Kung Fu Panda 4 review: Jack Black’s panda power remains strong, but this outing is weak

Surprisingly, screenwriters Jonathan Aibel and Glenn Berger (who wrote the previous three Panda movies), along with Darren Lemke, have constructed a rote, generic journey for the titular hero and his new sidekick while his squad, the Furious Five, are off on side quests. Early on, it’s obvious what the conflicts are going to be and when they’ll manifest, from an inevitable double cross to a predictable change of heart. Po’s arc—to which this series lends heavy significance—is disappointingly dealt short shrift, with more importance put on his comedic pratfalls and overbearing action sequences. There’s nothing driving the relationship between Po’s adoptive father Mr. Ping (James Hong) and his blood-related one Li (Bryan Cranston), as their issues were already resolved in Kung Fu Panda 3. Plus, outside of a legitimately hilarious bull-in-a-china-shop gag, many of the jokes are subpar compared to others in the franchise.

Then there’s the glaring villain problem. Despite possessing greater power than her predecessors, and being more shifty as well, The Chameleon is not nearly as intimidating a presence as Tai Lung (Ian McShane) in the first film or Shen (Gary Oldman) in the second. This isn’t because of her diminutive physical size, nor Davis’ lively performance, in which she gets to exercise her funny bone during one awkwardly comical bit. Rather, it’s how this baddie is narratively drawn, forgotten about for a significant portion of the film, and not properly utilized to her full capacity. The filmmakers also set up a more dastardly plot than what they pay off during the climactic showdown.

Unfortunately, even the animation is a step down, failing to deliver the breathtakingly detailed, textured aesthetics that made these films dazzle and beguile in the past. Gone is the lush, tactile imagery where every frame feels like a painting, and in its place is a workman-like product. Unlike the second film, which incorporates a variety of visual styles to move character and story development forward with 2D and die-cut silhouettes, Kung Fu Panda 4 uses an anime-style split screen. There is a modicum of immersive fun to be had. The all-too-brief barroom brawl oner, where we follow Zhen from behind as she tries to evade capture, is an undeniable highlight, as is The Chameleon’s transformation sequence that plays like gateway horror for kiddos (which, word of warning, might be too scary for those under 5).

Black’s effervescent, ebullient vocalizations and his character’s positivity, gumption, and vulnerability—no matter how slight and superficial here—are what bolster the picture. It may be for a new young generation to discover, but there’s still a twinge of nostalgia when hearing him say his “skadoosh” catchphrase. Although this escapade is now part of the perky protagonist’s “legendary tales of awesomeness,” it’s one that’s best left forgotten.

Kung Fu Panda 4 releases in theaters on March 8.