I’ve heard that sometimes, a long wait is good for anticipation. But sometimes, there’s too long of a wait. And with the second episode of my Disney Channel Original Movie podcast, Popcorn Flicks, the wait was definitely too long, as I posted the first episode on March 17th. The first episode can be found here, and like I said there, I run the podcast with my friend Bobby Strate, who I met through the scriptwriting program we attended in Algonquin College in Ottawa.
Part of the reason why it’s taken so long to get this out is because we ended up having to re-record it because the first time we recorded it was just too rough. Since we care about the listeners, we wanted to record it again. On the second episode we review the 2003 Disney Channel Original Movie, “You Wish!” because, like the last film, there’s also a lucky coin in this one.
Luckily, we also enjoyed this film more than the last one. We discuss almost everything about this one so of course there will spoilers. I’d love to hear feedback so you can either leave a comment or e-mail me at firstname.lastname@example.org. I also don’t have a logo yet but we have a little theme song. There’s still a little vulgarity but it’s not as bad as the first episode and again, this isn’t sponsored by or affiliated with Disney in any way. Also, for the next episode there will be a podcast name change and I hope to have the third episode up in a week or so! Thanks for listening.
I’ve added the audio podcast to the post itself, and to download it, just go here and click the three dots and that it will give the option to download it. (By the way, I don’t mean to condescend by explaining how to download it, just thought I’d include those instructions in case.)
Directed by: Marc Lawrence. Starring: Anna Kendrick, Bill Hader, Shirley Maclaine. Runtime: 1h 40 min. Released: November 12, 2019.
This review contains spoilers.
When Santa Claus dies, the mantle is handed down to his son Nick Kringle (Bill Hader), but he’s scared to take on the role and runs away to Phoenix. His sister, Noelle Kringle (Anna Kendrick) must track him down and bring him back so they can save Christmas.
Noelle has some solid fish-out-of-water humour as Noelle goes to Phoenix to find her brother, which gives it an Elf vibe and there’s nothing wrong with channeling a great movie. I’m also convinced that Anna Kendrick makes any film better and it’s no different here as she brings such a charm to this film. Kendrick truly embodies Christmas spirit as Noelle, as Noelle herself learns what Christmas is all about. Bill Hader’s also good as her brother Nick, and their chemistry is enjoyable. Like Kendrick, Hader can make any film better. Elf Polly (Shirley MacLaine) who helps Noelle is also great acting alongside her.
The story itself is predictable, but to be fair, it would be an honest challenge to find a Christmas film that isn’t predictable. Of course we know by the end that Noelle becomes Santa, but it’s the journey that matters. Some of the moments where everyone but her notices that should be the real Santa are sweet, notably when she speaks to a young girl using sign language though she doesn’t know sign language, as only natural Santa’s have a knowledge of every language. Noelle is a good character in her own right, but Kendrick and her general wholesomeness really makes her come alive.
A problem with the story here is a lack of conflict. The main conflict is getting Nick back to the North Pole so they can save Christmas because of the Christmas deadline. Meanwhile, back at the North Pole, Mrs. Claus (the delightful Julie Hagerty) is stressing because the interim Santa Claus isn’t working out. By the way, Noelle isn’t simply handed the Santa reigns from the start because the role of Santa is “traditionally” played by a man. This interim Santa is their cousin Gabriel Kringle (Billy Eichner) who works in the technology department. He wants to take some of the joy out of Christmas and deliver presents by drone, and he also comes up with an algorithm for the naughty and nice list that only has less than 3,000 “nice” children in the world because all the kids have minor infractions. The film dips its foot into this conflict but it never really feels like it comes into fruition as it’s all talk. The conflict would be nice, though it would have felt like the Toy Santa villain plot in The Santa Clause 2 if it had actually embraced it, and instead feels like filler.
Noelle’s “friendship” interest here is private investigator Jake Hapman (Kingsley Ben-Adir) who helps her find Nick in Phoenix. Her relationship with this man is fine and it’s unclear throughout if it’s platonic or a love interest, or just a friendship based on the spirit of Christmas and helping each other out. Either way, they’re fine together and Noelle’s friendship and kindness to his son Alex (Maceo Smedley) is charming.
