Puss in Boots: The Last Wish — A defining standout in modern animation
No new ground to cover about an already acclaimed film, but this production stands as one of DreamWorks’ finest achievements to date. The movie excels on multiple fronts, delivering humor without undercutting itself, emotion without tipping into sentimentality, and stunning visuals that serve the storytelling rather than merely showcasing style. Most notably, it affords its characters genuine, satisfying arcs.
The premise of Puss confronting his own mortality is a remarkably strong and fresh direction for the character. The film takes an arrogant, myth-making persona and compels him to confront fear, vulnerability, and the reality of mortality. The standout panic attack sequence remains among the most powerful depictions of fear in mainstream animation.
Death, as the antagonist, is written with exemplary execution. The design, the haunting whistle, the voice work, and the atmosphere shift each time he appears. He doesn’t require a grand, tangled motive; he succeeds because he embodies exactly what Puss has spent his life avoiding.
The supporting characters also shine. Goldilocks (Florence Pugh) and the Three Bears are woven into a sincerely moving family dynamic. Perrito remains endearing without tipping into saccharine, Kitty’s chemistry with Puss feels earned, and Jack Horner is rendered as unapologetically entertainingly villainous.
Animation quality is a standout, and rightly celebrated. The film moves away from chasing a polished, hyper-real CG aesthetic in favor of a distinctive visual identity. The action sequences benefit from animation that is integral to storytelling, not merely a means of rendering characters.
As a sequel, it fortifies the preceding films by association. The world didn’t need a third installment to go this hard, yet the creators delivered one anyway.
While it was already highly praised at release, Puss in Boots: The Last Wish deserves discussion as a defining mainstream animated film of the 2020s, rather than being remembered only as a “surprisingly great Puss in Boots sequel.”
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