Did you miss Part 1? If so, go read that first and then come back here for the finale of my first official movie rant.
Alas, my hopes for the rest of the film were instead dashed on the superbly-animated rocks, for the remainder of the film had a lot of story problems, all of which violated Pixar’s 22 Rules. Perhaps the film was existentialist in nature (so to speak), but the writers certainly used a lot of coincidences and cliches. For example, when Arlo gets himself stuck under some boulders, Spot returns to dig Arlo out- despite the fact that he had no reason to help the dinosaur and every reason to stay away. Why would he come back? Because the writer wrote himself into a quandary he couldn’t solve, so he had to employ deus ex machina (definition: cheating).
Again, at the beginning of the movie, the pterodactyls killed and ate a little critter on-site, but when they capture Spot with the same intent, they hesitate to kill him just long enough for Arlo to come rescue him. This is what Blimey Cow calls “the chatty bad guy cliche.” The villain has no reason to delay except that the hero (and by that I mean the writer) is too lazy to find any other way to fix the problem, thus the villain has to play the fool and give the hero a chance to thwart his plans.
Yet again, at the climax- which is supposed to be the very worst point of the story- Spot and Arlo happen to survive the plunge over a hundred-foot waterfall. There’s twenty feet of fresh powder down there; it’ll be like landing on a pillow! Hopefully. Let’s leave aside the fact that if people went over a waterfall like that without a barrel or other such protective device, they would die.
None of these plot devices has any place in any story- except, it seems, in a story designed to represent the true hardships of real life. Right? I’m sorry, it just doesn’t make sense. None of these coincidences stands up to the test of reality; why on earth would they even pass as acceptable in a film by the number one family filmmaker?
Then there were so many smaller cliches within scenes, two of which stand out as painfully obvious. How about this refreshingly original dialogue at a pivotal scene? Arlo: Where are we going? Poppa: You’ll see. Or, when asked if he wants to sell Spot to some farming Tyrannosaurs, Arlo gives the completely unexpected response: “Actually, the droid’s not for sale.” Just think, he could have gotten forty portions for selling the kid.
The final problem I had with this movie runs much deeper than amateur storytelling or cliches; I am concerned about the ethical views presented in the movie. In one needless scene, Arlo and Spot discover some decayed berries on the ground, and, after trying them, experience bizarre hallucinations that make them laugh hysterically. Nothing more is said about such opiates, leaving kids with the assumption that hallucinogens are funny and harmless. Elsewhere, the farming Tyrannosaurs use a swear word- the one starting with S. Hmm… Notice something here- it’s not the villainous pterodactyls or hyena-like creatures who use vulgar language; it’s the heroes, the ones who previously saved Arlo and Spot from death.
You may say I’m ridiculous; who cares about one half-finished cuss word and a silly scene lasting thirty seconds? Well, I turn around and ask you: who in 1939 cared about one expletive at the end of Gone With the Wind? But 74 years later, we are surprised at the 935 f-bombs in The Wolf of Wall Street. Who knows? In 70 years, you might be wincing at a graphic you-know-what scene in Toy Story Rebooted. Norms change, and it is “harmless” films like The Good Dinosaur who set those changes in motion.
And even if you don’t care about expletives and hallucinogens, you ought to care about how Disney and Pixar have just dropped the bar for all other filmmakers. Not only are we going to see an increase in the junky content, we’ll see a decrease in solid, plausible, edifying storytelling. Why? Because Disney is the trendsetter. They just set a bad storytelling trend for the kids, and today’s kids are tomorrow’s storytellers and audiences.
I will say this much for Pixar’s latest feature film: The climax was mostly well-developed, as it forced Arlo to make the difficult choice to face his fear and rescue his friend Spot, rather than fleeing to save himself. And of course the CGI was indescribably beautiful; if you had removed the cartoonish characters from any screenshot of the movie, I would have believed it was a photograph of a romantic South American landscape.
But decent climactic scenes and top-of-the-line graphics do little to remedy the other problems of any movie, and Disney/Pixar’s newest release does indeed have problems. If you need a Disney or Pixar fix, go rewatch an old classic like Toy Story or Cinderella. Kids need good movies, too, so don’t waste your time on the bad ones. Indeed, The Good Dinosaur is nothing short of Bad.
What’s your verdict? Did The Good Dinosaur live up to its title?