Despite its flaws, I think Noelle is a good film as Anna Kendrick’s performance just distracts so well from any shortcomings, and it’s fun throughout, too. It’s also a solid first effort at an original film on the Disney+ service. And in terms of Christmas movies, I don’t know if I’d watch this every year, but Anna Kendrick would sure make me consider it.
Directed by: James Bobin. Starring: Isabela Merced, Eugenio Derbez, Michael Peña. Runtime: 1h 42 min. Released: August 9, 2019.
Dora (Isabela Merced), a teenage explorer, is sent from the jungle to the city to try to fit in with others her own age. Soon, Dora leads her cousin Diego (Jeff Wahlberg), a family friend Alejandro (Eugenio Derbez) and others on an adventure in the jungle to find her parents (Michael Peña, Eva Longoria).
Dora and the Lost City of Gold is a delightful surprise and a creative live-action adaptation of the popular kid’s cartoon Dora the Explorer. Some of the references that the filmmakers put in to the show – like when Dora will talk to the camera and say “can you say backpack?” and then everyone exchanges glances because she’s literally talking to no one. These meta moments are hilarious and clever.
Isabela Merced is the perfect Dora as she captures her sense of adventure and energy very well. I’m impressed with Merced as an actress because she’s shown she can play to so many ranges, like in Instant Family when she was a moody teenager protective of her younger siblings and here she convincingly plays someone with an endless supply of positivity.
That’s a flaw as the positivity becomes a bit much after awhile, but the writing addresses that and the discussion is refreshing. Merced has a lot of great moments here and a lot of good songs, too. Others in the cast are good, too, like Jeff Wahlberg as Diego and Eugenio Derbez as family friend Alejandro. Derbez shines in different ways in this film and his performance is entertaining.
The film very much feels like a teen movie with Dora’s fish-out-of-water humour getting used to high school, and the jokes never feel lazy. Sammy (Madeleine Madden) as a brainiac but kind-of mean girl works, and Randy (Nicholas Coombe) works for his awkward humour, too, as they’re the ones out of their element when they’re dragged into this jungle adventure.
The storyline and adventure are also well-written. It’s standard in a way as everyone is just trying to find the hidden Inca city Parapata, made solely of gold, but it’s an exciting adventure and one that has enough surprises and enough action to maintain interest. It also has a lot of laughs and one of the best scenes is a hallucination-inspired animated sequence that looks like the real Dora the Explorer show. The film feels like the real Dora, too, even though she’s a teenager, and creative scenes like this is why this is such a delightful surprise.
I’m excited to share my first self-produced podcast for my website, called Filmcraziest Presents: Popcorn Flicks. The podcast will be a review show about Disney Channel Original Movies. I love Disney Channel Original Movies and they have a lot of nostalgia for me (I did a bunch last October during the Halloween month, so hopefully I’ll talk about all of those on the podcast in time). I’ve always wanted to start a podcast on DCOM’s and I finally tricked someone into doing it with me and that’s my good friend Bobby Strate, who I met through my scriptwriting program.
We’re two awkward guys discussing the film, so hopefully it’s entertaining. I decided to make the pilot episode the 2001 DCOM The Luck of the Irish since today is St. Patrick’s Day (I’m posting this at 9 p.m., so it’s still St. Patrick’s Day for a couple hours more).
I realized after we reviewed it that it’s probably the most offensive way you could celebrate Irish culture, and we talk about that during the podcast. We discuss its stereotypes (where all Irish people are leprechauns), its unbelievable premise and how it could be stronger with its villains, and the laws of physics in basketball during the movie.
I’d love to hear any feedback! I don’t have much of a budget yet for a logo or a theme song, so hopefully by next episode I’ll have those. Also, to let everyone know, there’s vulgarity so this podcast is definitely not sponsored or affiliated with Disney in any way. We also spoil everything. Without further adieu, here’s the link to where you can listen:
(May 1 Update: You can listen on Soundcloud here or you can listen directly below or download the podcast here on my website, where you’ll get an option to download it by clicking the three dots.)
