Dog Man movie review & film summary (2024) - Movie16

 

A Quirky Misstep: A Review of Dogman

Watching a talented actor delve into a challenging role can be a cinematic treat, especially when the material and direction support their craft. Unfortunately, Dogman, directed by Luc Besson, offers neither to Caleb Landry Jones, despite his commendable efforts. The film attempts to merge drama, camp, and crime with a story centered around Doug, a physically handicapped dog shelter owner and part-time drag performer. Yet, instead of delivering a cohesive narrative or meaningful character study, Dogman ends up as an uneven and uninspired misfire.

Doug’s Character: A Case of Overreach

Jones portrays Doug, a flamboyant misfit with a deep love for canines and an affinity for Edith Piaf. While this description might promise a richly layered character, the film fails to explore Doug beyond surface-level quirks. Instead, his traits—ranging from rescuing dogs to cross-dressing—are presented as disconnected eccentricities, devoid of emotional depth or nuance.

The film opens with Doug being arrested while dressed in a pink ensemble complete with forearm-length gloves, setting the stage for his backstory, told through flashbacks and conversations with a police psychiatrist, Dr. Evelyn Decker (Jojo T. Gibbs). Unfortunately, their dialogue often feels stilted and over-edited, lacking the natural flow required to engage the audience.

Jones’s performance is another point of contention. Known for his intense, twitchy portrayals in films like Nitram and Get Out, Jones leans into his signature style here. However, his exaggerated gestures and inconsistent southern accent make Doug feel more like a caricature than a fully realized individual. Instead of eliciting empathy, his portrayal comes across as forced, making it hard to connect with his character’s struggles.

A Pastiche of Overused Tropes

Luc Besson, known for The Fifth Element and Léon: The Professional, struggles to balance his penchant for stylized filmmaking with the demands of a grounded narrative. Dogman relies heavily on clichés, from Doug’s abusive upbringing to the stereotypical villains he encounters.

In flashbacks, a young Doug endures cruelty from his father Mike (Clemens Schick) and sanctimonious brother Richie (Alexander Settineri), whose bigotry and violence are as over-the-top as the film’s melodrama. These scenes, rather than fleshing out Doug’s character, merely reinforce tired tropes of the misunderstood underdog battling a harsh world.

Even the present-day conflicts lack originality. Doug’s dog shelter faces threats from uncaring bureaucrats and a nosy insurance adjuster (Christopher Denham), while a cartoonishly depicted gang leader adds a thin veneer of danger. None of these subplots contribute significantly to the narrative or offer fresh perspectives.

Camp Without Joy

The film’s exploration of drag culture and Doug’s passion for performance could have been a highlight, but these moments are marred by Besson’s lack of finesse. Doug’s drag scenes, including a lip-sync to Piaf’s “La Foule,” lack the vibrancy and authenticity that make such performances captivating. The costumes and wigs are intentionally low-budget, but rather than serving as a commentary, they further undermine the impact of these scenes.

Doug’s transformation into a drag persona is meant to showcase his resilience and artistry, but the sequences feel disconnected from the rest of the story. Instead of celebrating his individuality, the film reduces these moments to gimmicks, missing an opportunity to delve into the empowering aspects of drag.

Direction and Execution

Besson’s direction is as inconsistent as the film’s tone. The dialogue often veers into cringe-worthy territory, with lines that feel more like self-parody than sincere attempts at storytelling. For instance, Doug’s dramatic declaration while struggling to stand—“I am standing—for you!”—comes across as unintentionally comedic rather than poignant.

The pacing is another issue. The narrative meanders through Doug’s life, lingering on irrelevant details while glossing over potentially impactful moments. This lack of focus dilutes the emotional weight of the story, leaving viewers detached from Doug’s journey.

A Wasted Opportunity

Perhaps the most frustrating aspect of Dogman is the waste of potential. Caleb Landry Jones is a gifted actor capable of delivering deeply affecting performances, but he is hampered here by poor writing and direction. Similarly, Besson, despite his track record of creating visually striking films, fails to bring his usual flair to this project.

The dogs, arguably the most endearing characters in the film, are underutilized. While their presence adds moments of levity and charm, they are often overshadowed by the film’s heavy-handed attempts at drama.

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Final Thoughts

Dogman is a classic case of ambition exceeding execution. The film aspires to be a poignant character study, a celebration of individuality, and a critique of societal norms, but it falls short on all fronts. With a more focused script and nuanced direction, Doug’s story could have been a compelling tale of resilience and self-discovery. Instead, it’s a muddled, forgettable experience that squanders the talents of its lead actor and director.

While Dogman may hold some appeal for fans of Caleb Landry Jones or Luc Besson, most viewers will likely find it an underwhelming and frustrating watch. For a film centered on a character who loves dogs, it’s ironic that Dogman ultimately lacks the loyalty and heart that make dogs so beloved.

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