The world of animation has long been regarded as a safe haven for children, a magical landscape where innocence reigns supreme. Yet, “Fixed,” directed by the talented Genndy Tartakovsky, brutally upends this notion, failing to shy away from adult themes typically buried beneath gleaming surfaces. Premiering at the Annecy International Festival of Animation, this film unabashedly traverses the spectrum of crude humor, sexual innuendo, and what some might call the grotesque. But in its pursuit of pushing boundaries, does it create something genuinely profound, or is it merely a spectacle of shock value?
“Fixed” revolves around Bull, a dog grappling with the looming prospect of castration—a situation tragically comedic in its absurdity. It draws an uneasy parallel to Seth Rogen’s “Sausage Party” while invoking the legacy of Ralph Bakshi’s disruptive masterpiece, “Fritz the Cat.” However, while those films relished in their rebelliousness, “Fixed” appears to function primarily as a teenage diary filled with crude sketches—more juvenile than its supposed target audience. What might once have been seen as revolutionary is rendered trite and gimmicky as it plods through a series of dog-centric misadventures, leaving the viewer questioning whether the audacity of it all is genuinely entertaining or simply tiring.
Illusory Charm or Dogged Cliché?
The animation style is undeniably reminiscent of Saturday morning cartoons, but this aesthetic choice borders on lazy. Tartakovsky’s vision, juxtaposed with co-writer Jon Vitti’s contributions, hints at intentions of embracing a nostalgic form, yet the result offers little more than a faint echo of its forbearers. The character design fails to bring anything unique to the table; Bull and his companions are merely mishmashes of familiar archetypes. Despite the residual charm intended to mirror the individuality of Disney canines, the relentless barrage of crass humor saps any sweetness they might have otherwise conveyed.
Bull’s character, voiced by Adam Devine, garners empathy through his struggles. Yet, his relentless pursuit of his own “crown jewels” amounts to a scenario driven not by emotional depth but by a shallow fixation that ultimately dampens the protagonist’s appeal. As Bull interacts with a gaggle of equally insipid characters—the narcissistic showdog Sterling included—the film becomes a meandering farce rather than an exploration of identity or companionship. Where one might expect to find a rich narrative rife with poignant moments, “Fixed” instead offers a cacophony of barking, thereby diluting any potential sincerity found in the story’s heart.
Wild Escapades or Comedic Failings?
From absurd escapades in the Wiggly Field dog park to encounters with sleazy underbelly, the film sporadically attempts to elevate its narrative through raucous adventures, yet descends into whimsy for whimsy’s sake. The supposed humor of escapism morphs into a collection of disconnected episodes with little coherent purpose. For all the attempts at shock—the poorly executed strip club scenes reeking of crude fantasies—there lies a distinct absence of charm or cleverness that could have heightened the comedic experience.
Furthermore, while there are moments that teeter on the edge of insight, like Bull’s carefree exchange with friends Rocco and Fetch, they languish under the weight of incessant innuendos. The adult-themed visibility does not enrich the material; it palate-teases, leaving behind a bitter aftertaste. Moreover, the supposed climax fails to redeem the pile of pandemonium that precedes it, appearing more like a contrived wrap-up than a purposeful conclusion to a character’s arc, as one might hope for.
The Critical Lens on Censorship and Values
What is perhaps most disconcerting about “Fixed” is its juxtaposition in a streaming world inundated with children’s content. By making it easily accessible through Netflix, it takes a sharp left turn into moral gray areas. While some herald this as a necessary evolution in animation, an opportunity to explore themes traditionally untouched in the medium, others must raise a valid alarm: Who is the intended audience? The film’s blatant disregard for age-appropriate material conflicts with its positioning under the guise of entertainment. As a culture, we are at a crossroads, where the celebration of adult humor can easily devolve into irresponsibility.
Rather than laud its audacity, we must scrutinize what “Fixed” ultimately delivers. It showcases a film that attempts to be something it is not—refreshingly bold, yet instead comes off as erratic, ultimately playing as a lackluster collection of raunchy jokes. Its failure to fuse humor with heart or explore the intricacies of the canine experience leaves the viewer with a bitter taste, immobilized between laughs and cringe. In its quest to break free from the shackles of traditional animation, “Fixed” risks isolating itself, teetering perilously on the edge of irrelevance.