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Movie Review

DisneyNature's Penguins tries too hard to march birds into our hearts

Alex Bentley
Apr 18, 2019 | 1:00 pm
DisneyNature's Penguins tries too hard to march birds into our hearts
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There is a long history of penguins' cuteness winning the day in movies. The 2005 documentary March of the Penguins grossed $127 million worldwide, the success of Happy Feet spawned a sequel, and the penguin sidekicks in the Madagascar series became so popular that they eventually starred in their own movie.

All of which is to say that if anything should be a slam dunk, it is DisneyNature’s Penguins. Taking its cue — perhaps a bit too much — from March of the Penguins, it follows the journey of Adélie penguins as they make their annual migration to find a mate and create the next generation. Instead of focusing on the group as a whole, though, the filmmakers turn the film into a story about one specific penguin, whom they name Steve.

Steve goes on quite the adventure, getting separated from the colony early on and trying to catch up for most of the film’s running time. He and the other penguins experience all the joys and perils of their kind, including finding a mate, making long treks for food, evading predators like leopard seals and killer whales, and more.

The filmmakers, led by directors Alastair Fothergill and Jeff Wilson, decide to have actor Ed Helms not only narrate the film, but give voice to Steve as well. It’s an odd choice, given that the footage of the penguins is more than enough to provide all the drama and comedy you might need. Instead, Helms is required to describe the action seen on screen and then provide an inner monologue for what Steve might be thinking in certain situations.

This technique highlights the peculiar need for some humans to anthropomorphize animals, as if doing so makes them more relatable. In this instance, it doesn’t make this one penguin any more or less interesting. In some sequences, it actually makes you question the honesty of the filmmakers, since keeping track of Steve among literally millions of other penguins would seem to be improbable, if not impossible.

Still, the footage is as stunning as you’d hope from a good nature documentary. Given that the filmmakers have worked on series like Planet Earth, The Blue Planet, and Frozen Planet, the quality of their visual work should come as no surprise. Their commitment to documenting the birds and enduring the harsh Antarctic weather themselves comes through in every frame of the film.

People love penguins in whatever form they are shown to us on screen, and their adorable nature is all over DisneyNature’s Penguins. It would have been nice if the filmmakers had trusted the material they had instead of trying to force the issue with some out-of-place anthropomorphizing of their subjects.

Scene from DisneyNature's Penguins.

Scene from DisneyNature's Penguins
Photo courtesy of Walt Disney Studios
Scene from DisneyNature's Penguins.
nature movies
news/entertainment

Movie Review

The End of Oak Street can't live up to its Spielberg inspirations

Alex Bentley
Aug 13, 2026 | 12:50 pm
Ewan McGregor and Anne Hathaway in The End of Oak Street
Photo by Daniel McFadden
Ewan McGregor and Anne Hathaway in The End of Oak Street.

Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

As if those weren’t enough, Mitchell - perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) - tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg - there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end - all Mitchell has done is show how difficult it is to be the master.

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The End of Oak Street opens in theaters on August 14.

news/entertainment

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