Written by Andreas Babiolakis

Oh, goodie. Another origin story based on an already existing property that has been established again and again and again. Teenage Mutant Ninja Turtles: Mutant Mayhem is the seventh film related to the Mirage Studios comic book series and it feels like one should prepare their eyes to be rolled just at the very idea. Well, I am happy to say that Mutant Mayhem is easily one of the better Ninja Turtles cinematic releases ever, but that’s also because quite a few of these films have been boring at best and nauseating at their worst. Director Jeff Rowe and company put quite a lot of thought into this animated take to separate it from the infamy that the franchise has developed on the big screen and it shows. For once, the titular turtles are actually teenagers, being played by four newcomers (Micah Abbey as Donatello, Shamon Brown Jr. as Michelangelo, Brady Noon as Raphael, and Nicolas Cantu as Leonardo, respectively) which seemed like a big leap on paper but works out perfectly in the final project. I warmed up to these squeaky, youthful voices almost instantly. These felt like teenagers. They always should have.

Mutant Mayhem boasts a gigantic cast that surrounds these heroes in a half shell, including Jackie Chan as mentor and father figure Splinter and Ayo Edebiri (who has been winning 2023 left, right, and centre) as April O’Neil (who herself is a teenager that is trying to find her footing here). Splinter is protective of his turtle children throughout Mutant Mayhem because this is only the start of their story: their heroics have yet to take place, and Splinter fears that they will be exiled and reviled by humans like he was for his entire life (even as a regular rat before he developed mutant qualities). Splinter is overprotective, and it affects the turtles in different ways (with Leonardo never wanting to lie to him or let him down, and the other turtles feeling their own versions of needing to break out of their shells, pun intended). Once the turtles cross paths with April — a human that accepts them once they help her catch a thief — they want to help each other out. April wants to become a journalist and needs a proper story to make this breakthrough (also an on-air incident has left her not being taken seriously, so she has extra barriers to burst). The turtles want to be able to live a normal life, and perhaps their ninja defence training Splinter provided them can come in handy. Together, they can try to stop New York City’s biggest baddies and become heroes in their own ways. April finds targets for the turtles, the day is saved, and April can report her findings. It’s a win-win for all.

April O’Neil and the turtles work together through their coming-of-age grievances in *Mutant Mayhem*.

Mutant Mayhem works nicely as a coming-of-age story because of its themes of societal rejection and the real world becoming a major reality check for our young protagonists. As an origin story, it also sets up a new path for these iconic characters that will likely serve them well whenever the green-lit sequel and series are produced. As an animated feature, Mutant Mayhem boasts tons of style with its sketchbook-yet-three-dimensional look, one of which has figures and settings looking almost like claymation at times with their choppy frame rates and carved aesthetic. However, where Mutant Mayhem falls a little flat is as a superhero film. I never really feel like the turtles are in any danger because they seem to coast through the film just to make it to the end (this is an origin story after all: I get that every “good guy” will make it out of this chapter alive, but the film should have at least had a few moments of serious threat, if not for character building purposes). Furthermore, a lot falls into place. I know the turtles are trained in karate, but the weapons just fall into their proverbial laps and they instantly make do with what they have. The final act feels like its punches are pulled as well; while it is a fun celebration of animation and action, it lacks the thrills necessary to give Mutant Mayhem any sense of closure as a superhero adventure film. As a coming-of-age film, Mutant Mayhem concludes beautifully with some full-circle comfort. It just isn’t particularly exciting in a film that could have easily gone that distance.

At least Mutant Mayhem is fun and stylish, and it carries both labels with pride. Trent Reznor and Atticus Ross’ bombastic score gives the film that extra oomph that it needed to at least feel a teensy bit edgy, and the soundtrack made up of old-school hip-hop cuts is always welcome as well; there are mainly well-known classics, but none of them ever feel on-the-nose or typical. The massive cast, ranging from producer Seth Rogen to Ice Cube, Giancarlo Esposito, Rose Byrne, Paul Rudd, Maya Rudolph, Hannibal Buress, Post Malone, and many more, is a riot to take in. Just like the story’s arcs, however, I wish we had a bit more time with these big names because of the electricity they provided to their parts. Mutant Mayhem moves quite quickly and isn’t a particularly long film. An extra twenty minutes — or even ten for the impatient — would have sufficed just so we could have had some extra storytelling weight, time with these characters, and time for our heroes to properly grow and evolve into their own identities.

Mutant Mayhem is kind of like any of the four Teenage Mutant Ninja Turtles at the forefront. It is well-intentioned, albeit unsure enough to get all that it needs to be done, yet I enjoyed my time with it because of its quirks, humour, and style. It’s not quite at the level it should be, but I can see a future iteration in this new series getting closer to that achievable mark. In the exact way that the protagonists hope to, this latest Teenage Mutant Ninja Turtles series must prioritize maturation if it hopes to become the contemporary staple it is clearly trying to be. For now, it is a good time at the cinemas, but its escapism may not linger in your mind for long (but hopefully the joy will).

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.