Despite the concept of a Pixar film about dinosaurs being a literal childhood dream come true, The Good Dinosaur ended up being one of the more low-profile releases of last year. Following the monumental success of Inside Out is hardly an easy position to be in, especially when it found itself sandwiched between the final installment of The Hunger Games and the yearly onslaught of holiday fodder. Wholly under-promoted following a troubled production, the film made lackluster numbers at the box office and disappeared quietly back into Inside Out's shadow. In my opinion, a fate undeserved; while The Good Dinosaur is hardly Pixar's strongest feature, I feel as though it is easily one of the studio's most visually impressive (and possibly most daring) films to date.
The setup is delivered within the opening moments of the film; what if the meteor that wiped out the dinosaurs... missed? Rather than face extinction, the terrible thunder-lizards continued to evolve and develop in a similar fashion to early man, forming farming communities and cultivating the land to suit their needs for survival. Our story focuses on Arlo (Raymond Ochoa), the cowardly runt of a family of apatosaurs who grow crops on their meager homestead. After an accident concerning a feral caveboy (Jack Bright) sends Arlo floating downriver, he's forced to join forces with the troublesome critter in order to survive. Dubbing the neanderthal "Spot", the two try to make their way home, all while facing that eternally merciless gauntlet which is Mother Nature.
Right off the bat, detractors will point out how this plot is similar to so many Pixar films which came before it. Toy Story, Toy Story 2, Finding Nemo, and even Inside Out, released the same year as The Good Dinosaur, all focus on an unlikely pair or group trying to find their way back to where they belong. It's reasonable to say that it's a formula for the folks at Pixar by this point, though I see no real issue with continuing the trend so long as they continue to make it work as consistently well as they're able to. "Road trip" is a fairly broad label to apply to such a number of films; there is a journey involved, yes, but the actual adventure takes a backseat to the emotions at play. This is a film about loss, forgiveness, acceptance, and overcoming one's fears. Above all, this is a film about a boy and his dog (even though the dog in this case is a human being).
Make no mistake; while The Good Dinosaur doesn't quite reach "Toy Story 3 incinerator scene" levels of dire, this is a strong contender for Pixar's heaviest film to date. Our adorable protagonists are constantly battered and bruised and death is a ever-present danger out in the wild. While nature itself is the primary antagonist at play here, there are still a number of unseemly characters introduced who have absolutely no qualms about attempting to murder and/or devour Arlo and Spot. While I enjoyed the backwoods charm of the cabal of cattle-rustling velociraptors, I must call particular attention to the band of fanatical pteranadons led by Steve Zahn, channeling a legitimately threatening mix between a cult leader and a serial killer.
I found the tone of the film to be heavily reminiscent of the works of Don Bluth; while there are moments of very well-executed comedy and whimsy, this is very much a film that takes itself seriously for the most part. Despite the cartoony design of the cast, the near-photorealistic environments give everything a heightened sense of grit. Arlo is soft and thoroughly huggable, but when he bruises himself after slamming into a rock, we are able to feel the impact. This is a world which has genuine weight to it in every sense of the word. I honestly cannot gush enough about what a feast for the eyes this movie is. We live in an age where CGI films are commonplace; it feels as though a computer-animated feature can't be considered impressive anymore unless it manages to think outside the box in regards to its aesthetic, such as with The LEGO Movie. This is a film that, instead of using the technology available in a new and interesting way, simply generates some of the most stunningly gorgeous visuals I've ever seen in a film of this kind. I'm not sure if I've ever let out an audible gasp in response to a shot of running water before, but The Good Dinosaur might just be the prime example from this point on.
As I mentioned, Steve Zahn is wonderfully intimidating as Thunderclap the pteradactyl, and I really enjoyed Raymond Ochoa as Arlo. It's a role that very easily could have been grating and irritating had the wrong voice been cast, so it's a good thing to note that our primary protagonist is endearing until the end. The highlights by far, however, had to be Jeffery Wright as Henry, Arlo's father, and Sam Elliot as Butch, a raspy tyrannosaurus patriarch who ranches longhorns. Both exude grizzled, distinctly paternal wisdom with every line, really helping to seal the country-fied tone the film has going for it. As dark as things get, this is a film rife with feel-good moments of growth and responsibility, like a southern coming-of-age novel that happens to star talking dinosaurs.
All in all, I find The Good Dinosaur to be one of Pixar's most underrated works of all time. Though the plot tends to meander and not all children may be endeared to its rough, emotionally-heavy tone, I found it to be a rewarding experience all the same. It has its flaws, but it also represents significant risks taken by a studio that could easily live comfortably off of lackluster Cars sequels until the heat-death of the universe. While it's not perfect, I feel as though the risks taken in terms of story and tone paid off, resulting in a powerful, heartfelt, and visually gorgeous film. It's hardly destined to be anyone's favorite Pixar movie, but I strongly believe that, despite all the production issues and meager box office earnings, The Good Dinosaur is most definitely a good film.
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