`Shrek' sequel may be formulaic but get ogre it, it's fun.(Arts and Lifestyle)

Byline: James VERNIERE

"Shrek 2"

Rated PG. At AMC Fenway, Loews Boston Common and suburban theaters.

Three stars (out of four)

Mathematically, the formula for "Shrek 2" might be rendered as: "Shrek" + "Meet the Parents" = "Shrek 2." This new installment is often very amusing, thanks to a droll script by co-director and co-writer Andrew Adamson ("Shrek") and others and a terrific roster of supporting players. It's not, however, particularly original. Too much money is at stake in the summer movie season for originality.

As most know, Shrek (the voice of Mike Myers) is the big, green ogre who, against all odds, won the hand of Princess Fiona (Cameron Diaz) in the first screen adaptation of the late William Steig's New Age fairy tale. Fiona, it turns out, had her own inner ogre just dying to get out. Shrek and his bride have been enjoying marital bliss in their swamp home, shaving together, wallowing in mud baths and engaging in farting contests.

But Fiona demands they visit her parents, the King (John Cleese) and Queen (Julie Andrews) of Far Far Away, and establish a relationship with them, even though her father is the one who had her imprisoned in a tower guarded by a dragon. Shrek is reluctant, certain his in-laws will hate his ogre-hood.

Meanwhile, Donkey (a priceless Eddie Murphy) has been matrimonially attached to the aforementioned Dragon - although they have had a falling out - and he tags along with Shrek and Fiona. The plot involves a conspiracy by Fairy Godmother (Jennifer Saunders) to get rid of Shrek once and for all and replace him in a rehumanized Fiona's heart with her conceited son Prince Charming (Rupert Everett). All of this is slow to start, and Fiona is a bit of a scold. Shrek, too, cuts a lackluster figure compared to his hilarious cohort Donkey and truly memorable newcomer Puss In Boots (Antonio Banderas).

Spoofing his own image as Zorro, Banderas brings tremendous style and panache to the film's second half in the role of a wisecracking, sword-wielding tabby killer-for-hire who can also all of a sudden turn on the big-eyed, lost kitten charm.

Far Far Away is a fairy tale version of Beverly Hills, where such stars as Rapunzel, Sleeping Beauty and Snow White reside in palatial homes. The palace itself bears a striking resemblance to the Magic Kingdom, but the digs at Disney are milder and funnier this time.

A clever and funny musical production number - billed as "The Fairy Godmother's Song" and featuring the singing of Saunders - actually rivals numbers in "Beauty and Beast." Andrews makes a charming, regal queen, and as for Cleese, all I can say is "All Hail King Basil Fawlty." A plug for familiar-looking medieval fast food is especially tiresome, and a few scenes feature a burly, cross-dressing bartender.

"Shrek 2" answers the question: How far can a jealous Fiona toss a lusty mermaid? Among the funniest bits is a risque joke involving Pinocchio's undergarments. A reference to "Charlie's Angels" is a nonstarter thanks to how quickly those films wore out their welcome, and a joke about Diaz's reputed boytoy Justin Timberlake is utterly lame. Some of the film's other references are so old they're paleolithic, including the "Hawaii Five-O" and "Rawhide" theme songs.

As with the first film, the moral of `Shrek 2" is finding love for who you are, which is innocuous enough.

Scenes set in the Fairy Godmother's magical sweatshop are reminiscent of Pixar's "Monsters, Inc." A beautifying magic potion turns Shrek into a burlier version of Treat Williams, while Donkey is transformed into a white stallion, which shows you how benignly insensitive Hollywood remains. A CGI Joan Rivers is as annoying as the real thing. But "Shrek 2" is worth seeing, if only to catch Donkey and Puss In Boots sing a duet of "Livin' La Vida Loca" and learn that, in olden times, pepper spray required the use of a pepper mill.

("Shrek 2" contains slightly risque humor.)

