Lulu’s unwavering devotion to the corrupt businessman who’s proven time and again to be a thorn in the Man of Steel’s side meets its match in the Super-Dog who finds his singular loyalty tested as Superman prepares to propose to reporter Lois Lane (Olivia Wilde). Much like their biped counterparts, Krypto and Lulu are two sides of the same coin. Blessed with the same intelligence and lack of hair as her former “colleague,” Lulu’s scheme to escape the adoption center she was jailed in and continue Lex’s dirty work not only gifts her with powers of her own, but also grants her abilities to four of the center’s other adoption hopefuls, who join Krypto in his quest to save Metropolis after the evil rodent takes the Justice League hostage. The primary villain, in this case, is a megalomaniacal guinea pig named Lulu (Kate McKinnon), whose “proud” distinction as the test subject of one Lex Luthor (Marc Maron) was upended after being rescued by Krypto (Dwayne Johnson), the super-powered canine companion of Superman (John Krasinski) who joined him on his voyage to Earth in their youths. No need to do your homework here, especially when the heroes and villains are spelled out as clearly as they are. Just as he did as a screenwriter for the delightful Lego Batman Movie (2017), writer/director Jared Stern has declared independence from any pre-existing properties and given beloved characters a fresh slate. It’s more than invigorating to watch a superhero film that is neither unnecessarily dark nor dependent upon years and years of fan investment. If nothing else, superhero fans have earned this bright change of pace and simple dose of earnestness considering the DC Extended Universe’s oddly grim tone, which is really starting to negatively compliment the convoluted storylines that are taking over the Marvel Cinematic Universe and have all but doomed the CW’s Arrowverse. DC League of Super-Pets (2022) not only falls somewhere in the middle of that spectrum but is observable proof that execution is the deciding factor, as the efforts of those involved - including an impressively assembled voice cast - are as entertaining as they are occasionally hackneyed, even if they do quite a bit to elevate a concept that is, at best, second-rate in its targeting of younger audiences. Others follow in their wake with surprisingly fresh diversions because their premise is so ridiculous that it somehow manages to work.
Some movies tend to disappoint despite possessing a premise that, by all means, should come sealed with a guarantee of success.
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