Directed by Oliver Daly
Starring – Alex Neustaedter, Thomas Jane, Becky G
The Plot – A.X.L. is a top-secret, robotic dog created by the military to help protect tomorrow’s soldiers. Code named by the scientists who created him, A.X.L. stands for Attack, Exploration, Logistics, and embodies the most advanced, next-generation artificial intelligence. After an experiment gone wrong, A.X.L. is discovered hiding alone in the desert by a kind-hearted outsider named Miles (Neustaedter), who finds a way to connect with him after activating his owner-pairing technology. Together, the two develop a special friendship based on trust, loyalty and compassion. Helping Miles gain the confidence he’s been lacking, A.X.L. will go to any length to protect his new companion, including facing off against the scientists who created him and who will do anything to get him back. Knowing what is at stake if A.X.L. is captured, Miles teams up with a smart, resourceful ally named Sara (Becky G) to protect his new best friend on a timeless, epic adventure for the whole family.
Rated PG for sci-fi action/peril, suggestive material, thematic elements and some adult language
– At least it’s short. Clocking in at a mere 90 minutes, ‘A.X.L’ never felt sluggish or dragging, despite the fact that I couldn’t have cared less about these characters. It is incredibly self aware about the lack of depth that the film entails, and because of such never tries to make the experience longer than it rightfully should be.
– Motocross stunt work by extras that really brought the sport to life. Even though the film kind of forgets about its initial roots by the third act, there’s just enough instances of adrenaline that pulse through the aired-out bike sequences that were responsible for what little interest I had in the film. High risk choreography resulted in some devastating crash sequences, allowing Daly the opportunity in showing us the live fast lifestyle that many are addicted to.
– No guts, no glory. There’s a sharp B-grade horror film that is locked inside this dull kids movie, and there’s several instances of its existence. Midway through the film, there’s a violent tonal shift that overtakes the direction, giving us what feels like a similar road that films like ‘Dawn of the Planet of the Apes’ took. Unfortunately, this dog has no balls, as the film waters down these instances of brief violence and panic, opting for the easily forgettable side of August cinema that has become customary over the last decade. Even for PG, this feels terribly limited.
– Film errors. Considering this film is such a far-fetched idea, it should come as no surprise that it can’t even follow the rules of logic for its audience. One character touches a football dipped in gasoline, then controls a blowtorch without anything happening to him, no tracking device is ever put on the dog for the company to find him, U.S marine soldiers point guns at Miles and A.X.L and never fire a single bullet, and yet these aren’t even my personal favorite. In one scene, the robot dog jumps in the bed of a truck, allowing its weight to bury it underneath dirt. Yet in the next scene, the dog gets in the bed of the truck and everything is fine.
– Offensive editing. There’s two major problems with the editing in this film. The first, it cuts scenes of exposition in half so that the it has no relation to the scene that follows. One example involves a party scene where the antagonist for the film has something to show our main character, then the film just cuts to a scene involving the main character and his father in the garage. The second problem involves scenes of dialogue that are brutally cut off before they can finish. I know this because there are several instances where the audio of a character speaking will overlap that of the new line of dialogue that begins before the prior one finished. Completely sloppy.
– With the exception of Thomas Jane’s three scenes, the film’s acting is completely in the toilet. Neustaedter has the emotional registry of an aged boot at the bottom of the stairs after a terribly long fall, and Becky G continues to underwhelm with a nasally delivery that constantly sounds like she’d rather be doing something better. In this instance, that’s probably true. What’s worse is these two have the chemistry of an E-harmony first date constantly, and that lack of connection and physical spark never grows. Their kissing scenes feel like cousins who decided to test Arkansas laws with little regret.
– Intrusive musical score. When the film first started, Ian Hultquist’s new wave vibes gave me hope that at least the music would echo that of late 80’s science fiction, like ‘Robocop’, but my positivity quickly gave way to what I describe as blunt manipulation of the audience. This is when compromising tones will overtake a scene, often blaring too loudly, and force the proper atmosphere and tone on us, whether we appreciate it or not. The antagonist has his own clunky theme because he’s extreme, and the government character’s tone conjures sounds of orchestral intrigue that promises us thrills that honestly never come.
– This film lacks any sense of focus or identity. To me, it feels like a rehashing of kids movies from the 80’s, like ‘E.T’, bringing absolutely nothing fresh in terms of originality to the table, with constant cliches dragging the plot forward. There’s everything checked off here that you’ve seen before, including loud E.D.M music, forced romance, psycho evil antagonist that get away with everything from arson to downright attempted murder, and of course extremely unnatural dialogue. Daly fails as a director and screenwriter because his feature lacks any kind of excitement or suspense, even in scenes where characters are supposedly in danger.
– One near positive for me was in the decision to work with practical effects, as opposed to C.G that have outnumbered multiplexes everywhere in modern day. Unfortunately, this film does nothing for the practical effects lovers like me, because the very design of A.X.L feels far too massive to ever be used conveniently on the field of war. Beyond this, the direction to compromise the physical with C.G movements is one that doesn’t come across as fluid for the robot itself, conflicting the balance between slow movements while on the ground with those of superhero-like flying while in the air.
– Problems with the robot design itself. An aspect to the plot that I still don’t understand is why the emphasis on this robot being a dog. The movie explains quite often that dogs are the most faithful animal, so their dedication to getting the job done will be that much easier because of its species type. The problem is that this isn’t a natural dog, it’s a robot that can easily be programmed, so faithfulness should really have nothing to do with the idea. Another problem is that apparently despite being made of metal, fire is the only weakness for the dog’s design. I guess the advantage will still hold up as long as America doesn’t go to war with anyone who has ever heard of fire.