Knight at the Movies Archives
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Molly Shannon in an offbeat indie about pet lovers and a spot on, ear splitting parody of buddy cop movies
A film called Year of the Dog is just asking for the critical raspberries the title seems to stand up and beg for: “Year of the Dog is
the Dog of the Year,” “This movie is such a dog it’s practically barking,” “Year of the Dog gave me fleas,” etc., etc. But though the
analogies are easy to make (and the film’s last quarter deserves these), writer-director Mike White’s offbeat little movie is better
than the easy kiss-off that its name implies.
During the course of the movie Molly Shannon, as Peggy, goes from a lonely dog owner eager for human connection to a loony loner
thinly connected to others by a joint obsession for animal rights. This process is told in a quick series of sharply observed scenes
that move the picture from a subtle comedy into darker emotional territory that’s troubling to say the least and finally, not
particularly involving. Peggy the lonely dog owner you sympathize with. Peggy the nut job who goes on a rampage as the picture
deepens you do not. By that point White has seemed to abandon his lovely, multi-faceted character study in search of something
that comes off as crass and desperate.
As the movie begins Shannon, who has always walked that uncomfortable line brilliantly between comedy and pathos with her
characters (not unlike Catherine O’Hara), is in top form. Her Peggy is one of those non-descript single women with a good job that’s
allowed her to provide a decent life for herself but not much else. Everyone dumps their problems on Peggy, the eager listener –
her one friend at work, Layla (Regina King), her brother Pier (Thomas McCarthy) her fearful, annoying sister-in-law Bret (played to
perfection by Laura Dern), and her jerk of a boss (Josh Pais) – but no one really seems to connect with Peggy or love her
unconditionally. Except for Pencil, that is, Peggy’s adorable little beagle who we quickly see is the center of her world. In lieu of
human contact, Peggy fusses over Pencil the way mothers fuss over a favorite child and when the little dog dies due to an accidental
poisoning, Peggy is bereft. Everyone mutters words of sympathy but no one really understands the massive grief that Peggy is
suffering from.
This little explored subject in movies – the emotional void that pets can fulfill in us – is beautifully captured by writer-director White.
A funny episode in which Peggy accepts a dinner date from her gruff next door neighbor Al (John C. Reilly doing his usual fine job)
and is horrified to find that he’s an avid hunter follows. But the movie then introduces the element that while charming at first, will
prove to be its downfall. Peggy becomes infatuated with Newt, a bisexual vegan animal rights activist (Peter Sarsgaard) she meets
at a dog shelter. The odd relationship between the two is very well drawn and is highly reminiscent of a lot of unrequited ones
between gay men and straight lonely women. But slowly Peggy descends into a strident activist herself and though it’s easy to see,
given the character’s lack of real connection with anyone but her pets, how that happens, it’s also a drag to watch the charming
movie go off its leash along with its leading character.
The ads for the film feature a scene in which Peggy is shown driving her car bulging with yapping dogs – a funny sight gag and a
misleading one because by the time the film reaches this point, Peggy is so far gone, so disconnected from everyone around her
that any feeling you have for her has vanished. If Year of the Dog had continued to explore Peggy in a realistic manner and the
honest emotional repercussions of the loss of a beloved pet I might have stayed with it as well. Instead, White turns on his leading
character in attempting to move the film in another direction – and his audience in the bargain and so, sorry to say – Year of the Dog
ends up biting the hand that feeds it.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
I didn’t love Shaun of the Dead, the zombie parody comedy from the British team of Edgar Wright and Simon Pegg as much as I’d
anticipated. That has to do with my squeamishness – I’m not a gore monger – but I unequivocally loved the clever writing, direction
and performances. Now Wright and Pegg (they co-write the scripts, Wright directs and Pegg stars along with his other half Nick Frost)
are two for two. They parody all those buddy cop action pictures with Hot Fuzz and though there’s still plenty of gore, the movie’s
not awash in it and I have no reservations about strongly recommending this brash little picture.
What both Shaun of the Dead and Hot Fuzz share, aside from their creators and stars, is the tightly composed scenes, the ear-splitting
soundtrack, the wisely chosen retro flavored songs (the soundtrack’s a beaut), and the dead on, droll approach that both Pegg and
Frost bring to their roles. In Hot Fuzz Pegg plays Sgt. Nicholas Angel, a London based cop so good at what he does he makes
everyone pale in comparison (this is hilariously shown in a montage to Adam Ant’s “Goody Two Shoes”). His jealous superiors send
Angel to a quaint village under the charge of the gentle Inspector Frank Butterman (Jim Broadbent) whose idiot son, Danny (Frost)
becomes Angel’s partner.
Naturally the all-business Angel has a hard time with the lax approach that the tiny village has toward law enforcement and the lack
of big time crime he’s used to but soon it becomes clear that all is not what it seems in the bucolic little town and the picture kicks
into high Cop Buddy mode. Wright and Pegg have larded the movie with a cast of seasoned British vets who nail every line and
crazy character motivation without breaking a sweat. In addition to Broadbent, there’s Timothy Dalton (relishing his part) as a
smarmy realtor, Billie Whitelaw as a dotty landlady, and Paddy Considine as a surly detective.