Directed by: Chris Sanders. Starring: Harrison Ford, Omar Sy, Dan Stevens. Runtime: 1h 40 min. Released: February 21, 2020.
I haven’t read Jack London’s original novel The Call of the Wild, but considering it is his masterpiece, I doubt Chris Sanders’ 2020 adaptation lives up to it in any way. It’s a dog’s journey as Buck, a St. Bernard-Scotch Collie, starts out with a rich family (Bradley Whitford is the patriarch) where he plods around the house like a bull in a china store and ruins lunch parties. Then he’s tricked into a dog catcher’s truck, abused and sold onto a dogsled team in the Yukon in the early 1900’s.
This sled team is run by a man called Perrault (Omar Sy) and his wife Francoise (Cara Gee), who deliver mail throughout the Yukon. This portion of the film is its strong suit, and in five minutes is already a better film about delivery dogs than last year’s Arctic Dogs. The best adventure scenes are in this portion, especially one on a frozen lake and a separate escape from an avalanche. These scenes are both worth watching. I liked Omar Sy as Perrault and there’s good humour here, too. I found myself emotionally connected to the story during these scenes.
It’s all a bit strange that Harrison Ford, as John Thornton, isn’t a major player at this point. Ford doesn’t become an important character until the film’s second half. This is bizarre knowing it’s advertised with Harrison Ford as the star, and it seemed like he would be in the film in its entirety. Technically, Ford is there throughout.
He doubles as the narrator telling Buck’s story – but that doesn’t make sense. He tells Buck’s story even though he is not present for the entirety of it. He tells us things that he can’t know, but the story isn’t good enough to competently tell its story without this narration. I’ll think of it as Buck narrating his own story in the third person and his inner voice is Harrison Ford. It would be awkward during dinner if Buck would talk and Ford’s own voice would come out, though this is the only explanation that makes sense.
I must mention the CGI for the dogs. There are no animals harmed in the making of this film because there are no animals on set. I don’t think the VFX animators have ever seen a dog in real life – because the way the dogs look, move and behave, they aren’t dogs. They’re strange creatures in dog costumes.
The CGI is so distracting and I don’t see why the normal dogs couldn’t just be regular dogs. Buck at least has a reason because he does incredible and inspiring things that no normal dog can do. When he isn’t doing those things, why couldn’t he be played by a normal dog? Some of his actions border on amazing, but others are cartoonish – especially a hilarious moment where Buck bites a Siberian Husky by the neck, flips him in the air and literally body slams him into the snow. The WWE has never looked so fun.
The emotional aspects would be better if we knew we were caring about a dog that’s actually alive. He’s just so expressive and so weird looking, and it’s distracting when it looks like he’s always about to talk in his inner Harrison Ford voice and ask for a Scooby Snack.
Besides Perrault, the humans aren’t much better. Harrison Ford as Thornton isn’t that interesting here. He’s not bad at all, as he’s quite passable phoning it in. He shows up in the film as someone who just spends his days drinking to forget about trauma from his past. The Gold Rush aspect of the film brings about a message of living within your means, and Thornton shows that well.
He’s a dog person who protects Buck from abuse, and that comes in the form of the lazily-written antagonist Hal (Dan Stevens), an upper-class schmuck searching for more wealth in the Gold Rush, convinced he’ll be able to find gold with the help of Buck and the other dogs.
The Call of the Wild doesn’t need antagonists – the man vs. nature aspect works well enough – but Hal completely kills the decent pacing as a hammy, one-note villain who just wants his gold. The film makes me hate Dan Stevens for 40 minutes and that sucks. Karen Gillan is criminally wasted as his wife, Mercedes, only there to sit in the sled and protest when Hal pulls a gun on the poor CGI creatures. She literally has less than two pages of dialogue. I’m a big fan of Dan Stevens, but he’s just here to twirl his moustache (which he never twirls) and chew the scenery.
