Advances in computer generated animation are skyrocketing while the jokes are becoming less funny. Rio continues the trend in a backwards rather than forward motion. It exchanges wit for beautifully rendered characters -- and I don’t mean they are four-dimensional either. There’s speed over coherence, and a singularly annoying voice performance from Jesse Eisenberg. In my opinion, the latter proved just as irritatingly sad in The Social Network (2010) as he does here. Children may giggle at the sheer clumsiness of the characters. However, I suspect many  grown-ups may feel like cringing behind their popcorn or looking for the exit sign.

A male Spix’s Macaw called Blu (voiced by Eisenberg) lives with book seller Linda (voiced by Leslie Mann). He’s her closest companion but when they become separated, there’s a mutual feeling of loss. Determined to get back to his rightful owner, Blu embarks on an adventure fraught with every imaginable peril. When he ends up chained to Jewel (voiced by Anne Hathaway), he experiences something entirely new. Clearly, he’s smitten and she’s not. Adding to which, Blu can’t fly.

The gimmick behind Blu’s inability to take flight should be hilarious. Too often, the same visual gag ends up in the wrong places, becoming like a merry go round with no emphasis or finality. For a project so concerned with pace, energy and reducing the boredom factor for kids, Rio rarely breaks a sweat.

It becomes a chore just watching director Carlos Saldanha picking from the same bone-yard as Madagascar (2005). Yet, the true malfunction of Rio involves its personality disorder. In going from slapstick to sentimental indulgences, the film frequently lapses into song when the plot should show more progressive thinking. Quite simply, Rio tries to introduce elements from many genres: the comedy, a musical and even a rites-of-passage tale. The film trips over itself with numerous gags landing squarely on the nose. My advice? Don’t try to be funny. It never works. Just let it happen.

So far, I am yet to be convinced of Eisenberg’s comedic or dramatic potential. He’s a wandering performer both vocally and emotionally. It’s difficult to keep track of him -- how he feels and whether or not we should sympathise with him. The physical detachment that comes with animation -- the fact that the actor is not seen but heard -- means only the voice can bridge the gap, creating a connection between character and audience. I don’t believe Eisenberg has the ability to take even the first step towards building this link. Therefore, the chief attraction behind Rio, which deals exclusively with Blu’s journey home, becomes this near impossible task in which the viewer must do all the work alone.

Composer John Powell turns it down a notch after the fun -- if overrated -- How To Train Your Dragon (2010). In Rio, he relies more on hyper-active songs which lack dazzle or sparkle than on his own innate gifts.

In terms of advancing the medium, it’s fair to say that the animals are becoming more anthropomorphised by the second. The only thing lacking is a true sense of humanity or empathy. Without ever daring to break from the norm, Rio feels like safe and affordable comfort food. Just occasionally, it’s nice to see a riskier dish on the menu.

(Released by 20th Century Fox and rated "G" by MPAA.)