Directed By Gail Mancuso
Starring – Dennis Quaid, Marg Helgenberger, Kathryn Prescott
The Plot – Bailey (voiced again by Josh Gad) is living the good life on the Michigan farm of his “boy,” Ethan (Quaid) and Ethan’s wife Hannah (Helgenberger). He even has a new playmate: Ethan and Hannah’s baby granddaughter, CJ. The problem is that CJ’s mom, Gloria (Gilpin), decides to take CJ away. As Bailey’s soul prepares to leave this life for a new one, he makes a promise to Ethan to find CJ and protect her at any cost. Thus begins Bailey’s adventure through multiple lives filled with love, friendship and devotion as he, CJ (Prescott), and CJ’s best friend Trent (Henry Lau) experience joy and heartbreak, music and laughter, and few really good belly rubs.
Rated PG for thematic content, some peril and rude humor
– Canine control. These movies more than others have a tight grasp on the often times tricky art known as animal acting, but the crisp editing and grounded stunt work from these furry creatures make each of their influences on the scene feel seamless. It helps that most of these sequences are given ample time between cuts, keeping the cut-and-paste option minimal, all the while allowing the dogs to muscle out the commands they are being given. Never once in the movie did I feel the air of cinema magic for brash difficulty in attainability, and this more than anything is the biggest testament to Mancuso as a leading hand, for the way she brings extraordinary precision out of grounded requests from her four-legged co-stars, closing the gap between human and animal actors with a commitment to craft that goes a long way.
– Speaking of human performances, the work of the collective cast here is a majority solid. Quaid is back with his second film in a week, but this time it’s to showcase the sweet and sensitive side of his demeanor that outweighs the hammy nature of his dialogue. Likewise, Kathryn Prescott also carves out confidence in maintaining roughly 60% of the movie. Mancuso keeps the story firmly in-tow with her character, and throughout a series of dramatic beats and life-altering events, Prescott proves her emotional registry being years above her cinematic inexperience. Also, as Bailey the dog, Josh Gad is once again every bit as infectious as he is connected to the audience he engages with. Gad rarely has trouble emitting the energy that each scene requires, and through a healthy amount of audible narration, we are given ample time with the continued presence over the story, who takes us through all of life’s unique quips and quirks.
– Further developing of human protagonists. This is arguably the biggest difference from the first film, as the sequel sticks closer to this dog’s interaction with just the one family, as opposed to the many it came across in reuniting with its original owner. This allows the script to enhance our investment into their story-time dynamics, as well as cutting out a lot of the unnecessary padding associated with pushing the reset button every time Bailey dies, giving us a natural flow of pacing for the plot that (Lets be honest) is the main thing we care about with these movies. In doing this, I found a strong interest with CJ’s well-being, as well as the tumultuous uneasiness that her family is left with after many instances of dramatic tension formed from misunderstanding. It proves that “A Dog’s Journey” values the human protagonists every bit as much as man’s best friend, and can succeed a lot easier with an audience when it sets them on equal footing.
– Mature themes for family audiences. I value a kids movie so much more when it treats the youths with the respect associated in guiding them through meaty material without truly testing the limits of a PG rating. Likewise, the material itself doesn’t suffer a hinderance in effectiveness because of such, taking us through themes of alcoholism, abandonment, reincarnation, and even cancer that constantly keeps them on their toes. To a certain degree, you could say that each of these are used in manipulative ways that damned the first movie from receiving a passing grade from this critic, but the unraveling of events feels natural here, and not necessarily catering to a meandering cause. It’s all about educating its youths in ordinary circumstances which some of them will someday be confronted with, and it elevates the dramatic tension of the film effectively because of its upping of stakes from the first movie.
– Detailed make-up and prosthetics. While only used for one scene and two character’s in the movie, the film’s use of natural aging enhancements feels naturally convincing and reflective of the time that has passed from when we last saw them. This was one of my biggest concerns with watching the trailers, as the film’s multi-decade progression was depicted without any of the scenes of these actors after their separation, but thankfully the surprise was saved for the film itself, and it does so with a modest amount of wrinkling cream, glasses, and wigs that go a long way where computer graphics aren’t necessary. These kind of effects normally do cost more in studio productions, but the integrity of realistic visual effects is something that I commend it greatly for, and I hope it’s a healthy direction that many more films will follow with it.
– Important life lessons. This is especially, but not limited to, youthful female audiences, as the protagonist of the film becomes embattled with some internal conflicts that ages her well ahead of her years in terms of wisdom. Because of such, the film boosts and a message of resiliency and self-belief to young girls everywhere, educating them on the importance associated with entertaining the right choices in male suitors where looks certainly aren’t everything. In a perfect world, films like these would serve as strong poignancy pieces for the future females of tomorrow, but in the overabundance of intriguing details in the movie, it’s easy to see that it could easily be lost or overlooked in translation. Even still, the script takes an approach especially to adopted little girls, who have to blaze their own path after those they depended on fell off of theirs.
– Stilted dialogue. Much of the line reads and dialogue associated with still reek of hokey, obviousness, that occasionally makes this feel like a Hallmark Channel movie, instead of the big screen presentation that we’re supposed to feel. One such example is in the continuity of speech by Gad throughout a time-passing montage, that doesn’t make sense when you consider he’s in the scene he’s supposed to be talking over a passage of ample time. This makes it clearly evident that the film values audience narration over storytelling believability, and I wish I could say it’s the only problem associated with Gad’s narration. As well, it’s every bit as re-affirming as it was in the first movie, explaining to us audibly what we’ve already seen visually. It’s like being told every detail twice, and this occasionally gets irritating with the pacing and progression of scenes that should be shorter than they rightfully are.
– Formulaic redundancy. When I saw the trailer for this film, it felt very much like the first movie narratively, and with the exception of cutting down on multitudes of owners that I mentioned earlier, the film’s general outline feels very much identical to the first movie. This is the biggest argument in terms of why audiences who saw the first movie should see the sequel, and especially if you are against seeing dogs being put to death in movies, you should definitely keep your distance from this one. While only happening three times in this film, as opposed to seven in the previous installment, the death sequences themselves are very hard to engage in, and manipulative for how they focus on the face of the animal each time it’s at its weakest hour.
– Obvious foreshadowing. There’s certainly no shortage of this one, as the barrage of unnecessarily-bitchy supporting characters and out-of-nowhere details in storytelling directions, further flesh out the predictability in a story this minimal on depth. Because our central trio of character’s are such good people, it makes the bad ones feel that much more cartoonish by comparison, and because of this we can easily sniff out that relationships and karma are certainly not going to be on the sides of these miserable people. On the subject of plot foreshadowing, the film introduces a scene of cancer-sniffing dogs midway through the film that comes out of nowhere, and is given such an inordinate amount of focus rendered upon, that we know its elements will come into play at some place during the film, and re-appear they do, as a character becomes plagued in a battle with cancer that definitely benefits the convenience of this earlier inclusion.
– Outdated soundtrack. I’m not saying that it isn’t possible that teenage characters are listening to fifteen year old music at a hip high school house party, but the majority of such big numbers surely flock more to what’s current and fresh at the moment. In this regard, the inclusion of The All American Rejects, Phillip Phillips, and Matt Nathanson feel about a decade too late in marketing to the soundtrack hounds that attend these movies. In addition to this, the musical score by composer Mark Isham feels completely uninspiring and piano-repetitive throughout the length of the film. If I could watch this film on mute, I really would, but the importance of details shouldn’t suffer because the musical choices associated with the film feel like they are from a middle aged woman’s IPOD on shuffle.
My Grade: 6/10 or C-