Directed by Ken Marino
Starring – Nina Dobrev, Vanessa Hudgens, Finn Wolfhard
The Plot – Follows a group of interconnected people in Los Angeles who are brought together by their lovable canine counterparts.
Rated PG for rude and suggestive content, and for times of adult language
– Knows its audience very well. This movie is what I like to call “Aww-proof”, in that it has plenty of cute visuals where the dogs are doing humorous things, to make viewers shriek in delight. Manipulative? Absolutely, but ‘Dog Days’ is a love letter to the Youtube generation, who take big chunks out of their day to watch dog and cat videos as an escape from the real world.
– Personably grounded ensemble cast. While Marino doesn’t do a strong enough job in establishing some of the finer points in personality, most noticeably in a doctor character who changes at the drop of a hat, this crew of energetic B-listers bring radiance to their portrayals. Hudgens charms with that classic Hollywood smile, Wolfhard has charisma well beyond his years, and Ron Cephas Jones was single-handedly my favorite part of the movie, for his chances in dramatic pulse that the film fought so hard to constantly diminish.
– Breezy pacing. For the most part, the film sails by in the winds of progression that never stumble nor stilt with the many on-going subplots. Despite a third act that I’ll get to later on, the movie’s first half flourishes by building the many different relationships that these characters have with their furry counterparts, and does so in a way that honors importance in animals without dumbing the movie down with unlikely stunts or situations that dog movie writers love to include.
– Raises awareness on its own terms. Never does the film feel meandering in the slightest with this aspect, instead bringing light subtly to the over-crowding of dog shelters by valueing their importance. What’s even more appreciative in this aspect, is that there’s no over-the-top antagonist landlord character to bring down the mood of the picture once it is revealed that the shelter is closing. That alone is something I greatly commend the movie for, as the spanning of a lot of characters already casts a great divide in the fight for screen time.
– Much of the interactions scattered throughout the film are rooted in realism that many dog owners can relate to. Examples range in the form of rude wake-up calls, to the barking reactions of loud noises around them, to an overall lack of eating etiquette that proves no food is safe. ‘Dog Days’ is very grounded in this respect, allowing the humans to narrate us through, while letting the dogs be the comic relief that the film depends on so persistently.
– Mind-bashing music. I can’t believe that in a movie about dogs that I have to bring up music, but it’s a painful headache constantly throughout. There’s a band named Fronk in the film, led by Adam Pally’s character, and they somehow take these AWFUL one hit wonder jams like ‘Who Let the Dogs Out’ and ‘I’m Too Sexy’ and make them even worse with their funk renditions. I’ve heard less agonizing listens during a Kidz Bop CD, and what’s even more unfortunate is the film goes back to them no fewer than four times.
– Generic production qualities. Besides the fact that the film casts this imitation lighting that many films today like to use to throw off the authenticity of natural lighting, the movie also slices scenes prematurely with terrible edits, and brings back what I thought was a forgotten relic of Hollywood Cliches. In that regard, the final setting of the movie takes place on a painted backdrop that doubles as downtown Los Angeles, and it couldn’t be any more obvious if the wind in the studio shook its images to the point that they flowed like a flag.
– Constant predictability. When I say that there was nothing original or remotely surprising about this movie, I really underplay it. Once you’re introduced to each character and their respective dispositions, you begin to comprehend where they will be once the film ends. Because of this, I constantly felt like I was ten minutes ahead in the film, and was continuously waiting for them to catch up.
– Third act problems. This is where the film really starts to overstay its near two hour run time. Because of the structure in having so many leads splitting time, each of them is treated to a set-up, conflict, and resolution that rides the waves of redundancy. Once everything has been put away neatly, the film loses a lot of its momentum by not understanding where to end the film. There are no fewer than three different endings in the film. All of which would’ve been fine enough to roll the credits, but none of which actually do, and needless to say I didn’t stay for the credit blooper reel that only further prolonged the dragging.
– The only times I laughed in this film were with the reaction shots of the dogs, because the human material had me questioning what age group this movie is marketed towards. The adult directions used for some of the set-up, including themes of cheating significant others, as well as a barrage of sex jokes, combined with these very animated deliveries, made for an uneven strategy that very seldom paid off. The imagery of the four legged friends was very beneficial, but I never have a reason to watch ‘Dog Days’ again, because it does nothing to stand out from the rest of the pack.