added to Netflix over the course of May 2024. Somewhere in this article, I’m sure you find your next movie night event—and perhaps a new favorite that you’ll continue to revisit for years to come.

The 10 Best New Movies On Netflix In May 2024

The book of clarence (2024).

The Book of Clarence is set in Jerusalem during the year 33 A.D., where Clarence (played by LaKeith Stanfield) struggles under the weight of his debts. Directed by Jeymes Samuel (aka the singer-songwriter The Bullitts), who previously directed the Netflix western The Harder They Fall , this latest film follows Clarence as he concocts a plan to pose as a messiah—inspired by the real rise of Jesus Christ. His journey is marked by troubles with Roman soldiers, disputes with his cynical twin brother and a complicated love affair with Varinia (portrayed by Anna Diop). Clarence's story intertwines personal redemption with a critique of religious hypocrisy, blending historical drama with elements of personal transformation that ring true to this very day.

It s Possible The Russian Army Is Tricking The Ukrainian Army With A Fake Offensive

Writer explains johnny depp and amber heard joke in ‘the fall guy’, ufc st louis results bonus winners from night of memorable finishes, the peanut butter falcon (2019).

Set against the windswept dunes of the Outer Banks, The Peanut Butter Falcon is a thoughtful, heartwarming odyssey of hope and friendship. This charming adventure, directed by Tyler Nilson and Michael Schwartz, features Zack Gottsagen as Zak, a young man with Down syndrome who escapes from a residential nursing home to pursue his dream of becoming a professional wrestler. Along his journey, he forms an unlikely friendship with a wayward fisherman named Tyler (played by Shia LaBeouf). Together, they discover more both about themselves and about the world, providing us with a tale of resilience amidst the search for belonging.

Mother of the Bride (2024)

Mother of the Bride , a romantic comedy directed by Mark Waters and written by Robin Bernheim, features Brooke Shields as Lana, whose daughter Emma, played by Miranda Cosgrove, announces her sudden wedding in Thailand to a man whose father once broke Lana's heart. The film comes from an expert in romances, Mark Waters, who directed movies like Just Like Heaven, Mean Girls and Ghosts of Girlfriends Past . This time around, Mother of the Bride explores the challenges and chaos of arranging a wedding under such complex family connections, highlighting both the humor and tenderness of mother-daughter relationships—just in time for Mother’s Day. As Lana and Emma navigate their past selves and now where they’re heading, they find that love and understanding can triumph over old wounds and new challenges.

Mortal Kombat (2021)

In a battle for the universe, Mortal Kombat plunges audiences into an ancient tournament where Earthrealm’s mightiest warriors fight against the enemies of Outworld in a high-stakes duel that could alter the fate of the worlds. Directed by Simon McQuoid in his feature directorial debut, this reboot resurrects the beloved franchise with a fresh cast and visceral, modernized fight scenes. Lewis Tan stars as Cole Young, a washed-up mixed martial arts fighter who finds himself as Earth's unlikely champion. Alongside him, Jessica McNamee, Josh Lawson and Joe Taslim embody iconic characters such as Sonya Blade, Kano and Sub-Zero, bringing to life the epic video game saga with awesome action and a rich backstory.

War Dogs (2016)

War Dogs spins the unbelievable yet true story of two young Americans who become international arms dealers. Directed by Todd Phillips, who brought us darkly comedic classics like The Hangover , Road Trip and Joker , the film stars Jonah Hill and Miles Teller as Efraim and David, childhood friends who exploit a little-known government initiative that allows small businesses to bid on U.S. Military contracts. Set against the backdrop of the Iraq War, this ridiculous and wilding entertaining story fit for a feature film weaves a gripping tale of greed, friendship and the corrupting power of money, offering a darkly comedic glimpse into the absurdities of war and capitalism.

