The introductory computer marketing simulation aids us in understanding AXL (which is pronounced as “Axle”). AXL is a short form for “attack,” “exploration,” and “logistics.” This suggests that AXL can use its capabilities with a radar or a large machine gun, depending on the situation. In the thought process of dogs serving as companions and helpers to human warriors through history, Andric Craine (Dominic Rains) created this war machine in the form of a dog. This dog-like robot can form a bond with its owner, which is similar to the bond a real dog would form with a human.
Indeed, she escapes, and is ultimately tracked down by Miles (Alex Neustaedter), the bike racer who cannot find any way out. Along with his father Chuck (Thomas Jane), who manages his auto shop and his fledgling racing business, he just falls deeper into the mire. While Miles’ father tries to compel him to be realistic about the prospects of his college, Miles thinks he will not be able smart enough to actually attend one. And that’s about the extent of character development.
After being stranded in the desert by Sam (Alex MacNicoll), a jealous competitor who has more than enough resources, Miles makes a discovery. He finds AXL nestled deep inside a freight crate. As soon as the misunderstanding about him barging in and the robot in question trying to kill him is resolved, Miles proceeds to patch up the talking dog. Immediately, he notices that AXL is a bit out of shape for an advanced weapon of war, AXL is damaged and out of commission far too often. The two become friends of sorts, and quite a bit of robot assistance in Miles’ attempts to win over Sara (Becky G), daughter of Sam’s family housekeeper, is is always helpful.
The dog itself is brought to life via a mesh of slick digital effects (for when it goes into action) and awkward puppetry (whenever it is shot in a close up). The amputated puppets look far bulkier compared the smooth digital version. In other words, it never feels like a real thing because the dog, whether a special effect or puppet, is so deceiving. It’s always obvious when Daly changes styles in mid scene, rendering him unable to get away with these blatant examples of poor visual effects.
As for the story, well there isn’t much of one. Miles and Sara try and figure out how to conceal the robot whilst they determine what to do with it. Carine observes AXL bonding with Miles through the robot’s eye, thinking he is witnessing something so wonderful. (“Let’s see how this plays out,” he says, watching AXL addictively fetch Miles’ bully and immobilize him, all while threatening to bite him with the noisy, spinning blades in its mouth.) Miles and Sara have to keep fixing the dog’s W.A.R. because Carine’s corporate thugs are closing in on them. Chuck gives his son some rational advice regarding the issue of fooling around with a robotic machine built for annihilation, sparing Carine’s ‘right hand’ (Lou Taylor Pucci) whining about his boss’ vile conduct.
As one would expect, Daly does not care about the moral dilemma posed by the existence of this dog. The robot is both the filmmaker’s gadget and the villain’s tool. By default, it is supposed to be cute, transforming its red eyes to neon blue when it finds a new friend or plays fetch. Or, it can go into ruthless killing machine mode, like when it stalks Sam like some deranged horror movie killer (even leaping into frame while barking deafeningly and gnashing its metallic teeth to terrify the children in the audience into their parents arms).
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