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Bolt

movies|bolt|2009-01-01
For super-dog Bolt, every day is filled with adventure, danger and intrigue - at least until the cameras stop rolling. When the star of a hit TV show is accidentally shipped from his Hollywood soundstage to New York City, he begins his biggest adventure yet - a cross-country journey through the real world to get back to his owner and co-star, Penny. Armed only with the delusions that all his amazing feats and powers are real, and with the help of two unlikely traveling companions, Bolt discovers he doesn't need superpowers to be a hero.

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Editorial


Had this 3D cartoon dog movie kept going as the same excellent, exciting action movie send-up/salute of its opening minutes, it'd have taken out "Best In Show" of the holiday kid-flicks. But after the initial comic rocket ride that has superhero dog Bolt and loving owner Penny battling helicopters and henchmen on motorcycles, the flick settles for replaying the same story of 261 animal adventures.

That our pooch's journey home turns out to be what this pleasant Disney movie is all about is a shame, because his background – Bolt has been raised to think the Inspector Rex-like TV show he stars in is real – and unusual viewpoint suggest more than another Milo & Otis mission.

Similarly, that this is Walt Disney's first animated feature conceived for digital 3D, and that it's been done with the guidance of Pixar's John Lasseter, suggests that Bolt is to be a revelation. Smartly, the Disney doggie's new tricks are reserved for enhanced depth and distinction, not "sword between the eyes" novelties, but early footage from Monsters Vs. Aliens reveals greater sophistication and perspective. This one's superb introduction of slo-mo leaps and bomb disposal cranks the pixels, but once Bolt bolts from his on-set trailer home to rescue Penny from imagined danger and winds up stranded, we are, visually and narratively, on well-marked turf.

Even with Pixar's intense involvement this is not too fussed with finding freshness that might've then inspired greater visuals. Pity, because the reliance on character rather than zingers is admirable, as is Travolta leaving the ham at home.

Ben McEachen

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