Will Finn & John Sanford | 73 mins | streaming (HD) | 1.78:1 | USA / English | U / PG
I have many goals within my film viewing, quite apart from trying to watch 100 films every year. Some I’ve completed (the Rathbone Holmes series), others are almost done (every Spielberg film), others not so much (every Hitchcock film), and others I’ve barely begun (the Zatoichi series). One of these goals is to watch every Disney Animated Classic, their canon of feature animations that currently sits at 55 titles (with another scheduled for later this year, in the US at least). I did a pretty good job on the real classics while growing up, and have since filled the gaps of the modern classics, so I’m left ploughing through their lesser periods: the content they pumped out in the war-affected ’40s, and the post-Renaissance pre-Lasseter clusterfrack that was their ’00s produce. My best hope is to uncover a hidden gem while I mop up this dross.
Home on the Range is not a hidden gem.
The plot, such as it is, locates us in the Old West, where a trio of singing cows hunt for an outlaw in order to save the farm they live on. The early ’00s box office was not a great place for musicals, Westerns, or traditional animations, so one does have to wonder what inspired Disney to make their 45th Animated Classic a traditionally-animated musical Western.
Still, box office failure does not equate to a lack of quality. No, the film achieves that all by itself. There’s a plodding, familiar, poorly-structured story, with dull characters, who spout flat dialogue, which does nothing to help their unoriginal relationships. The voice acting is irritating, with the exception of one or two over-qualified performers (Dame Judi Dench?!) The songs are weedy, repetitious, and unmemorable. The villain’s number is the best of a bad bunch, but only because it has a moderately amusing reveal in the middle of it. The animation is unremarkable, besides some terrible CG intrusions. It seems to be under the impression that “hog” is a word for “cow”, based on the number of puns. A couple of gags do land — I even laughed out loud once, though I’ve forgotten why — but the majority is resolutely uninspired.
It’s actually not the worst of Disney’s canon (as I mentioned, there’s the odd flash of enjoyment, which is more than can be said for Chicken Little), but it’s still one for aficionados — or completists — only.