The Matrix: Resurrections (2021)

In a world where reality and simulation blur, The Matrix: Resurrections thrusts audiences back into the enigmatic universe first explored over two decades ago. Directed by Lana Wachowski, who also brought us flicks like Cloud Atlas, Jupiter Ascending and Speed Racer , this sci-fi sequel sees Keanu Reeves and Carrie-Anne Moss reprising their iconic roles as Neo and Trinity, navigating a visually stunning landscape fraught with familiar and novel challenges. Wachowski crafts a narrative that delves into themes of rebirth and transformation, while incorporating modern technological anxieties, making this installment a profound commentary on the evolving human condition.

Dark Waters (2019)

In a chilling exploration of corporate greed and environmental disregard, Dark Waters tells the true story of a tenacious attorney who uncovers a dark secret that connects a growing number of unexplained deaths to one of the world's largest corporations. Directed by Todd Haynes, who also gave us award-winning films like May December , Carol , and Far from Heaven , this compelling legal drama features Mark Ruffalo as Robert Bilott, the real-life lawyer who dared to challenge the powerful DuPont corporation over their contamination of a small town's water supply. As Bilott delves deeper, the stakes rise, pitting his own health and family's safety against the ruthless might of an industry giant. Anne Hathaway and Tim Robbins also deliver powerful performances, contributing to a tense, slow-burning narrative that highlights the often-dire consequences of environmental destruction.

White House Down (2013)

There are some traditions that never die in my household, and one of them is watching White House Down on the 4th of July every year. From blockbuster guru Roland Emmerich, who gave us entertaining gems like Independence Day , The Day After Tomorrow and Godzilla , this wildly entertaining escapade catapults us into the heart of an adrenaline-pumping action thriller where the stakes couldn’t be higher: the White House is under attack. Channing Tatum stars as John Cale, a Capitol Police officer who finds himself in the unlikely role of national hero when a paramilitary group seizes the White House. Tasked with saving the President, played by Jamie Foxx, Cale’s journey is fraught with explosive set-pieces and heart-stopping suspense, making this film a riveting exploration of valor and duty under fire.

Unfrosted (2024)

Unfrosted is Jerry Seinfeld’s first film as a director, taking a comedic look at the invention of the Pop-Tart. Set in the 1960s, the movie portrays the intense competition between Kellogg’s Kellogg and Post to create a new breakfast treat. Seinfeld stars as a fictional character involved in this quirky, high-stakes race against time and corporate rivals. . Featuring Seinfeld himself as Bob Cabana and a humorously stern Jim Gaffigan, the film is a satirical nod to a bygone era of both earnest ambitions and absurd undertakings. Unfrosted offers a nostalgic glimpse into a time when the future of breakfast was sprinkled with both competition and creativity. It’s a lighthearted portrayal of the absurdity of corporate America.

30 for 30: The Two Escobars (2010)

30 for 30: The Two Escobars intertwines the lives of Andrés Escobar, a beloved Colombian soccer player, and Pablo Escobar, the infamous drug lord, exploring their profound impact on Colombia's national psyche. Directed by Jeff Zimbalist and Michael Zimbalist, this documentary is part of ESPN's acclaimed 30 for 30 series. It delves deep into the intersection of sports and crime, illustrating how the fates of these two men symbolized the high stakes of glory and despair in a nation rife with political turmoil. Through a meticulous compilation of footage and interviews, the film paints a stark portrait of rampant ambition, of uncontrollable pride, of the profound ways in which tragedy can strike.

