You will not find a worse movie in Walt Disney's animated canon than The Wild. At the very least, the hyperactive abomination helps us understand why the once-mighty studio shelled out $7.4 billion to acquire Pixar Animation Studios earlier this year. Pixar is a proven hit factory, an imagination emporium responsible for the lucrative Toy Story adventures and the Oscar-winning superhero smash The Incredibles. If The Wild represents all that remains in Disney's think tank, it's now painfully clear that the Mouse House needs Pixar like a table needs legs.
Wild is a high-impact cartoon, the kind that catapults its characters head first into rocks, trees, and other animal's rear ends every time we expect a joke but are met with silence. Like its immediate predecessor, Chicken Little, this meaningless cartoon assumes kids will roar their approval so long as things move extremely fast, crash with teeth-shattering force, and pass gas. Parents lose twice - they must pay hard-earned cash to enter and then endure 90 minutes of noise.
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The story is sad and pathetic, unbelievable for more than a second to anyone with less than 45% alcohol in his or her blood stream. Lori Heuring "stars" as a mental hospital patient who, on the recommendation of her doctor, is released so she can work at the aforementioned resort for the summer -- in order to see how far she's coming along with her adjustment back into the world. Here she encounters all manner of nut-job rich kids, provoking the question of who's more insane, her or the people she is serving as a cabana girl?
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I thought, "Man, how surreally bad." Comedian David Cross has a joke about how he keeps a list of great money making ideas he came up with while stoned. A kid's sled dog movie about a black dentist from Miami has to be one of them.
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