Farquaad, who wants to become the King, sends Shrek to rescue Princess Fiona, who is waiting for her one true love.But once they head back with Fiona, it starts to become apparent that not only does Shrek like Fiona, but Fiona is keeping something secret.
![]() Intending to petition for his property to be left alone, Shrek, accompanied by a mythic talking donkey, goes to meet the sinister Lord Farquaad. However, through a bizarre turn of events, Shrek is forced into going on a dangerous rescue mission to retrieve the princess Farquaad intends to wed (whos hiding an incredible secret of her own), assumedly in exchange for the aforementioned swamp being cleared of its extraneous inhabitants. It was also a massive box office success, making 484 million on a budget of 60 million and going on to win the first-ever Oscar for Best Animated Feature (beating Jimmy Neutron: Boy Genius and Monsters, Inc. Meanwhile, an evil Fairy Godmother schemes to get rid of Shrek so the door will be open for her beloved son, Prince Charming himself, to wed Fiona. This forces the dynamic duo of Shrek and Donkey (alongside a new ally - the Zorro-like fairy tale feline Puss in Boots) to put an end to her sinister scheme. Obviously, the significant budget increase on this second installment (which cost 150 million to make) led to improved visuals and that, combined with the - admittedly slightly dated - style of humor employed by the original, impressed critics a second time around. With a gross of almost 920 million, it became the highest-grossing animated film of all time (although it was later surpassed by 2010s Toy Story 3 ) as well as the highest-grossing film of 2004; it is, to this day, DreamWorks most successful release ever. Like its predecessor, Shrek 2 received an Oscar nomination for Best Animated Feature - though it lost to Pixars The Incredibles. However, he becomes very conflicted about this, as he complains of his own inadequacy, claiming an ogre is not fit to rule. Oddly enough, the defeated Prince Charming is thinking the same thing, as he begins to set in motion master plans to overthrow the kingdom - and, of course, the only ones who can stop the vengeance-seeking villain are Shrek, Fiona, Donkey, and Boots. Still, several outlets gave the film a positive review, with the shared reason primarily being that number three, while formulaic, still captured the originals humor and charm while creating its own singular experience. Box-office-wise, DreamWorks proved whatever negative critical reception there was had very little impact on the films performance - destined from the start to become a summer blockbuster, it managed a whopping 813 million on a budget of 160 million. This made it the fourth-biggest film to be released in 2007, behind new installments from the (much bigger) Spider-Man, Harry Potter, and Pirates of the Caribbean franchises. 1970 honda sl100 for saleAfter stumbling upon the magical Rumpelstiltskin, Shrek requests one day to live out his previous triumphs as a true ogre. Secretly seeking revenge for a past wrong, Rumpel creates a contract that will allow this in exchange for the erasure of a forgotten moment from Shreks childhood - purportedly with no ill effects whatsoever. However, when the day erased turns out to be his own birthday, Shrek - now in an alternate universe where he doesnt even exist - has just 24 hours to break the contract and return home before he disappears forever. While many critics noted that much of the franchises trademark charm was lost to number four by the films habit of taking heavily from its predecessors, others claimed that it was still noticeably different; they argued that the tone was both more unique and more nuanced, and praised the films humor and emotion. The film takes place before his first meeting with Shrek, as the adventurous feline attempts to retrieve a set of magic beans that will allow him to reach the goose that lays the golden eggs, an adventure that will pit him against many different adversaries. Making 555 million on a budget of just 130 million, Puss in Boots proved that even the most tired of franchises can make surprising strides with enough talent and creativity. Hes written for Listverse, ScreenRant, CBR, TheTalko, TheGamer, and The Art Of Puzzles. In his free time, he enjoys animating, playing board games, and grappling with the occasional existential crisis.
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