Gloria the Hippo, voiced by Jada Pinkett Smith, left, Melman the Giraffe, voiced by David Schwimmer, center, and Marty the Zebra, voiced by Chris Rock, in a scene from "Madagascar 3: Europe's Most Wanted." (DreamWorks Animation - AP) In this week’s new movies, the zoo animals from the “Madagascar” franchise hit a homerun once again and Ridley Scott’s new film “Prometheus” is surprisingly unoriginal. Here’s what the Post critics had to say:

“Madagascar 3” (PG) “The antics of a hoop-jumping tiger named Vitaly (Bryan Cranston), Gia the jaguar (Jessica Chastain) and Stefano the sea-lion cannonball (Martin Short) contribute mightily to sequences of amazing animation, some in eye-popping neon, that rival those of Disney’s 1940 classic ‘Fantasia.’ Yes, it’s that good.” — Michael O’Sullivan

“Prometheus” (R) “So the biggest surprise about ‘Prometheus’ might be just how unoriginal it is, given Scott’s track record as a genre game-changer. Visually impressive and featuring one or two breakout performances, this anticlimactic exercise too often plays as though it has been cobbled together from archetypes, imagery and tropes from countless other movies.” — Ann Hornaday

“Peace, Love and Misunderstanding” (R) “The combined acting muscle of Jane Fonda, Catherine Keener and Elizabeth Olsen — playing three generations of women in a fractious family — is not enough to lift ’Peace, Love and Misunderstanding’ above the level of comfortable mediocrity that one has come to expect from former filmmaking powerhouse Bruce Beresford.” — Michael O’Sullivan

“Pink Ribbons, Inc.” (Unrated) “... ‘Pink Ribbons, Inc.’ is clearly not meant to be a balanced, she-said, she-said portrait of a contested issue. Rather, it’s a well-argued polemic that, despite being one-sided, has loads of useful information to share, if only to begin a crucial argument about health care, allocation and coordination of research dollars, consumerism and the privatization of philanthropy.” — Ann Hornaday

“Bel Ami” (R) “Pattinson’s performance is so enervated that his Georges Duroy comes across as something of a cipher. He’s not quite alive, yet also clearly not dead, given the amount of sex he has. He’s undead, or at least uninteresting.” — Michael O’Sullivan