Home Movie Review 0 73

home-movie-review

This year we’ve already had the likes of Big Hero 6 and Shaun the Sheep Movie cheering up our big-screens and taking in tons of money in the process. The latest is Home, a bright and bubbly animation from DreamWorks which they will no doubt be hoping follows in the franchise footsteps of How to Train Your Dragon and Shrek.

The film follows the “Boove,” a hive-like alien species who have decided to invade planet Earth and call it their home. When loveable misfit alien Oh (voiced by The Big Bang Theory’s Jim Parsons) finds himself on the run from his own people, he strikes up an unlikely friendship with a human girl named Tip (Rihanna) who is on a quest to find her mother.

With more animated movies being released these days than ever before, it’s hard for one to truly make a mark and stand out as something special. Does Home tick that particular box? Not quite but what it does do is provide a perfectly enjoyable, affable and refreshingly unpretentious cinematic experience, one that sits at the level of its young target audience without talking down to them.

The main reason the film works is down to its voice talent, particularly Parson in the lead role. Where many animations, particularly the big-budget ones, simply hire famous names to slap on the poster in an effort to draw in as big of audience as possible, without true thought to how well those celebrities’ voices suit the characters, Home fits its central character around the actor. Big Bang Theory fans will be used to Parsons’ brand of pernickety, geeky outsider humour and it’s a case here of a match made in heaven. And perhaps the biggest pleasant surprise of it all is Rihanna, smashing down the “having a big name celebrity just for the sake of it” criticism as she does a very good job voicing Tip, the most complex character in the film who is both fiercely determined and entirely vulnerable.

Home has a gimmick, as so many of these types of films do, in that Oh speaks in a sort of overly formal and complicated English such as “It should to hover much better now” and “Can I come into the out now?” that highlights his alien-nature in more ways than just appearance. You’ll know within the first two minutes of hearing Oh speak whether you find it endearing and charming or just plain irritating. I am happy to say I fall into the former category; yes, it maybe relies a bit too much on that dialogue device but it causes you to pay that littler bit more attention to what he’s saying.

A sort of E.T. for the Despicable Me generation, Home fits the mould of all-round family entertainment perfectly well, with an amiable mix of slapstick humour, zippy action and bubblegum visuals. Are we going to be still thinking about it come year’s end? Probably not and it calls to mind other, better animated movies more often than it should. But there’s something to be said for an inoffensive, pleasant and good-natured animation that knows it target audience and plays to it with all its heart.

Previous ArticleNext Article

I’m a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features.

I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

Leave a Reply

Your email address will not be published. Required fields are marked *

Movie Review: Home Again 0 355

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 383

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10