Disney's on a bit of a winning streak, and this one is just the latest jewel in its crown. A nostalgic bit of magic, the film reminds us of a time when "Disney movies" meant something, when as a kid I would look at the beautiful Disney VHS cases at rental stores and eagerly look forward to the color and lights, feel the kindness and joy of characters, and feel empowered and affirmed. Sure, I can now recognize some serious ideological flaws in even the oldest Disney classics. But that doesn't necessarily mean I don't still feel a tingle of joy when I consider re-viewing Sleeping Beauty or Snow White. It's that kind of magic Disney is bringing back to its films, but now they (mostly) have stronger, better messages. Look at the purpose and power of Judy Hopps, the feminist and queer dynamics of Queen Elsa, the autonomy of Mowgli, the community of care and love around Dory, and the honest consequences of wishes and actions in Into the Woods. Disney still has its missteps (as in the colossal waste of time and energy of the Cinderella remake), but by and large they are still decent exercises in filmmaking, and they surely bring joy to some.
I don't really remember the original -- with the notable exceptions of Mickey Rooney, absurd musical numbers, and the trippy cartoon beast itself -- but I do remember distinctly not liking it. I was, you might imagine, a little hesitant to go see this remake. Thankfully my worries were proven unnecessary.
Pete's Dragon hits all its marks. It's a totally safe and sweet PG adventure, a rollicking coming-of-age dramedy with some light action, some familiar drama, and a whole lotta heart. It's one of those movies dripping with sentiment that actually works. A pretty thin film, full of breathtaking special effects and wonderful vision, simple and straightforward, never promising more than it gives and relishing the smallest of moments just long enough for us to take everything in. Director David Lowery (Ain't Them Bodies Saints) and cinematographer Bojan Bazelli (The Ring, Mr. & Mrs. Smith, Hairspray, Burlesque) imbue the film with a mythic quality that starts small and builds to a charming if safe climax, all while keeping the action controlled and measured. While the effects are massive, there's no overkill; whereas the original was hallucinatory and vivid, everything here is grounded and detailed realistically, including the dragon itself. Furry and green, it emotes perhaps more than any of the actors.
That's not to say the actors aren't on their game, though the script only gives a couple of them anything to work with. Little Oakes Fegley is a wonder to watch and a joy to behold as he commands the screen in every shot. Bryce Dallas Howard is the other joy here, delivering a turn as loving mother and motherly guardian of the Pacific Northwest forest. Robert Redford pops in for a few scenes as the grandfatherly narrator, and both Wes Bentley and Karl Urban run around with appropriate and contrasting energies.
The greater joys for me lie in the production itself. Besides the visual magic, Lowery's screenplay refocuses the story, simplifying the plot and making a clear case for environmentalism. He also continues a trend we've seen in Boyhood and Room, allowing a boy to mature before our eyes, while surrounding him with an amazing mother figure. The music by Daniel Hart is primarily folksy, helping the mythic presentation along, while strengthening major themes of family and home. Home may be where the heart is, but it's also a place in the world, a place in time, and the place with the people we love. Pete finds a home in the forest with Elliott the dragon, he also finds home with his surrogate family in town; Elliott ultimately finds his own home, farther away from "civilization" that ravages the land and his species.
Pete's Dragon is a lovely little meditation on all these and more, and a simple joy to watch. In a summer of films that are largely disappointments, that's a pretty great thing to say.
IMDb: Pete's Dragon
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