Supposedly these were Banned, because of the stero-typed humor. As well as their english speaking counter parts known as The TEXAS TOADS. These cartoons were an equal opportunity INSULT to all races and as a kid we found them HILarIOUS and didn't care about who was being insulted, because we ALL were. I'm Hispanic and still don't find this insulting and my Father has a heavy Spanish accent from Spain and he found these hilarious too back in the day. People are WAY MORE RACIST TODAY in 2021 thanks to AGENT ORANGE stirring up hate from 2015 to 2020. He did more harm to America and race relations than anything I've seen in my life time. So if you can find these old cartoons and you have a child's sense of humor and don't get your panties in a bunch over being OVERTLY PC, I say watch them and LAUGH! We could use some more Laughter in these past DARK YEARS! :o. W.
3 Reviews
Bland toads
TheLittleSongbird13 October 2021
Personally don't think that the Tijuana Toads cartoons are quite as bad as has been said. There is a lot wrong with every single one of the seventeen cartoons comprising the series, but none of the cartoons were irredeemably bad or in my view terrible. If anybody thinks otherwise on either side of good and bad fair enough. Have said more than once already about it being one of DePatie-Freleng Enterprises' weaker theatrical series, although better than those of Blue Racer and Crazylegs Crane it is not a patch of those of Pink Panther, The Inspector and Ant and the Aardvark.
Almost all of the Tijuana Toads cartoons, a theatrical series that ran from 1969 to 1972, ranged between lacklustre and average. But with two uneven but decent exceptions, one being 'Croakus Pocus' and the other being 'Frog Jog'. The latter being the best of the series in my opinion. The series is also known for introducing one to the characters of Crazylegs Crane (who made the most appearances of the supporting characters, with his debut being 'Go for Croak'), Blue Racer (in 'Snake in the Gracias') and the blue beetle (in 'Hop and Chop'), who would later go on to starring or featuring in other theatrical series that were worse than the Tijuana Toads one.
There is one consistently great aspect. That is Doug Goodwin's music scoring, which has such a light-hearted energy and infectiousness. It is also appealingly orchestrated with a jazzy vibe. DePatie-Freleng Enterprises' theatrical series had a fair share of memorable themes and it was no exceptions here. There is also one consistently not well done at all aspect, which is sadly a major drawback. That's the animation. Although The Pink Panther, The Inspector, Ant and the Aardvark, Roland and Rattfink and early Hoot Kloot cartoons did well with the distinctively abstract visual style, those of late Hoot Kloot, Tijuana Toads, Blue Racer and Crazylegs Crane took simplicity to extremes that it looked too sparse, too rushed-looking and flat.
Most of the gags come over as very stale and not very funny, also too much like rehashes, a few even repeated throughout the series like gags involving rockets and candle dynamites. There are moments where there are good gags, the standouts being the nitroglycerin one in 'Go for Croak', Pancho gaining strength in the climax of 'A Dopey Hacienda' and the fourth wall breaking between El Toro and the senior cartoonist in 'Frog Jog'. Most of the dialogue is also very awkward and cheesy, though there are a couple of great ones here and there (a few of the best coming from Pancho and Crazylegs) and 'Snake in the Gracias', 'Fastest Tongue in the West' and 'A Leap in the Deep' had great exchanges. The stories are also tired rehashes of already rehashed premises generally, the exception being 'Frog Jog' which was the most relatable to me.
On the most part, El Toro and Pancho were very annoying and bland. With some exceptions, such as El Toro being rootable in 'Fastest Tongue in the West' and especially 'Frog Jog' and Pancho having amusing lines in for example 'Croakus Pocus' and 'Serape Happy'. The supporting cast varied, Crazylegs was used the most but he became annoying when his material became repetitive. Blue Racer was promising, but it was proven later that he was a lot better as a supporting character or co-lead than as in the titular role. Most of the others, apart from the witch in 'Croakus Pocus', the dog in 'Never in Thirsty', Georgie in 'Mud Squad' and the toad in 'A Leap in the Deep', were stereotypes. The two worst being the cat owner in 'A Dopey Hacienda' and especially the beetle (shudder, sadly we had to endure him in the Blue Racer theatrical series) in 'Hop and Chop' (the insect version of Mickey Rooney's racially offensive character in 'Breakfast at Tiffany's').
Voice acting is generally too broad and very stereotypical, two of the worst examples being Anthea Lorde in 'A Dopey Hacienda' and Tom Holland in 'Hop and Chop'. Whenever Crazylegs was in more crafty mode, Larry D Mann was still in goofy mode so there were times where Mann's voicework and Crazylegs' personality traits didn't gel. There were a couple of exceptions, such as Don Diamond in 'Frog Jog' and John Byner in 'Tijuana Toads' (the grasshopper in that cartoon is also an exception to the stereotypical characters).
In conclusion, mostly ranges between lacklustre and middling. Worse followed. A very mixed bag 4.5-5/10.
