The ‘Ernest & Celestine’ director helms an Illumination Studio movie, written by ‘White Lotus’ creator Mike White, about a family of mallards who leave their pond to explore the world.

Benjamin Renner’s new comedy Migration offers a winning combination of a charming narrative and distinctive animation style. The film, which was written by White Lotus creator Mike White, is a tale of how a family of mallards embarks on an inspired journey from New England to Jamaica. 

Mack’s active imagination can only be curbed by the stern and loving interjections of his wife Pam (Elizabeth Banks). She counters his scary details with softer, more encouraging conclusions. The hungry heron actually wants to help the ducks, she tells her youngest, Gwen — and no, the kids don’t die in the end. As the story comes to a close, Migrations cuts to show us the figures behind these voices. Two-dimensional portraits of herons are replaced by scenes that mix 2D and 3D animation in a sophisticated manner. The Mallards, rendered three-dimensionally, do not ever look out of place in their surroundings, which have an old-school storybook quality. 

Migration is a story about how the Mallards do eventually experience life outside the pond. The film moves briskly and with a sense of purpose — a relief considering how many children’s films these days are overly long and too concerned with proving their own cleverness. White’s script efficiently introduces our flock of characters and gets us into the sky. By the time Mack, Pam, Gwen, Dax and their Uncle Dan (Danny DeVito) fly into the clouds, we’re barely a half hour in. 

Although the film adheres to a familiar formula, White’s screenplay offers plenty of real laugh-out-loud moments. Some of the funniest parts are early on, like when the family happens upon a heron who shares an uncanny resemblance to my favorite Disney villain, Yzma of The Emperor’s New Groove. It’s never quite clear if the long-legged bird has ill intentions or if Mack’s paranoia is infectious, but the situation gives off a healthy sense of danger and real stakes. Is Erin the Heron (a scene stealing Carol Kane) trying to eat the Mallards for dinner or is her version of hospitality just oddly frightening? The direction here adds to the ominous mood as Renner lightly applies some horror conventions, from creaking floors to minor jump scares.  

The flock’s later adventures are less ambiguous. After leaving Erin’s home, the Mallards find themselves in the big city. A landscape of tall buildings with pointy things at the top, cars zooming through the streets and oblivious pedestrians? It’s Mack’s worst nightmare. As for Pam, she’s enthralled by the soundscapes of the bustling environment. In this version of New York, the Mallards meet a gang of pigeons led by their spiky leader Chump (Awkwafina). She introduces them to a Jamaican parrot (voiced by Keegan-Michael Key), who helps orient the novice travelers. 

What about the kids? After all, this is a movie aimed at the young ones. I can assure you that Dax and Gwen grow too. Gwen is a cherubic duckling who surprises us with her astute observations and moments of bravery. (The one distraction is that the character’s accent doesn’t completely make sense given her New England family roots.) Dax takes after his mother and has a greater sense of adventure than his younger sister or his father. The tension between Dax and Mack boils over in one of the more emotionally salient moments of the film. 

I’m praising Migration so effusively because it is, above all, an enjoyable film made with heart and a respect for its audience. Sure, there are rough patches ( a bit about a vengeful chef overstays its welcome), but most of that can be forgiven. Renner’s direction animates key moments. Scenes of the Mallards soaring, quite gracefully, through the clouds or huddled together as they try to cross a busy intersection visually affirm their love and intimacy. A well-assembled cast of voice actors brings the characters to life. Migration‘s considerable appeal perhaps lies in the simplicity of its premise: The hardest part of embarking on any new journey is taking off.