February 8, 2008
Loch Ness monster movies occasionally surface then disappear without trace never to be seen again. Whether that happens to The Water Horse remains to be seen. Based on Dick King-Smith's novel this story of a young boy, Angus, discovering a fabled water horse is a fickle thing.
Cutesy family fun at the start, it soon takes its wartime setting seriously, leading to a Dam Buster-style barrage of big guns at the end. And while the water horse itself is amusingly rendered in its baby stages, the huge beastie it becomes is shoddily done: the wee laddie's ride on the back of this behemoth is one of the most disappointing CGI effects in years.
The early scenes are the best - with the water horse flopping about in the bath and toilet bowl and being chased by a British bulldog. The darkening skies - literally and metaphorically - as Angus’ country house is billeted with British troops and the reality of war intrudes are the point at which audiences will either wake up or walk off.
Bravely, The Water Horse shows the darker side not only of humanity but of the titular horse too - as, maddened by thunderous guns, it turns on wee Angus in a rage. The undertone of loss, death and danger is unusual in such school holiday fare. And may be too much for some.
Ben Chaplin as a battle-scarred drifter and Emily Watson as Angus' grieving mother provide strong character support and David Morrissey's stiff-upper lip commander, shimmers with barely concealed menace. But Angus' journey from loss - mourning his soldier father - to Loch Ness and a new friend, is nicely, quietly done.
Bittersweet, The Water Horse tries to be all things to all kids and the whole film will probably won't be pleasing to anyone much - the lightness and darkness sit together uneasily. And an up-to-date framing device as Brian Cox tries on a Scottish accent to regale two wide-eyed American tourists about Angus' adventure, is an unsubtle way of shoehorning-in characters that will make the film accessible Stateside.
Passably amusing, occasionally poignant, The Water Horse sinks and swims in equal measure.
Cutesy family fun at the start, it soon takes its wartime setting seriously, leading to a Dam Buster-style barrage of big guns at the end. And while the water horse itself is amusingly rendered in its baby stages, the huge beastie it becomes is shoddily done: the wee laddie's ride on the back of this behemoth is one of the most disappointing CGI effects in years.
The early scenes are the best - with the water horse flopping about in the bath and toilet bowl and being chased by a British bulldog. The darkening skies - literally and metaphorically - as Angus’ country house is billeted with British troops and the reality of war intrudes are the point at which audiences will either wake up or walk off.
Bravely, The Water Horse shows the darker side not only of humanity but of the titular horse too - as, maddened by thunderous guns, it turns on wee Angus in a rage. The undertone of loss, death and danger is unusual in such school holiday fare. And may be too much for some.
Ben Chaplin as a battle-scarred drifter and Emily Watson as Angus' grieving mother provide strong character support and David Morrissey's stiff-upper lip commander, shimmers with barely concealed menace. But Angus' journey from loss - mourning his soldier father - to Loch Ness and a new friend, is nicely, quietly done.
Bittersweet, The Water Horse tries to be all things to all kids and the whole film will probably won't be pleasing to anyone much - the lightness and darkness sit together uneasily. And an up-to-date framing device as Brian Cox tries on a Scottish accent to regale two wide-eyed American tourists about Angus' adventure, is an unsubtle way of shoehorning-in characters that will make the film accessible Stateside.
Passably amusing, occasionally poignant, The Water Horse sinks and swims in equal measure.