The fifth film adaptation of the novel L'Appel de la forêt offers a complete reading of Jack London's work for the first time. Signed Chris Sanders, director of the very childish Lilo and Stitch and Dragons, the story takes place in the middle of the gold rush in the 1890s and tells how Buck, a dog living a peaceful life alongside Judge Miller in California, manages to be captured and then sold as a sled dog in the wilderness of the Canadian Yukon. Buck will have to adapt and survive the hostile environment that surrounds him while being able to rely on his various meetings. Entirely in computer generated images, the animal will meet many characters interpreted by Harrison Ford, Omar Sy, Dan Stevens or Cara Gee. The use of digital effects to represent the animals in the film, including the main character Buck, however did not convince everyone.
A tale for wise children
At Le Figaro , Nathalie Simon regrets a “ mixture of real shots and other digital shots not always successful ”. The fact remains that for the journalist, the story " takes on the air of stories for wise children " and does not convince by its interpreters. "They look like thumbnails that we would have stuck in a glossy picture book because we had no choice," she adds, " Omar Sy lacks credibility as a musher. Harrison Ford hardly does any better. He makes tons of them . ” The observation is clear for Nathalie Simon, " No nugget to report here , Chris Sanders films without finesse a hero on all fours with a big heart ".
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Less vehemently, Christophe Caron of La Voix du Nord still finds this return to the wild " seriously watered down ". The appeal of the forest will appeal to young audiences, but despite its “ hectic start , the journey becomes more initiatory, the action subsides ” regrets the journalist. If Harrison Ford delivers a " moving " performance, Buck's anthropomorphism seems " (too?) Marked " and does not completely manage to make people forget " his digital nature, not always convincing ".
A successful family work
" A detail that we quickly forget, as the interaction of the actors with the virtual animal gives color and realism to the famous doggie, " retorts Julia Mothu for Première . Between special effects and real shots, the film stands out with a " stunning result " and sets that "come to life in a striking realism of beauty ". The real strength of the film is " its actors " for the magazine. In particular Harrison Ford who " aptly succeeds Clark Gabe and Charlton Heston in the shoes of a disillusioned John Thornton, faithful to the novel ".
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Renaud Baronian in Le Parisien also adds that Omar Sy " shows himself impeccable " in this film which " quickly proves to be removed and endearing ". If for Antoine Le Fur in L'Express this adaptation is " the ideal family outing during this holiday period ", Le Parisien does not see it as "a great family spectacle, so intelligently it balances between tragic events and moments bright enameling the destinies of dogs and men ”.
Harrison Ford seduces the American press
Internationally, the adaptation of the American novel remains average with a score of 49 on Metacritic and 65% on Rotten Tomatoes, sites that collect ratings from critics. The American press has a mixed reception for L'Appel de la Forêt . IndieWire explains for example that " it's not Cats , but the dogs in computer graphics are not much better ". Reference to the cinematographic adaptation of the musical which is among the biggest nanars of the decade. The performance of Harrison Ford is still noted. The actor, " buried under a beard à la Rip Van Winkle, delivers a quality performance " before adding: " but his interactions with Buck are so unconvincing that it is a miracle that the studio did not throw the sponge and let the animal speak ”.
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"If I want to see a dog turned into a cartoon, I prefer to watch a cartoon, laments Variety who also honors the performance of Harrison Ford. It's a minimalist performance, mostly very reactive, but the sanctity of Ford's presence, with a gray beard and sad eyes, helps bring Buck to life as a character. ” " You can't avoid the feeling that Lassie and Rintintin are turning over in their graves, " concludes The Hollywood Reporter.