Speaking of the actual scenery, Janusz Kaminski’s cinematography is great. There’s some truly solid adventure here, and once Buck starts hearing the call, it’s sort-of intriguing near the end. The film is just not consistently spectacular enough to see in theatres. This is also a film about following your inner nature. My inner nature is telling me if The Call of the Wild calls me, I’ll just mute it.
Released: November 9, 2018. Directed by: Yarrow Cheney, Scott Mosier. Starring: Benedict Cumberbatch, Cameron Seely, Rashida Jones. Runtime: 1h, 26 min.
When I went to see “Overlord” in November, I overheard a mom saying to her kid “Are you excited for your first movie?” Knowing how cool it is to see your first movie at a theatre, I was bummed he was seeing something as mediocre as “Dr. Seuss’ The Grinch” for his first movie at the theatre.
“Dr. Seuss’ The Grinch” is the third adaption of How the Grinch Stole Christmas! where Benedict Cumberbatch voices the titular Grinch in a version that doesn’t add anything new or interesting to the story.
This time, The Grinch isn’t particularly feared and is just seen as meaner than the average Who. He still doesn’t like Christmas, so when the Who’s bring in a gigantic Christmas tree, he hatches a plan to put an end to their happiness: Steal Christmas.
Illumination Entertainment’s animation style fits Seuss’s style, especially his inventions which the animation brings to life well. I like their vision of Whoville, but the animation is the only good part of the film, even though it makes Cindy-Lou Who (Cameron Seely) look like a Martian with her pigtails sticking up in the air, and the character design’s similar to “Despicable Me.”
As for the story, there’s just not enough plot for a feature film. It’s just told with very little creativity, and there are no Jim Carrey kind-of antics to distract from the lack of story.
Cumberbatch is fine as the Grinch, but he’s not terribly memorable. Nothing about this film is memorable, and the main source of laughs come from the Grinch’s cheery neighbour (Keenan Thompson) and the Grinch’s dog Max and an overweight reindeer, and the Grinch trolling the citizens of Whoville made me smile, but those moments were the only times I did.
Pharrell Williams’ monotone narration also does not help matters of entertainment. Since you already know which direction is going, I was getting antsy for the Grinch just to steal Christmas, but it feels like it takes forever to get there. There just aren’t many interesting characters to watch in this one, as the Grinch and Cindy Lou’s interactions are extremely limited until he makes his Christmas heist.
Even then, it’s a bit of a cliche way for Cindy Lou to meet him – setting up a Rube Goldberg trap to try to catch Santa Claus so she can ask him for something selfless.
We know about the Grinch’s loneliness and we know that he steals Christmas and that his heart grows three sizes, but this version doesn’t delve into any kind of new backstory or anything interesting, for that matter. And it was just kind of weird seeing a version where the people aren’t afraid of the Grinch. But for this version, the filmmakers just unfortunately don’t do anything to make it memorable.
Released: June 15, 2018. Directed by: Brad Bird. Starring: Holly Hunter, Craig T. Nelson, Sarah Vowell. Runtime: 1h 58 min.
Writer/director Brad Bird and stars Holly Hunter, Craig T. Nelson and Samuel L. Jackson are well-aware it’s been 14 years since the The Incredibles, as they address this wait before screenings of Incredibles 2. It is a long time – long enough for Holly Hunter (Helen Parr/Elastigirl) to turn 60, the same age Craig T. Nelson (Bob Parr/Mr. Incredible) was when they made the original in 2004.
But now Incredibles 2 is finally here and it’s a great nostalgia trip after all these years. I smiled so much during the opening scene because it’s so entertaining, and I thought it was worth the price of admission alone.
Politicians of Metroville still want superheroes to stay hidden and not intervene. Not everyone wants supers to be hidden – as the CEO of a telecommunications company, Winston Deavor (Bob Odenkirk) and his sister Evelyn (Catherine Keener) have come up with a way to get supers back in the good graces of Metroville.
They want to use Elastigirl (Hunter) to show the government supers can save the day without a lot of structural damage. That’s the main reason they pick her over Bob (Craig T. Nelson) – because he causes the city so much money. “Big problems need big solutions,” Bob explains. This time, Helen’s out on secret missions and Bob’s the stay-at-home dad.
