After what was described as the longest teaser campaign in cinema history – 18 years and over 400 weekly promos – the Simpson family shakes off the confines of television and go to the movies. TV’s longest and most successful satirical series comes with a big bag of baggage. The Simpson’s have seen more than any family should, and their big screen debut has a lot to live up to. Keeping the story fresh, exciting and vital while pleasing a rabid fan base was always going to be a tough assignment. David Silverman (Monsters Inc.) almost succeeds.

The Simpsons is little more than an extended TV episode. Homer visits misery on the people of Springfield, Bart deserts him for Ned Flanders, Lisa has a crush on an Irish boy who isn’t Bono’s son, Marge protects the family and Maggie saves the day. It is extremely familiar material tagged on to an eco-message that has President Schwarzenegger sealing toxic Springfield with a giant dome. The townsfolk get a gag each.

Therein the problem. While The Simpons is full of jokes, many of them funny (“I was elected to lead, not to read”) and some not so funny (a scarred pig called Harry Plopper), the dominant plotline is tightly focused on Homer’s odyssey and that is a path well worn. Tough, edgy satire has largely given way to gags and sub-plots are virtually non-existent, as are many of the more visceral supporting characters such as Crusty, Monty Burns and Sideshow Bob.

Silverman finds plenty of opportunity to jab at the outside world – Hilary Clinton, Disney, Fox, power-drunk government officials, the audience for wasting its money on something we can watch free on TV – and it makes for an entertaining time. However it doesn’t make for an enlightening one and given the resources at their disposal, plus 18 years of lead time, The Simpsons arrives as something of a lost opportunity. One that should keep the fan base happy, but only just.

// COLIN FRASER