Turbo tells the story of a young man who has to save his family’s pizza shop from being demolished by the city. The game is filled with puzzles, platforming, and an interesting story.

The geeks and gamers controversy is a topic that has been discussed for years. This article will review the movie Turbo (2013) to see if it fits into either category.

ANALYSIS: Turbo (2013)

No dream is too large for a dreamer, and no dreamer is too tiny for a dream.

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Turbo was released in July of 2013 and tells the tale of a garden snail that dreams of becoming a racer. But not just any driver; Theo (Ryan Reynolds) aspires to compete in the Indianapolis 500 like his idol Guy Gagné (Bill Hader). Theo, on the other hand, works a mundane day job alongside his brother and employer, Chet (Paul Giamatti), who is always attempting to shake Theo out of his funk. However, one of Theo’s efforts to demonstrate his speed goes too far, and he and Chet are dismissed as a result. When an accident gives Theo the super speed he’s always desired and he meets an unexpected benefactor, he gets his chance to play in the big leagues. Turbo is a once-in-a-lifetime chance for me, since I usually always watch American animated films as soon as they come out. I don’t always like what comes out of here, but it’s extremely accessible, and anything from the big animation companies these days is a must-see for me. I recall hearing about Turbo’s marketing and toys, but for some reason, I never got around to viewing it until today. Turbo’s opening scene has a Cars-like vibe to it. While I wasn’t expecting it, I suppose it makes sense considering the film’s subject matter… kind of. Turbo is a jumble of inspirations and old clichés, but it reminded me of Ratatouille and Antz right away. At the very least, the film’s odd concept and a slew of potential inspirations set it apart. Is it, though, one-of-a-kind, like Shark Tale’s famous dumpster fire or Kung Fu Panda’s true creative expression?


My first reaction to Turbo was that the idea of a racing snail was just too absurd to bear. However, the film may play it for laughs, or if the execution is sincere enough, it could not matter in the end. On both counts, however, there was no luck. Turbo is one of the weirdest movies I’ve ever watched, and although it works for me on occasion, I’m puzzled here. Part of me can’t believe this film was released in theaters. The other half of me recalls that this is the company that brought us Bee Movie; else would DreamWorks go if they wanted to romanticize a human lady with an insect? Nothing is sacrosanct to those who created a name for themselves by trashing other artists’ work. Turbo isn’t the worst animated film I’ve ever seen, or even the worst DreamWorks film. However, Turbo’s degree of creative mediocrity, along with such a bizarre series of events, makes it stand out in a negative manner.

Before we go into it, let’s talk about the cast of Turbo. Ryan Reynolds’ performance as Theo/Turbo is excellent. He appeared in two DreamWorks animated films back-to-back in the same year, which is odd, but he’s a much better here than he was in The Croods’ Guy. Regardless of the quality of the material he’s given to deal with, Paul Giamatti is always great, and this is no exception. The supporting cast includes Samuel L. Jackson, Bill Hader, Michael Pea, Ken Jeong, Michelle Rodriguez, Richard Jenkins, Snoop Dogg, and others. Bill Hader’s voice is indistinguishable as Guy’s, and he swings effortlessly from suave and pleasant to menacing. The film’s absurd-in-a-bad-way concept and shallow characters are completely wasted on this ensemble, but no one can say they didn’t try.


The people and their connections are my main gripe with Turbo. They’re all monotonous, predictable, and unchanging. Turbo has the heart of a racer and all he has to do now is believe in himself (and be sucked into a car engine, absorb energy, and acquire the capacity to play FM radio from his lips, etc.). Chet seems to be a tough guy who wants to destroy his brother’s ambitions, yet he really cares about Theo’s well-being and safety. Theo is first irritated by the other racing snails, but they quickly become close friends. You know what’s going to happen with the taco brothers from the moment you see them. Guy’s motivations were likewise clearly obvious before they were exposed. When done properly, I have no issue with predictable films; watching a familiar story develop with beloved people can be very therapeutic. Theo and his pals, on the other hand, are simply stock characters with no depth or development. Similarly, the predictable twists and turns aren’t well-executed enough to warrant repeating.


The connection between Theo and Chet, and how it mirrors that of Tito and Angelo, the human brothers who manage the taco restaurant, is intended to be at the heart of Turbo’s emotional core. By the way, this film contains many stereotypes, including ethnic, gender, and cultural stereotypes. I don’t give a damn, and this movie isn’t worth getting worked up over since so little thinking must have gone into it. Save your time if this is the kind of insensitivity you can’t stand or that will spoil a movie for you. Turbo isn’t very notable for its artwork or narrative, so you won’t be losing out on anything. I believe the emphasis of the film should be on the two sets of brothers, not because it is what I desire or what would be expected. That’s why I bring it up: it’s clear that’s what the authors were aiming for, but the links fall flat. Theo and Chet’s relationship reminds me of Disney movies where the father is a dictator and the daughter is a free-spirited, rebellious adolescent. Theo is the daughter, but he doesn’t have as much of a claim as Ariel or Jasmine. His ability to race is completely reliant on an accident he happens to be involved in. Chet is correct; all he wants to do is keep his brother alive and working. Theo’s ideal job may not be working at the factory (I can’t believe someone was paid to create this joke), but he’s a snail. To make him a racer and therefore explain his illusions and ambitions, the film does mental and physical gymnastics. Chet is correct, but his worry for his rogue sibling is superficial. We don’t discover why he is afraid of the world, or anything about their relationship as brothers. The fact that these guys are brothers isn’t even mentioned until 45 minutes into the movie. In fact, I spent a good portion of the movie wondering why Chet persisted with his sloppy, illiterate ex-employee. Tito and Angelo have it even worse; Tito is a big-picture thinker, while Angelo is a hard-nosed businessman. The two sets of brothers are explicitly compared in one moment, but nothing comes of it. It just demonstrates that Angelo and Chet have similar viewpoints, as do Tito and Theo. There was definitely a concept here, but it was never pursued.


Turbo’s animation is good on a technical level. It isn’t very noteworthy, but it is an eight-year-old low-mid-tier release. Cars and other gleaming or plasticky surfaces, for example, look fantastic. In computer animation, this is extremely frequent. Anything organic seems wacky, but not in a good way. The humans are unattractive, and the snails resemble Happy Meal toys. I’ll admit that this is appropriate; I’m sure that’s why they were created. For what it’s worth, this film is toyetic. Henry Jackman created the soundtrack for Turbo, and it’s adequate. It would be even better if the situations he was elevating and energizing were deserving of his efforts. The soundtrack, on the other hand, is a shambles. There are a lot of old, inappropriate pop and hip hop tunes.

Turbo is really perplexing. I’m astounded that such a strange picture was created by a prominent American animation company. The strangest part is that I’m not applauding Turbo for this; I typically applaud large studios for branching out and trying something new. Turbo’s fundamental idea is very standard, and it reminds me of a corny 90s sports film. However, the specifics make Theo’s trip too ridiculous to care about, and his persona doesn’t help matters.

Plot – 2
Acting – 9 points
5 – Music/Sound
3 (Direction/Editing)
Character Development and Animation – 3



Turbo’s fundamental idea is very standard, and it reminds me of a corny 90s sports film. However, the specifics make Theo’s trip too ridiculous to care about, and his persona doesn’t help matters.

Turbo is a 2013 American action comedy film directed by James Mangold. It stars Dwayne Johnson, Michael Pena, Kate Upton, and Patrick Wilson. The film follows the story of an arcade racer who must race against time to save his kidnapped girlfriend from the clutches of a crime lord. Reference: jeremy geeks and gamers.

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