It’s so cool watching Elastigirl fight crime for the bulk of the film this time, as her powers of stretching all over the place is visually more interesting than Bob just using his strength on everything. Plus, Holly Hunter is generally amazing so more screen time for her is welcome. The rest of the voice cast is also really great.
The main plot is Helen foiling the plans of a mysterious figure called the Screenslaver, which is entertaining and has a lot of well-animated, dazzling action scenes. Some aspects are predictable, but the pure entertainment of the third act more than makes up for it. The story’s also very well-written.
I generally loved the plot so much because it’s so cool going back to these characters, and the Parr’s family dynamic still feels fresh after 14 years. The parents do switch roles this time. Bob deals with jealousy of Helen fighting crime and him being pushed into the shadows of parenting, and it’s handled with humour.
He seems more like Bob in this film than Mr. Incredible, but he shines whenever he’s in his super suit. Speaking of super suits, Frozone (Samuel L. Jackson) also has enough chances to shine. Other fan favourite Edna E. Mode (Brad Bird) also has a great appearance.
Bob helping Dash (Huck Milner) with homework and him screwing up trying to help Violet (Sarah Vowell) with boy problems will be relatable for dads. The biggest laughs come from the scene-stealing Jack Jack (Eli Fucile) who’s unable to control his newfound powers. That’s a huge thing Bob has to deal with. Anyone who’s seen the Jack Jack Attack short film will definitely love this sub-plot. He’s one of the most entertaining aspects of the film and Brad Bird seems like he’s having a blast writing this.
Besides the great old characters, we get to know a few new heroes – Sophia Bush as Voyd, for example – and they’re fun side characters that Bird explores. The film’s storyline flows nearly as well as the original and the dialogue’s still sharp and the humour’s great. Michael Giacchino’s score helps a lot with the film’s nostalgic feeling, and it’s a hell of a lot of fun.
Released: November 5, 2004. Starring: Craig T. Nelson, Holly Hunter, Samuel L. Jackson. Directed by: Brad Bird. Runtime: 1h, 55 min.
In Metroville, superheroes are forced into retirement by the government after getting hit with lawsuits, and the supers promise to refrain from superhero work. Effectively, this makes their secret identities their only identities.
For Bob Parr/Mr. Incredible (Craig T. Nelson), not being a superhero is a big ask. 15 years after supers are forced into hiding, Bob works in insurance claims by day and hangs out with Lucius Best/Frozone (Samuel L. Jackson) at night, listening to police scanners. Since he can’t be heroic as Mr. Incredible, the cinematography makes his days look dark and depressing.
When he’s given an assignment by a mysterious person to be heroic on a remote island, everything’s brighter. After this, he and his family are forced into super action – including wife Helen/Elastigirl (Holly Hunter) and their kids Violet (Sarah Vowell) and Dash (Spencer Fox), as baby Jack Jack stays at home with a babysitter.
“The Incredibles” is about a family that must hide their powers – Violet can go invisible and make forcefields and Dash can move at super speeds – but otherwise they’re an average family. Helen and Bob even parent differently like normal families.
Bob says that their powers make them special; Helen wants them to know their powers aren’t the only thing that make them special. They’re mostly on the same page – except in a moment that should be punishment for Dash after he puts a thumbtack on his teacher’s chair, Bob’s just excited that Dash was going too fast to be seen on camera.
While embracing who you are is an important theme, family’s the most prominent one. One of the film’s coolest moments is when the Parr’s stand together as The Incredibles for the first time, ready to fight the villains as a family. And that moment especially set to Michael Giacchino’s score makes it feel so awesome, and the score is great throughout.
The villain himself, Syndrome (Jason Lee), is well-written by writer/director Brad Bird. Syndrome is a rich guy who creates his own powers by creating gadgets and weapons and his backstory of desperately wanting to be a hero and facing rejection put him on his supervillain path.
