I’d imagine whether you enjoy Fixed will depend on whether you can tune into its sense of humor. Sitting down to watch it, I was curious – gross-out comedies, animated or not, are hit-and-miss for me. And Fixed‘s Red Band trailer (which is really something) certainly led me to believe that’s what this movie was.

Thankfully, there’s more going on than that, and I’m happy to report this film worked for me. I found about as many laughs here as in The Naked Gun reboot, and I can only imagine how this would’ve played with a late-night crowd had Warner Bros. not bailed on its planned theatrical release. The rights reverted to Sony Pictures Animation and it found its way to Netflix, continuing a partnership that also made KPop Demon Hunters a megahit this year.

Fixed‘s new home should be a good one. This will play best to the right groups of friends, gathered on a couch somewhere, snacks at the ready. But its streaming release also means you can test it out any time you like, which I’d encourage you to do. It might surprise you.

Fixed’s Simple Setup Is Funny In A Surprisingly Multifaceted Way

Fixed‘s premise is like a diamond cut into its ideal shape. It has many facets, and each will sparkle in its own way when it catches the light. Writer-director Genndy Tartakovsky understands this is the movie’s greatest strength. He is constantly turning that diamond to show off a different side.

Bull (Adam DeVine), a beloved but hump-crazy family dog, learns that he’s to be neutered in the morning. So, his dog friends (voiced by Idris Elba, Fred Armisen, and Bobby Moynihan) treat him to one last night of balled debauchery. An idea that simple makes for a great plot engine, and Fixed zips along nicely. But a surprising amount goes into making the story funny.

There is the aforementioned gross-out factor, powered by our desire to see just how far the movie goes, and it delivers in that regard. The R-rating isn’t wasted. That this is animated provides an added layer. The hand-drawn style intentionally echoes childhood favorites like Tom & Jerry at times, and there’s just a perverse joy in hearing a cartoon character drop an F-bomb.

The anthropomorphic dogs give Tartakovsky some options. Fixed sometimes focuses on the anthro- and channels an Apatow-style buddy comedy, mining our often awkward relationship to Sєx for laughs. Other times, the dogs really are just dogs, talking very crudely about normal dog behavior. Bull can resemble an observational comic poking fun at the norms of canine life.

It’s not just that the film can make jokes in both registers; Tartakovsky’s instinct for switching between them is just right, and that sparks its own laughs. It’s the contrast of Bull humping Nana’s leg, accompanied by uncomfortable, inner-monologue-esque Sєx talk, and him checking in with her to make sure it feels good for her, too. Only in animation can we hold these dual perceptions of characters simultaneously like this.

Fixed Has A Gooey, Sincere Center Under All The Ball Jokes

Then, there’s the way Fixed handles its premise as metaphor. Just as Bull’s family aims to further domesticate him by neutering him, so too is settling down often compared to getting one’s balls chopped off. And Bull really wants to settle down. He’s in love with Honey (Kathryn Hahn), the showdog next door, who he believes would never get with a common mutt like him. Sans balls, he’s got no chance.

Except, Honey’s always liked him, too. This movie is officially described as a romantic comedy, and there’s a sincere emotional core at the heart of all those vulgar trappings. The narrative is actually powered by the push-and-pull of these two dogs, who should be together but keep getting in their own way, and it builds to a sweet message about the importance of not externalizing one’s value.

If there’s an element I would’ve liked to see more of, it’s this one. The characters are drawn well enough to be endearingly funny (Elba’s boxer gets a foundational trauma that had me laughing every time it’s deployed), but they’re not quite deep enough for true investment. Tartakovsky effectively makes the case for this Sєxual boundary-pushing as a path to empathy, but I don’t think I’ll be drawn to return to it anytime soon.

Still, Fixed is fun while it lasts, more so than you might expect going in. Its most lasting effect on me might be a longing for more traditional, hand-drawn, 2D animation from our major studios, and anyone who might feel similarly shouldn’t let this movie pᴀss them by.