Having directed two animated titles for Dreamworks (The Road to El Dorado and Shark Tale), Bibo Bergeron returned to his European roots for his film A Monster in Paris. Not only is the film set in the French capital, as the title suggests, but it was also financed and produced in Europe.

And although the film is markedly different to not only his two American films but US animation in general, it does, somewhat ironically, lack a certain je ne sais quoi.

It's 1910 and despite the flooding of the Seine, Paris is still attempting to be as gay as possible. As you would expect from this romantic capital, amour is very much in the air. Emile (Jay Harrington) is a projectionist who is very fond of the young woman who sells tickets at his cinema, but he's too shy to tell her. His friend Raoul (Adam Goldberg) is far more confident in himself, and yet he too has trouble expressing his feelings for the woman he loves.

One day Raoul asks Emile to help him out on one of his deliveries, as he has to deliver a number of bags of peat to a professor at the botanical gardens. When they arrive, it appears that the prof is not available, and has left his monkey Charles in charge.

As Raoul is quite the inquisitive type, he decides to snoop around the professor's lab. His curiosity soon gets the better of him and he inadvertently creates a concoction that transforms a flea from the monkey into a human sized beasty.

The flea escapes and heads towards Paris. Although hardly threatening, its appearance in the city causes widespread panic. Maynott (Danny Huston), current Chief of Police, decides that capturing the so-called monster would do his popularity no harm at all, and goes about catching it.

Meanwhile, the flea finds its way to the dressing room of singer Lucille (Vanessa Paradis), who just so happens to be the target of Raoul's affections; she soon discovers however that not only is the creature docile but it also has quite a remarkable voice.

The fact that it can carry a tune is hardly likely to deter Maynott from his mission; can Lucille, Raoul and Emile do enough to save their newfound flea of a friend from the clutches of Maynott?

You can tell this isn't a US film because their wind-up cameras are all digital now.

Technically, Bergeron's film doesn't put a foot wrong. Its animation is undeniably European, giving it a pleasing look and charm. It also manages to impress with some delightful effects, with its use of light, shadows and reflections.

And although not an out and out musical, its soundtrack includes a number of songs that far from irritate or intrude.

Unfortunately where it disappoints is with its mediocre story and bland dialogue. It's obvious that it was using elements of both Beauty and the Beast and The Phantom of the Opera as a template; however, an oversized flea just doesn't cut it as a leading protagonist, even if it can sing. It's definitely in this department that Bergeron should have asked himself WWDD – What Would Disney Do? It's difficult to imagine even Walt giving the thumbs up to a seven foot flea; it wouldn't make for great merchandise opportunities, that's for sure.

And although well drawn (even if Emile is portrayed at times as some kind of weird Gaelic leprechaun), the characters seriously lack personality.

The film overall is also devoid of any real set pieces, as well as any sparkling humour to keep either the young or old entertained. In fact it would be difficult to imagine it proving to be anything other than a real struggle keeping any age group engaged and entertained for any length of time.

A Monster in Paris then has much in common with its real-life setting: it manages to impress visually from its cityscape surroundings, just don't expect too much from its locals.