The screenplay’s one of the film’s strongest suits as everything flows so well throughout. The lesson that Bob has to learn that being a hero isn’t the most important thing, and that he can be a hero by being a father, is also insightful. Everything’s top-notch here from the dialogue, humour, great characters and action scenes. Bird just brings it to life in such an amazing way.
Bird has some funny comments about villains in general, one of which is an observation on drawn out villain monologues when they could defeat the hero at any moment. “The guy has me on a platter and he won’t shut up!” says Lucius. Bird also voices scene-stealing fashion designer Edna E. Mode, who designs super suits, and her bit about “no capes” is one of the film’s funniest moments.
Released: April 15, 2016. Directed by: Jon Favreau. Starring: Neel Sethi, Bill Murray, Ben Kingsley. Runtime: 1hr, 45 min.
Director Jon Favreau brings his vision of Rudyard Kipling’s classic story of The Jungle Book to the big screen – telling the story with fantastic visuals and a stellar cast.
It’s a coming-of-age tale about Mowgli (Neel Sethi), a man-cub finding his place in his world with animals in the Indian jungle. In fact, Mowgli is one of the film’s only live-action actors with any substantial contribution to the story.
Seethi is given a high task to carry the film as the only live-action actor. His performance is remarkable, capturing the bravery and charming curiosity of Mowgli, as well as his inventive personality.
He’s the heart of the film and he shows a great maturity as the character. It feels like he’s been performing for years – but this is his first theatrical film, his only prior experience was in a short film called Diwali.
While Seethi is virtually the only live-action actor on display in the core cast – the world between the human Mowgli and the motion-captured, computer-generated animals blend together so seamlessly, it feels like he’s truly interacting with real animals.
The visual effects are flawless and so is the attention to detail in how the animals are rendered. It’s really as great as Life of Pi in terms of creating realistic, visually striking animals. The landscape portrayed is vivid and adds to the film all around. The way the actors capture animals’ behaviour and movements adds a heightened realism.
The voice performances for the classic characters are also great. Bill Murray encapsulates Baloo – his laziness is relatable and he’s a fun character.
Ben Kingsley portrays Bagheer, the panther who found Mowgli as an infant in the jungle. He’s also tasked with bringing him to safety to return to his own kind when he is threatened by Shere Khan, the fearsome Bengal tiger. Idris Elba is menacing as the primary villain and doesn’t like Mowgli in the jungle because he is a human and doesn’t trust them. A human gave Shere Khan his scars. This adds a layer to Mowgli, who at times has to question if he could be destructive like that, too.
Also notable is the presence of Christopher Walken as King Louie. He’s changed from an orangutan to a gigantopithecus, to make it native to India. It also gives the scenes with Louie a much grander feel and breathtaking scale because he is so hulking. He’s actually scary here, in a refreshing turn from the original.
His rendition of the original Disney’s “I Wanna Be Like You” serves as one of the feature’s many high points.
Murray also sings “Bear Necessities” and Scarlett Johansson as Kaa sings “Trust In Me” through the end credits. That’s it for the songs used from the 1967 animated musical.
Jon Favreau chose to tell the story of how Mowgli got on his own when Kaa (Johansson) was hypnotizing Mowgli, instead of having her sing the song. The slithering character is seen in only one scene – but she’s memorably chilling.
The choice to cast Johansson and gender-swap the character was to done to add another female to the cast, where the only other primary female cast member is Lupita Nyong’o as Raksha.
It is one of the film’s only disappointing aspects that Kaa only has a small role, almost a cameo – as the more utilized “red flower,” fire to the animals, is more utilized as a villain here. The animated Disney flick basically only mentioned “red flower” in passing, so Favreau was more faithful to Kipling’s use of the element.
The way the story is structured is strong and the narrative is so engaging and entertaining. It also handles the iconic characters so, so well. This adaptation was penned by Justin Marks, who shows a great adapting ability. His two other prior screenwriting credits were a television movie (Rewind) and a video game adaptation (Street Fighter: The Legend of Chun-Li).