Hot Fuzz is a loud, boisterous laugh riot that’s a pleasure from beginning to end. At the climax it also has one of those unexpected,
laugh out loud sight gags that literally had me crying tears of laughter – and it’s gory and hilarious at the same time. I guess I’m
not so squeamish after all.
the Dog of the Year,” “This movie is such a dog it’s practically barking,” “Year of the Dog gave me fleas,” etc., etc. But though the
analogies are easy to make (and the film’s last quarter deserves these), writer-director Mike White’s offbeat little movie is better
than the easy kiss-off that its name implies.
During the course of the movie Molly Shannon, as Peggy, goes from a lonely dog owner eager for human connection to a loony loner
thinly connected to others by a joint obsession for animal rights. This process is told in a quick series of sharply observed scenes
that move the picture from a subtle comedy into darker emotional territory that’s troubling to say the least and finally, not
particularly involving. Peggy the lonely dog owner you sympathize with. Peggy the nut job who goes on a rampage as the picture
deepens you do not. By that point White has seemed to abandon his lovely, multi-faceted character study in search of something
that comes off as crass and desperate.
As the movie begins Shannon, who has always walked that uncomfortable line brilliantly between comedy and pathos with her
characters (not unlike Catherine O’Hara), is in top form. Her Peggy is one of those non-descript single women with a good job that’s
allowed her to provide a decent life for herself but not much else. Everyone dumps their problems on Peggy, the eager listener –
her one friend at work, Layla (Regina King), her brother Pier (Thomas McCarthy) her fearful, annoying sister-in-law Bret (played to
perfection by Laura Dern), and her jerk of a boss (Josh Pais) – but no one really seems to connect with Peggy or love her
unconditionally. Except for Pencil, that is, Peggy’s adorable little beagle who we quickly see is the center of her world. In lieu of
human contact, Peggy fusses over Pencil the way mothers fuss over a favorite child and when the little dog dies due to an accidental
poisoning, Peggy is bereft. Everyone mutters words of sympathy but no one really understands the massive grief that Peggy is
suffering from.
This little explored subject in movies – the emotional void that pets can fulfill in us – is beautifully captured by writer-director White.
A funny episode in which Peggy accepts a dinner date from her gruff next door neighbor Al (John C. Reilly doing his usual fine job)
and is horrified to find that he’s an avid hunter follows. But the movie then introduces the element that while charming at first, will
prove to be its downfall. Peggy becomes infatuated with Newt, a bisexual vegan animal rights activist (Peter Sarsgaard) she meets
at a dog shelter. The odd relationship between the two is very well drawn and is highly reminiscent of a lot of unrequited ones
between gay men and straight lonely women. But slowly Peggy descends into a strident activist herself and though it’s easy to see,
given the character’s lack of real connection with anyone but her pets, how that happens, it’s also a drag to watch the charming
movie go off its leash along with its leading character.
The ads for the film feature a scene in which Peggy is shown driving her car bulging with yapping dogs – a funny sight gag and a
misleading one because by the time the film reaches this point, Peggy is so far gone, so disconnected from everyone around her
that any feeling you have for her has vanished. If Year of the Dog had continued to explore Peggy in a realistic manner and the
honest emotional repercussions of the loss of a beloved pet I might have stayed with it as well. Instead, White turns on his leading
character in attempting to move the film in another direction – and his audience in the bargain and so, sorry to say – Year of the Dog
ends up biting the hand that feeds it.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
I didn’t love Shaun of the Dead, the zombie parody comedy from the British team of Edgar Wright and Simon Pegg as much as I’d
anticipated. That has to do with my squeamishness – I’m not a gore monger – but I unequivocally loved the clever writing, direction
and performances. Now Wright and Pegg (they co-write the scripts, Wright directs and Pegg stars along with his other half Nick Frost)
are two for two. They parody all those buddy cop action pictures with Hot Fuzz and though there’s still plenty of gore, the movie’s
not awash in it and I have no reservations about strongly recommending this brash little picture.
What both Shaun of the Dead and Hot Fuzz share, aside from their creators and stars, is the tightly composed scenes, the ear-splitting
soundtrack, the wisely chosen retro flavored songs (the soundtrack’s a beaut), and the dead on, droll approach that both Pegg and
Frost bring to their roles. In Hot Fuzz Pegg plays Sgt. Nicholas Angel, a London based cop so good at what he does he makes
everyone pale in comparison (this is hilariously shown in a montage to Adam Ant’s “Goody Two Shoes”). His jealous superiors send
Angel to a quaint village under the charge of the gentle Inspector Frank Butterman (Jim Broadbent) whose idiot son, Danny (Frost)
becomes Angel’s partner.
Naturally the all-business Angel has a hard time with the lax approach that the tiny village has toward law enforcement and the lack
of big time crime he’s used to but soon it becomes clear that all is not what it seems in the bucolic little town and the picture kicks
into high Cop Buddy mode. Wright and Pegg have larded the movie with a cast of seasoned British vets who nail every line and
crazy character motivation without breaking a sweat. In addition to Broadbent, there’s Timothy Dalton (relishing his part) as a
smarmy realtor, Billie Whitelaw as a dotty landlady, and Paddy Considine as a surly detective.
Hot Fuzz is a loud, boisterous laugh riot that’s a pleasure from beginning to end. At the climax it also has one of those unexpected,
laugh out loud sight gags that literally had me crying tears of laughter – and it’s gory and hilarious at the same time. I guess I’m
not so squeamish after all.
Dogs and Coppers:
Year of the Dog-Hot Fuzz
4-18-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
Year of the Dog-Hot Fuzz
4-18-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
