Directed By Charles Martin Smith
Starring – Bryce Dallas Howard, Ashley Judd, Alexandra Shipp
The Plot – Separated from her owner, a dog sets off on an 400-mile journey to get back to the safety and security of the place she calls home. Along the way, she meets a series of new friends and manages to bring a little bit of comfort and joy to their lives.
Rated PG for thematic elements, some peril and adult language
– For a light-hearted family atmospheric film, this one conquers some dark and challenging material. This is the area of the film that I wish had more time devoted to it, as prejudice against the Pitbull breed, canine abuse on the whole, and even human death are all touched upon in these surprisingly revealing ways, giving the film a bit of much-appreciated social commentary. These are the rare instances where the movie feels like it has something to talk about in addition to the cute and cuddly material that it saddles itself with a bit too comfortably, and with more of a push for the PG-13 rating, could’ve separated more widely from the rest of the pact of subgenre films that are easily forgettable because of their similarities.
– The best actor in the film. It feels strange to talk about this, but the kind of physical performance that Smith emits from his canine protagonist is something that gained an air of astonishment from me. In addition to being thrown in the way of constant danger and conflict, the dog limps his way through a third act that really hammers home the length of this impossible journey with a one legged approach of consistency that you’d have to be a cold-heart not to appreciate.
– Smooth and fluent pacing throughout. One accolade that I give the film is the lack of boredom that these kind of films often radiate with, but this exception works because of the decision to keep it limited to 91 meaningful minutes that never lets the story get away from focus. Because this journey is so expansive and ever-changing in its environmental challenges, it frees itself of repetition or redundancy that would test the patience of its younger audiences, making this as easy of a January watch as you’re going to find.
– Nuance to the passage of time. I can’t believe that I am going to give “A Dog’s Way Home” respect for depth in storytelling, but the use of background pictures to fill in the gaps of character separation is something the film does exceptionally well. One such scene near the end of the film has one character in his bedroom, and long before we see anything or anyone else, we focus on this picture that articulates not only how much time has passed, but where certain characters end up. I love a screenplay that doesn’t need to stop to explain these kind of things, especially when you consider that this is the dog’s story first, and everything else, quite literally and figuratively, are backdrops for the main course.
– Fine combination of engaging cinematography and gorgeous backdrops make for eye candy. Even though this film’s dedication to C.G properties often hinder the immersion of each situation in scene, the breathtaking vantage points of some of South California’s most beautiful landscapes made for a rich and ambitious presentation visually that kept the integrity of the big budget feel preserved. Especially when you consider this as a journey film, you would be doing a huge disservice if you didn’t depict the immensity of these jaw-dropping visuals to counteract the ferocity of the wild, and I give great credit to Smith for knowing constantly where to point the camera to get the most out of every shot.
– Uninspired C.G animal properties. Simply put, in 2019, artificial animal renderings should not be so obvious to where the outline nor the texture of the animal matches the lighting of the environment that it’s put in. Even worse than that, these laughably bad mountain lions and cougars move so sluggishly in their attacks that the camera has to adjust to how fake everything comes across with interaction. This brings forth camera movements that are the worst I’ve seen since 2016’s “Jason Bourne”, echoing as close to a visual seizure as you’re going to find on camera.
– Minimal plot. I should receive an Academy Award for what I typed in the plot section above, as so much of this film instead feels like a series of events, instead of one cohesive narrative that bends and twists to the three act structure. Not only is this movie completely predictable, but it’s predictable in a way that feels content with walking the same path and pissing on the same trees as the films that came before it. Some people think a movie with a title that tells you everything you need to know about a film is a positive, but it also establishes early on just how empty the sum of its jumbled parts really are.
– Speaking of title. To say I hate the confusing title of this film is an understatement. Why is it confusing? “A Dog’s Purpose”, “A Dog’s Life”, “A Dog’s Tale”, “A Dog Year” Catching my drift? All of these movies have boring, unimaginative titles, and yet none of them are related in the slightest. I get that this film was a book before 2017’s “A Dog’s Purpose”, but couldn’t you have changed the title because of such similarities? So the next time a friend asks if you’ve seen the sequel to any of these films, called “A Dog’s Way Home”, you can remind them that studios have the imagination to include a line like “Snow do your business”, an actual line of dialogue from this tar pit of terrible.
– Familiarity rears its ugly head. When you really think about it, this movie isn’t anything like those other films I just mentioned, it’s instead a dead ringer for a “Homeward Bound” remake. Think about it: dog meets and falls in love with his adolescent owner, is left with a family member during a trying time, escapes said house, and begins a long distance trip to get home. Sniff what I’m conveying to you? Unfortunately this film has about a fifth of the charm of “Homeward Bound”, and not even that in the regards of narration. Oh the shame of this narration…..
– The shame. The narration is so annoying and pointlessly used in this film that I even still fail to understand why its inclusion was depended upon so frequently. Bryce Dallas Howard voices the inner thoughts of this dog, and when she isn’t piercing our eardrums with this screechy, human repellent voice, she’s intruding constantly on our perception of what’s transpiring. For instance, if this dog finds something to eat, we hear her say “I was so hungry”. Or if the dog is cuddling with her owner, we hear “I love you so much”. Really important stuff movie. I could’ve never interpreted that for myself, thank you. This film would’ve been a lot better if it didn’t go the voice route, and just let the heartfelt story play out for itself. So many of these tender scenes would’ve been much more effective if Howard didn’t articulate what Ray Charles could see about a particular scene, and it serves as the single worst aspect of this film.
My Grade: 5/10 or D+