The dodos had thin legs with clawed feet, and could run somewhat fast if pressured to do so. Several dodos are seen living in the Dinosaur World.Ī baby dodo joins Scrat and his son Baby Scrat on their chase for their acorn.ĭodos were fat-bodied, thin-necked birds that had a large beak, small ineffectual wings, and a set of fluffy tail feathers. Shortly after that, a saber-tooth squirrel named Scrat, undergoing a near-death experience, met more dodos in the afterlife, which acted as a choir in Scrat's heavenly vision. Not long after, one dodo, traveling alone, walked through a geyser field and was incinerated alive. Shortly after, a small number of the dodos stood atop one another, attempting to balance themselves but fell.ĭodos as spirits in heaven with Scrat in the front The dodos all surrounded the sloth and ultimately lost their last melon once Sid traversed past them. The final melon was then apprehended by Sid, who dropped it once a flock of dodos swarmed on him towards Manny, who kept it out of the dodos' reach with his trunk, but was disarmed of it as well once one dodo bit his tail, causing him to scream in pain and throw the melon into the air. A second melon was then thrown into play when one of the mammals, a ground sloth named Sid, reached for it, but the dodos all disarmed him of it, the melon almost falling into the smoldering pit, but stopped momentarily by three dodos, who themselves fell into the pit, with the melon. The lead dodo lost his footing on the melon that he was guarding and let it slip towards the baby, with a trio of dodos rushing into action to get it back, but rather throwing it off a cliff by mistake, to which a number of the birds, including the flock's last female, chased it, falling off themselves. The mammoth asked of the dodos whether he might have a melon, but was denied by the lead dodo, who explained that the melons were their stockpile for the ice age, and that oncoming subarctic temperatures would drive them all underground for a "million billion years", then rebuking Manny for not planning ahead, with the other dodos joining in. Dab then spotted the mammoth, accompanied by two other mammals with a baby and called out to the others in his flock that intruders had come, not paying mind to where he was going and falling into a smoldering crater, which was the subject of a lesson being taught to other dodos. This resolve was tested when one dodo named Dab snatched a melon from the trunk of a mammoth named Manny and ran off with it, adding to the stockpile of food that the dodos had gathered. I do look forward to his branching into new genres with this summer\'s Flight 93 and X-Men: The Last Stand.During the early stages of the ice age, one flock of dodos began preparing for the harsh changes by forming militant regimes, complete with combat training and marches, stockpiling food and instilling their doctrines that they don't migrate with others because they were superior to other creatures of their time, and that all other animals were nothing more than beasts. This is not Powell\'s best score, but it is nice to see him return to the energetic animated films. They are easily skipped, though they do fit in with the playful nature of the score. These are fun songs that kids will enjoy, but I find somewhat detracting from the actual score. There are a couple cast songs that Powell seems to have written music for, or adapted for the film (such as "Food Glorious Food" from Oliver!). This cue ends with an eerie Thin Red Line-like pulsating flute part. This continues through "Mammoths", which is the highlight of the album where the theme comes out in full in the French horns backed by trumpets. The percussion becomes heavier and the brass becomes a stronger presence. The second half of the album is a bit more dramatic as the action on-screen picks up, beginning with "The Boat and the Geysers". Many of the cues on the hour-long album are short and Powell does not develop his theme as well as he has for previous scores, such as Evolution. One element I have always enjoyed in Powell\'s scores is his use of acoustic guitars and other string instruments along with his light percussion style, even in conjunction with the orchestra ("Call of the Mammoth"). This is especially apparent in the opening cue, "The Waterpark". Probably his most playful since Chicken Run with Harry Gregson-Williams, Ice Age: The Meltdown utilizes many percussive effects, even various wind and string instruments in percussive ways to keep the score moving. Fully orchestral, with a playfulness that retains its musicality without becoming corny, this score is a great addition to Powell\'s filmography. While Robots was a good score by Powell, it did not return to the style he made so popular in Shrek, Evolution, and The Road to El Dorado. John Powell\'s varied career has shifted in recent years more toward the action/thriller genre (the Bourne series, Mr.
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