Right from the very first scene, this specific adaptation of Craig Silvey’s bestselling children’s novel of the same name is able to hit that spot most often associated with Australian children’s entertainment which is a faithfulness towards the aesthetics of the story. The butcher baker, and dog-catcher are all pantos as they chase after the feisty pup. Then there’s the pillaging property tycoon who wants to wipe out the lad and lassie hime a la Mr. Gribble of Round the Twist fame (which has the same production credits through the Australian children’s television foundation), and there are pun filled gags in the name tags for pretty much everything costume styling that is cut from the same old fashioned tat as any number seen in Kath & Kim, and this is how national camp is done well.
John Sheedy’s approach maintains that equilibrium with the silliness described above including mad children making a mad science weather machine as well as the more somber justifications for many of those same actions. His last feature, the upbeat mess that he is for Happiness had the same else tone along with balanced emotions. The same goes for the action scenes of the Dog Agility competitions, which are reminiscent of Paper Planes in that they portray an outlier sport well and which also the bigger picture of the story seems to play into. except for a few important deviations which in turn have a more significant impact.
This story does have a lot in common with Silvey’s seminal work Jasper Jones. In Jasper Jones, the focus is on the setting that facilitates remarkable feats in children and how concealed information can impact individuals as well as societies at large. Although more humor is used as the precocity espoused by Lilly LaTorre’s wonderful ‘Annie’, who is a constant meddler, does not have to be absolute, secrets focus more on ambition and desires rather than sin. Quite tragically, it seems to be Annie who has to bear the burden of the hero, a role she learns is tragic for a child inside a much more energy driven plot than hers.
What about the bloody doggos? While rescue dog Squid as Runt makes for an ideal pairing with LaTorre, beyond the initial draw! factor, Runt himself is a character worth cherishing. He is relatable both at home and during competition in a world that rarely appreciates quirky narratives, such as the subplot that involves blinders, he features themselves plus Gigi brings quite a lot of it. And how’s that for good about how he sees the world? He’s the illustrated mongrel mongrel in the sense that he’s not quite a dog and Kiwis are the mongrels of the world. It doesn’t matter where you were or who you’ve been, you’re here now with the rest of us and just livin’ life. This is indignation personified.
The marketable Runt is a joy for the whole family. Possibly the most charming aspect of it is how it fits alongside Red Dog as a canine caper that manages to instill some pride in how it represents Australia as a social and artistic culture, this time thankfully without the mineral aftertaste because of solid production value along with its fun yet thought out take on stereotypes associated with the sports/kid-and-their-pet, plus all good performances including Jai Courtney who really needs to keep this in his back pocket next time he is in the States because to call this the best work of his career would be an understatement.
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