It might not have songs at every turn, but it handles its own very well as a film with a few violent moments. The third act is a great finale, and the film maintains a compelling pace – peppering comedy, drama and stunning action set pieces throughout. Some of the action even kept me on the edge of my seat at times.
Favreau perfectly finds a difficult balance of capturing the Disney magic, as well as making a mature adaptation that is unique and memorable. I think parents will be bugging their kids to see it so they have an excuse to watch it. And then watch it again. It’s truly great.
Released: February 18, 2005. Directed by: Wayne Wang. Starring: AnnaSophia Robb, Jeff Daniels, Dave Matthews. Runtime: 1hr 46 min.
One of my childhood favourites, Because of Winn-Dixie depicts the positive effect a dog can have on one’s life. In particular, it’s about India Opal (AnnaSophia Robb), a 10-year-old girl who meets a smiling, stray Picardy Shepherd in her local supermarket – the Winn-Dixie.
She names the dog Winn-Dixie in the heat of the moment – claiming the dog to be hers to save him from the pound.
Opal just moved to a small-town Naomi, Florida – a town so small, the main Church is in a convenience store. She’s struggling to fit in and also struggling to communicate with her preacher father, simply called Preacher (Jeff Daniels), who has been depressed since his wife left him when Opal was three years old.
With her trusty pooch Winn-Dixie, they meet a cast of eccentric characters across town where together, they bring joy back to Naomi.
I think the film works best because of its charm. The plot isn’t the most original, it’s basically Opal going around to the town’s characters, trying to make friends and learning lessons. It’s kind-of like a throwback to the fantasy genre of going from an amusing encounter to the next, without all the fantasy.
The film’s frame is the aspect of the narrative of Opal coping with her mom leaving. Even after seven years, we’re catching up with her at a time where she thinks of her mom a lot because she’s so lonely. It enables poignant exchanges between Opal and the preacher – which are often heartwarming or heartbreaking, and sometimes simultaneous. The sentiment is always in the right spot, regardless.
The character also calls for AnnaSophia Robb to have a lot of maturity as a performer in her first film role on the big screen (before this she was on an episode of Nickelodeon’s Drake & Josh and the titular role in TV movie Samantha: An American Girl Holiday). Robb is completely up to the task, where she’s moving when she has to be, naturally funny and she has a good narration, to boot.
Antagonists include Mr. Alfred (B.J. Hooper), the trailer park owner of where Opal is living, who doesn’t allow pets and wants Winn-Dixie gone. He also doesn’t allow kids, but made an exception because Preacher is the… well, the preacher. I guess they couldn’t think of a better name for him.
But since it’s a family flick, there’s not much conflict – besides just coping with life. There’s also not much conflict because everyone opens up to Winn-Dixie. How can you resist that dog’s smile?
But since it’s a relatively weak-plotted family flick, there’s not a lot of conflict and everyone eventually opens up to Winn-Dixie, because how could you resist that smile?
The characters that author Kate DiCamillo created are well-sculpted, and that’s what really sets the film apart. From Dave Matthews’ singing pet shop caretaker Otis, to Eve Marie Saint’s librarian Miss Franny and Cicely Thomson’s Gloria Dump, they all have entertaining stories and are portrayed well by a talented cast.
Winn-Dixie is just a funny and enjoyable family film, notable as AnnaSophia Robb’s first film and for its emotional range, even though many of the lessons in the film are literary in scope. They just don’t feel like something that would happen naturally in real life.
This is particularly notable with the ‘littmus lozenge’ plotline and the story about its creator – a Civil War soldier who came home to his entire family dead, and made the flavour of his candy kind-of like his life: sweet and sad.
When Opal goes around giving her friends this candy, it’s cheesy but sweet. It makes people think of their sadness, like the amusing reaction of Elle Fanning’s Sweetie Pie Thomas, where she spits the lozenge out and says, “That tastes bad. That tastes like not having a dog.”
It enables moments that got a few tears out of me because a good, emotional screenplay – and it helps characters make a bit more sense.
It’s a creative, occasionally feel-good family film, especially after getting past any melodrama it might have. Most importantly: The film entertains.