Almost all of the Tijuana Toads cartoons, a theatrical series that ran from 1969 to 1972, ranged between lacklustre and average. But with two uneven but decent exceptions, one being 'Croakus Pocus' and the other being 'Frog Jog'. The latter being the best of the series in my opinion. The series is also known for introducing one to the characters of Crazylegs Crane (who made the most appearances of the supporting characters, with his debut being 'Go for Croak'), Blue Racer (in 'Snake in the Gracias') and the blue beetle (in 'Hop and Chop'), who would later go on to starring or featuring in other theatrical series that were worse than the Tijuana Toads one.
There is one consistently great aspect. That is Doug Goodwin's music scoring, which has such a light-hearted energy and infectiousness. It is also appealingly orchestrated with a jazzy vibe. DePatie-Freleng Enterprises' theatrical series had a fair share of memorable themes and it was no exceptions here. There is also one consistently not well done at all aspect, which is sadly a major drawback. That's the animation. Although The Pink Panther, The Inspector, Ant and the Aardvark, Roland and Rattfink and early Hoot Kloot cartoons did well with the distinctively abstract visual style, those of late Hoot Kloot, Tijuana Toads, Blue Racer and Crazylegs Crane took simplicity to extremes that it looked too sparse, too rushed-looking and flat.
Most of the gags come over as very stale and not very funny, also too much like rehashes, a few even repeated throughout the series like gags involving rockets and candle dynamites. There are moments where there are good gags, the standouts being the nitroglycerin one in 'Go for Croak', Pancho gaining strength in the climax of 'A Dopey Hacienda' and the fourth wall breaking between El Toro and the senior cartoonist in 'Frog Jog'. Most of the dialogue is also very awkward and cheesy, though there are a couple of great ones here and there (a few of the best coming from Pancho and Crazylegs) and 'Snake in the Gracias', 'Fastest Tongue in the West' and 'A Leap in the Deep' had great exchanges. The stories are also tired rehashes of already rehashed premises generally, the exception being 'Frog Jog' which was the most relatable to me.
On the most part, El Toro and Pancho were very annoying and bland. With some exceptions, such as El Toro being rootable in 'Fastest Tongue in the West' and especially 'Frog Jog' and Pancho having amusing lines in for example 'Croakus Pocus' and 'Serape Happy'. The supporting cast varied, Crazylegs was used the most but he became annoying when his material became repetitive. Blue Racer was promising, but it was proven later that he was a lot better as a supporting character or co-lead than as in the titular role. Most of the others, apart from the witch in 'Croakus Pocus', the dog in 'Never in Thirsty', Georgie in 'Mud Squad' and the toad in 'A Leap in the Deep', were stereotypes. The two worst being the cat owner in 'A Dopey Hacienda' and especially the beetle (shudder, sadly we had to endure him in the Blue Racer theatrical series) in 'Hop and Chop' (the insect version of Mickey Rooney's racially offensive character in 'Breakfast at Tiffany's').
Voice acting is generally too broad and very stereotypical, two of the worst examples being Anthea Lorde in 'A Dopey Hacienda' and Tom Holland in 'Hop and Chop'. Whenever Crazylegs was in more crafty mode, Larry D Mann was still in goofy mode so there were times where Mann's voicework and Crazylegs' personality traits didn't gel. There were a couple of exceptions, such as Don Diamond in 'Frog Jog' and John Byner in 'Tijuana Toads' (the grasshopper in that cartoon is also an exception to the stereotypical characters).
In conclusion, mostly ranges between lacklustre and middling. Worse followed. A very mixed bag 4.5-5/10.
I'm glad I'm the first reviewer
jonathan_k807 December 2016
That's so I can warn everyone to avoid this horrible series of cartoons from DePatie-Freleng Enterprises (DFE).
Stale jokes, predictable plot lines, cheap animation and, worst of all, humor based on ethnic stereotypes. There's nothing funny about this first entry in a series featuring two dimwitted Mexican toads. Absolutely nothing. And to think they made seventeen of these sleep- inducing pieces of garbage.
It isn't even an original concept. The two toads are carbon copies of the two cats from "Mexicali Shmoes," a 1959 Looney Tunes short directed by Friz Freleng. It appears Freleng thought he could rehash the same idea when he and David DePatie established their own studio. This time it didn't work.
It's one of those mysteries of the universe how these cartoons ever got released in the first place. They are an embarrassment to the studio that produced them. Something to avoid for sure.
Stale jokes, predictable plot lines, cheap animation and, worst of all, humor based on ethnic stereotypes. There's nothing funny about this first entry in a series featuring two dimwitted Mexican toads. Absolutely nothing. And to think they made seventeen of these sleep- inducing pieces of garbage.
It isn't even an original concept. The two toads are carbon copies of the two cats from "Mexicali Shmoes," a 1959 Looney Tunes short directed by Friz Freleng. It appears Freleng thought he could rehash the same idea when he and David DePatie established their own studio. This time it didn't work.
It's one of those mysteries of the universe how these cartoons ever got released in the first place. They are an embarrassment to the studio that produced them. Something to avoid for sure.
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