“Tom and Jerry” is ostensibly a comedy, though the throw-spaghetti-at-the-wall approach of Kevin Costello’s script rarely yields any jokes that stick. There’s a weird attempt at industry-based intellectual property humor that pops up in the movie’s first few lines that never really yields anything comparable after. You probably already know what hand gesture Jerry gives Tom as the pair stare each other down before a big fight. And what 2021 kid’s movie is complete without a Marty Feldman reference?
This is all before the obligatory smattering of studio-noted zeitgeist nods that make you wonder whether this was a project that’s been in the can for a few years already and is only just coming out now. (Drake! Poop emoji! Selfies! A DJ at a turntable! Ken Jeong yelling at people!) Director Tim Story is an industry vet with plenty of prior experience adapting preexisting properties into film projects. In the absence of any personal directorial touch, though, this becomes a big-screen vehicle for two characters who are so much better suited for shorts that this movie often has to come up with ways to jettison them from the rest of the plot.
There’s also the curious case of Jost, who seems to have found the perfect project in his continued career-long treatise on the nature of privilege. The movie isn’t asking him to do much (except try to sell a truly awful joke about Spike while Ben and Preeta check into the hotel). It is extremely telling, though, that he ends up as the center of a romantic subplot where his chest hair gets only slightly less screen time and agency than his fiancée does. It’s instantly, abundantly clear that Ben is the kind of character who would say in a job interview or a first date that his biggest weakness is that he cares too much, and that’s before multiple other characters in the movie basically make that precise argument for him.
“Tom and Jerry” manages to prove that it’s possible to be stretched thin and overstuffed at the same time. It’s a specially calibrated kind of chaos not so much meant to be a movie but something designed to hold the attention of a child. (Sympathies in advance to the scores of parents who’ll be introduced to their kids’ endless impressions of Peña shouting “I’m scooping the poop!”) There are even a handful of moments that seem to be conceived specifically for a 3-D theatrical release it won’t really get. In a way, that ends up being about as indicative of the movie as you can get for the movie as a whole, one that’s as harmless as it is pointless.
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