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But while these allusions all poke fun at DC lore, the movie’s other comedic instincts grow stale pretty quickly. There are plenty of jokes and references worth a chuckle as Super-Pets builds its plot, between Krypto’s spectacled alter ego “Bark Kent,” his catchphrase of “pup, up, and away,” and a hologram of his late father Dog-El (Keith David). Krypto, on the other hand, loses his powers after ingesting some Kryptonite, so when Lulu captures the Justice League in order to impress Lex, the loyal Superdog has no choice but to enlist the shelter animals’ help, despite their initial reluctance. Merton, ironically, gets super speed - though she reminds her team that she “still can’t see ” - while Ace becomes invulnerable, and Lulu gains near-limitless telekinesis on par with the Dark Phoenix. Chip has lightning powers like Emperor Palpatine. A shard of the substance ends up at the shelter, granting the various animals powers of their own. Ace, the group’s de-facto leader, tells them sunny stories about “a farm upstate,” because it doesn’t seem like they’re going to be adopted anytime soon.Įlsewhere, career baddie Lex Luthor (Marc Maron) is thwarted by Superman, Krypto and The Justice League - Batman (Keanu Reeves), Wonder Woman (Jameela Jamil), Aquaman (Jemaine Clement), The Flash (John Early), Cyborg (Daveed Diggs), and the Green Lantern Jessica Cruz (Dascha Polanco) - but his plan to gain superpowers using an orange meteorite has unintended fallout. Vanessa Bayer voices P.B., an enthusiastic potbellied pig and Wonder Woman fangirl Diego Luna plays Chip, an anxious squirrel Natasha Lyonne voices the foul-mouthed, century-old turtle Merton, who can barely see and rounding out the shelter crew is the hairless Guinea pig Lulu, a former Lex Corp experiment who now has megalomaniacal plans of her own. Luckily, Ace is surrounded by a handful of other potential pets waiting for adoption, who add a sense of color to the proceedings. Superman hopes to find Krypto a companion to keep him busy, which is where the film’s co-lead enters the scene: a shelter dog named Ace, who’s meant to have a gruff disposition, but who Kevin Hart voices as if he were being forced to at gunpoint. However, Krasinski’s boy scout hero and his Johnson-voiced super-canine make up most of the first act, a story of Krypto’s jealousy as his best bud gets closer to reporter Lois Lane (Olivia Wilde).

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Superman is voiced by John Krasinski, who has so little kindness or charisma as the character that it’s a relief when he leaves the movie for lengthy stretches. Super-Pets rests on the performance of a monotone Dwayne “The Rock” Johnson, who voices Krypto as if he were reading old wrestling promos he’s long forgotten (though not as his smarmy ring persona, but as Dwayne Johnson the brand, the Instagram tequila salesman, the guy who exists as more as a concept, at this point, than he does as a real performer). However, it’s a lot less engaging when the characters stop flying and start talking to each other. It is, first and foremost, a tongue-in-cheek comedy despite its occasionally dramatic moments, and its montage of a day in the life of Krypto and Superman is breezy and picturesque. Before the story kicks off, it uses this intro to build a sincere foundation about lifelong buddies - but it takes a sharp tonal turn when it cuts to modern day. Via pretty sci-fi designs and doe-eyed characters, Super-Pets re-tells the Man of Steel’s tragic childhood origin, only this time, his alien parents load a puppy into his pod for his protection as they jettison him to Earth. If there were a version of the film with the dialogue track removed, it would probably be more effective. But no matter how thoughtful or energetic the movie gets, it’s often hampered by its voice cast of celebrity screen actors, who by and large don’t have the skill set to breathe life into a children’s movie. After all, it’s a story about Superman’s pet dog Krypto, a minor fixture in the comics and shows, bumped up here to an integral part of the hero’s origin. There are times when DC League of Super-Pets is both funny and richly conceived, with wordless montages and silent tableaus that ride the line between mythic and ridiculous.

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