`Shrek' sequel may be formulaic but get ogre it, it's fun.(Arts and Lifestyle)

Byline: James VERNIERE

"Shrek 2"

Rated PG. At AMC Fenway, Loews Boston Common and suburban theaters.

Three stars (out of four)

Mathematically, the formula for "Shrek 2" might be rendered as: "Shrek" + "Meet the Parents" = "Shrek 2." This new installment is often very amusing, thanks to a droll script by co-director and co-writer Andrew Adamson ("Shrek") and others and a terrific roster of supporting players. It's not, however, particularly original. Too much money is at stake in the summer movie season for originality.

As most know, Shrek (the voice of Mike Myers) is the big, green ogre who, against all odds, won the hand of Princess Fiona (Cameron Diaz) in the first screen adaptation of the late William Steig's New Age fairy tale. Fiona, it turns out, had her own inner ogre just dying to get out. Shrek and his bride have been enjoying marital bliss in their swamp home, shaving together, wallowing in mud baths and engaging in farting contests.

But Fiona demands they visit her parents, the King (John Cleese) and Queen (Julie Andrews) of Far Far Away, and establish a relationship with them, even though her father is the one who had her imprisoned in a tower guarded by a dragon. Shrek is reluctant, certain his in-laws will hate his ogre-hood.

Meanwhile, Donkey (a priceless Eddie Murphy) has been matrimonially attached to the aforementioned Dragon - although they have had a falling out - and he tags along with Shrek and Fiona. The plot involves a conspiracy by Fairy Godmother (Jennifer Saunders) to get rid of Shrek once and for all and replace him in a rehumanized Fiona's heart with her conceited son Prince Charming (Rupert Everett). All of this is slow to start, and Fiona is a bit of a scold. Shrek, too, cuts a lackluster figure compared to his hilarious cohort Donkey and truly memorable newcomer Puss In Boots (Antonio Banderas).

Spoofing his own image as Zorro, Banderas brings tremendous style and panache to the film's second half in the role of a wisecracking, sword-wielding tabby killer-for-hire who can also all of a sudden turn on the big-eyed, lost kitten charm.

Far Far Away is a fairy tale version of Beverly Hills, where such stars as Rapunzel, Sleeping Beauty and Snow White reside in palatial homes. The palace itself bears a striking resemblance to the Magic Kingdom, but the digs at Disney are milder and funnier this time.

A clever and funny musical production number - billed as "The Fairy Godmother's Song" and featuring the singing of Saunders - actually rivals numbers in "Beauty and Beast." Andrews makes a charming, regal queen, and as for Cleese, all I can say is "All Hail King Basil Fawlty." A plug for familiar-looking medieval fast food is especially tiresome, and a few scenes feature a burly, cross-dressing bartender.

"Shrek 2" answers the question: How far can a jealous Fiona toss a lusty mermaid? Among the funniest bits is a risque joke involving Pinocchio's undergarments. A reference to "Charlie's Angels" is a nonstarter thanks to how quickly those films wore out their welcome, and a joke about Diaz's reputed boytoy Justin Timberlake is utterly lame. Some of the film's other references are so old they're paleolithic, including the "Hawaii Five-O" and "Rawhide" theme songs.

As with the first film, the moral of `Shrek 2" is finding love for who you are, which is innocuous enough.

Scenes set in the Fairy Godmother's magical sweatshop are reminiscent of Pixar's "Monsters, Inc." A beautifying magic potion turns Shrek into a burlier version of Treat Williams, while Donkey is transformed into a white stallion, which shows you how benignly insensitive Hollywood remains. A CGI Joan Rivers is as annoying as the real thing. But "Shrek 2" is worth seeing, if only to catch Donkey and Puss In Boots sing a duet of "Livin' La Vida Loca" and learn that, in olden times, pepper spray required the use of a pepper mill.

("Shrek 2" contains slightly risque humor.)