essential problem is that it budgets 90 minutes on a gag that works better in 30-second spots." He also addressed, "For fans of anthropomorphized animals, the cartoonish combat has its moments. But the CGI technique wears thin, and doesn't always work. Some of the action is too contrived to be charming, and the critter crowd scenes look like the work of someone who's had about 30 minutes of Photoshop training." As Time Out New York covered the film, "We were really hoping that such an ecologically friendly, anti-big business movie wouldn't feel so plastic. But [...] Brendan Fraser brings his standard big-lug shtick to a new low. [...] he sustains bee stings, skunk sprays and groin blasts from badly computer-animated woodland creatures while enraging his nasty, racial stereotype of a boss." Alicia Potter of The Phoenix bashed Furry Vengeance as "violent, coarse, and mirthless." Among criticisms the "wincing" performances, such as Jeong's "racist role of Asian corporate baddie," she also wrote, "The casting of live animals that communicate via thought balloons and CGI-enhanced facial expressions charms at first, but since there's no imagination behind the boulder rolling and the poop bombs, the critters grow wearisome." In the opinion of Kurt Loder of MTV News, "Brendan Fraser runs through an alarmingly extensive repertoire of low-comic muggery—face-scrunches, eye-rolls and general dingbat gibbering." He also wrote, "In the end, of course, Dan finally gets it—the righteousness of the animals' cause and the error of his ways. We get it, too, naturally. In fact we already got it 10 minutes into the movie." AllMovie's Perry Seibert panned Furry Vengeance for its potty humor, the "vindictive jerks" portrayal of the animals, Kumble's inability to "let a gag build," and Dan Sanders being not hate-able enough to deserve his torture. The Star-Ledger writer Martin Tsai also panned the presentation of its animal characters: "the young children who are the film's target audience could easily get the impression from these creatures that wild animals don't need our protection. And the thought balloons here are just not nearly as amusing as subtitles when it comes to conveying animal communications." He also wrote, "Latent xenophobia is evident in the head developer being an Asian man who busts Bruce Lee moves and the investor being an Indian national. This racially tinged inversion of power dynamics is absurd." He called the closing credits scene the "only inspired element" of the film.