Every New Movie on Netflix in May 2024

• May 1 : Airport (1970); Airport 1975 (1974); Airport ’77 (1977); Blended (2014); Blue Mountain State: The Rise of Thadland (2016); Dark Waters (2019); Deaw Special: Super Soft Power (2024); Down the Rabbit Hole (2024); Eat Pray Love (2010); Girls Trip (2017); Heeramandi: The Diamond Bazaar (2024); Hellboy (2019); Hulk (2003); Jerry Lee Lewis: Trouble in Mind (2022); Jumanji (1995); Liar Liar (1997); Madagascar: Escape 2 Africa (2008); Mortal Kombat (2021); Mr. & Mrs. Smith (2005); My Mercury (2024); One More Shot (2024); Patriots Day (2016); Public Enemies (2009); Rather (2023); Ride Along (2014); Shrek (2001); Shrek Forever After (2010); Starship Troopers (1997); The Best Man Holiday (2013); The Edge of Seventeen (2016); The Equalizer (2014); The Gentlemen (2019); The Great Wall (2019); The Matrix: Resurrections (2021); The Nutty Professor (1996); The Nutty Professor II: The Klumps (2000); The Wedding Planner (2001); The Young Victoria (2009); Traffic (2000); White House Down (2013); Woody Woodpecker (2018)
• May 2 : Beautiful Rebel (2024); Lola (2024); Secrets of the Neanderthals (2024); Shadow in the Cloud (2020)
• May 3 : 2 Hearts (2020); Unfrosted (2024)
• May 5 : Larva in Mars (2024); The Peanut Butter Falcon (2019)
• May 6 : 30 for 30: Broke (2012); 30 for 30: Deion’s Double Play (2012); 30 for 30: The Two Escobars (2010)
• May 8 : The Final: Attack on Wembley (2024); War Dogs (2016)
• May 9 : Hamka & Siti Raham Volume 2 (2023); Mother of the Bride (2024); Sing Street (2016); The Guardian of the Monarchs (2024)
• May 10 : Living with Leopards (2024); The Courier (2024)
• May 11 : The Book of Clarence (2024)

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Newfields' Summer Nights returns with 'Shrek,' 'Moonstruck,' 'Casablanca' and more

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A slate of classic comedies and dramas are on deck for this year's National Bank of Indianapolis Summer Nights Film Series . Newfields will show 15 nights of film between June 7 and Aug. 31 at its outdoor amphitheater.

Highlights include " Moonstruck ," "The Bodyguard," 2023's "The Little Mermaid" and a secret film to be revealed later. Here's the full lineup:

Newfields Summer Nights schedule for 2024

The outdoor films start at dusk. Doors open at 7 p.m., with music and activities before the screening, which starts as twilight turns to dark. In case of rain, films will move to the Tobias theater and start at 9 p.m. Check discovernewfields.org for any changes to the dates or lineup.

More information on the films’ subjects and any potential trigger warnings are at commonsensemedia.org .

June 7: "Casablanca" (1942. PG)

June 14: "Monty Python and the Holy Grail" (1975. PG)

June 21: "Moonstruck" (1987. PG)

June 28: "Shrek" (2001. PG)

July 5: "National Treasure" (2004. PG)

July 12: "The Bodyguard" (1992. R)

July 19: "Gran Turismo" (2023. PG-13)

July 26-27: Indy Shorts International Film Festival partnership screening

Aug. 2: "Cool Runnings" (1993. PG)

Aug. 9: "The Man Who Knew Too Much" (1956. PG)

Aug. 16: "The Little Mermaid" (2023. PG)

Aug. 23: "The Equalizer" (2014. R)

Aug. 30: "Jumanji: Welcome to the Jungle" (2017. PG-13)

Aug. 31: Super secret screening (1990s. PG-13 for intense science fiction terror)

Ticket prices and what you can bring

Tickets are $12 for the general public and $10 for members. Kids ages 5 and under are free but must have tickets reserved for them.

Chairs, blankets, pillows, umbrellas, food and nonalcoholic drinks are allowed on site. People cannot bring alcoholic beverages, grills, pets, knives, guns or candles taller than 12 inches.

People can buy beer, wine and snacks on site. Only credit and debit cards are accepted.

What's coming: New garden, art acquisitions and more updates Newfields announced at its Annual Meeting

Looking for things to do? Our newsletter has the best concerts, art, shows and more — and the stories behind them

Contact IndyStar reporter Domenica Bongiovanni at 317-444-7339 or [email protected]. Follow her on Facebook, Instagram or Twitter: @domenicareports.

This article originally appeared on Indianapolis Star: Newfields' Summer Nights returns with 'Shrek,' 'Moonstruck' and more

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