“Smallfoot” is a new animated film from director Karey Kirkpatrick. Kirkpatrick is well known in the children’s movie genre for his work in “James and the Giant Peach” (1996), “Chicken Run” (2000), “Charlotte’s Web” and “The Hitchhiker’s Guide to the Galaxy” (2005).

Kirkpatrick’s latest film is adapted from a children’s book called “Yeti Tracks.” The film follows a Sasquatch named Migo (Channing Tatum) as he tries to prove to his village the existence of smallfoots- or, as we know them, humans.

It’s actually a musical

The movie is a musical, but it has not marketed itself as one. Not doing so was a mistake, as the musical numbers are some of the best moments. The songs are lighthearted and catchy, with entertaining choreography and gorgeous visual moments. Including a rap song by Common was a mistake, but most of the music is enjoyable for what it is.

Larger themes

“Smallfoot” goes beyond catchy musical numbers: it has a thinly veiled message to question authority.

This analogy is one of the film’s biggest strengths. It builds up this theme as Migo slowly realizes that the teachings of his village are wrong, and ends up being exiled for preaching the truth. Throughout the film, Migo begins to learn why the leadership lied in the first place.

The film characterizes the leadership as a relatable force, as viewers (the adults, anyway) understand their reasoning of “the ends justify the means.” “Smallfoot” is very on-the-nose, but for its demographic, it is perfectly acceptable.

The theme is one done before and is simple in its execution. Still, for a film aimed at young kids, it has a sophisticated message. It is hard for children to learn the importance of the occasional disruption of the status quo, so it is heartening to see a film tackle the issue in a way children can understand.

The laughs

What really keeps kids invested, though, is the humor, and “Smallfoot” has some surprisingly good bits. There is good slapstick, crazy animation and a hilarious running gag of parental disappointment.

Unfortunately, the comedy falls flat a few times as well. There are some bits the film thinks are much funnier than they are, and they call back to them as though they are the highlights of the film. And while James Corden is fine for the most part, he is still typecast as the goofy character who references “hip” pop culture. “Smallfoot” is no exception to the Corden rule of casting. Sometimes in the film he works fine, but sometimes the writing is far out of touch and the delivery is too sincere to sell it.

In the end, “Smallfoot” falls somewhere between “okay” and “good.”  As a film for toddlers, one could definitely do worse. If you are looking for something to take your little cousin to, this is perfect. But if you are looking for something more stimulating for an older audience, look elsewhere.

Written by Jacob Maher.