Home is not original, but I dug the hell out of it.
Home begins with an alien race called the Boov forcibly invading and colonising Earth for themselves. They do this by arriving unannounced, forcibly relocating the natives – whom they deem as uncivilised, lower, unintelligent, and in need of saving and educating by the Boov – against their will, systematically going through everything that the Earth has to offer, keeping what they deem is useful (often by mis-utilising the items in question) and jettisoning what they don’t, and re-naming and re-shaping the planet in their own image. The real life subtext that comes from this set-up I doubt is lost on you.
Home, however, is very much uninterested in following that subtext, likely because describing it in that way sounds very much counter to the good laughs and fun times that are typically required in animated family films. We get the occasional glimpse at it here and there with what little we see of the new human city – located on Australia – but it is otherwise left untouched. Is this a little disappointing? Well, yeah, in the sense that it is always disappointing when a film decides to leave its original potential untapped in favour of the safe and familiar, but Home does still have subtext going on underneath its tale of unlikely fellows becoming strong friends.
Specifically, our protagonist is Oh (Jim Parsons, who is not just sticking to his Big Bang Theory safe zone, trust me) and Oh does not fit in with the rest of the Boov. The Boov, you see, are a tightly regimented and dull alien race. They are an arrogant, perfection-obsessed, and self-involved race whose extreme self-preservation instinct has kept them perpetually distant from one another. They don’t particularly have time for one another and they, at least from what the film shows us, don’t bother to make friends, they’re that cynically detached. Oh, however, is a heart-on-sleeve kinda guy. He has that self-preservation instinct, growing up in a culture of fear will do that to you, but he’s also open about his emotions all of the time and he makes no secret about them. He wants friends, he wants to fit in, but that kind of open joyous honesty is frowned upon in Boov culture and leaves him feeling isolated from his own race. Again, with minor adjustments, hopefully the similarities between Boov culture and post-millennium culture aren’t lost on you.
Again, though, Home mostly pushes it to the side – mostly, it’s still easy to see it flowing through as the film progresses – in favour of telling a relatively simple story of two lonely people struggling to fit in finding each other by happenstance and becoming friends for life through wacky mishaps. Oh doesn’t fit in with the Boov because of his eternally sincere nature and general clumsiness, Tip (a surprisingly brilliant Rihanna) didn’t fit in with humans because she and her mother are originally from Barbados – which is touched on briefly in dialogue as she explains why she never felt at home, but otherwise her race is not made a big deal out of – and she’s a bit of a whiz at math. The two are thrown together after Oh accidentally texts the location of Earth to the Boov’s ever pursuant enemy, the Gorg, and he agrees to help Tip reunite with her mom (Jennifer Lopez) whilst attempting to lay low from the Boov’s commander, Captain Smek (Steve Martin).
If you’ve seen an animated film or five, you’ll know Home beat-by-beat without ever stepping foot in the cinema. Again, this is a film that is brimming with potentially boundary-pushing subtext that it actively steers itself away from in order to tell the story that it ends up telling. And yet, I don’t consider this much of a flaw because the film itself is that good and appeals that much to my sensibilities. What can I say? Give me two lovable characters who find it hard to fit in, and you might as well just start the countdown clock to the happy tears due to myself relating to their situation.
That being said, Home does do plenty of quietly great things that are worthy of note. For one, there’s Tip herself. She’s a black girl – the first lead black girl in any Western CG feature-length animated film, to my knowledge, which is going to be huge for a subset of children, I can already tell – and, again, her race and gender are not made a big deal out of, which is a major boon for the notoriously non-diverse feature animation landscape. And though she is not the main lead of the film, Oh’s is the perspective that we are primarily given, the film still treats her with absolute respect and importance. Tip’s quest to re-unite with her mom is decidedly more low-stakes than Oh and the Boov’s quest to keep the Gorg from finding Earth, but the film treats it as something equally as important, even with minimal flashbacks to how their dynamic was before she was taken.
The film never gives Tip the short-shrift. She’s just as resourceful as Oh, she’s just as entertaining as Oh, and the one time that somebody in the film explicitly takes a swipe at her gender they are immediately proven wrong by Tip herself (and also by the fact that the Boov making that crack is pretty much an antagonist anyway). There’s even a bit in the finale where it seems like she’s being carted off to the sidelines for Oh to resolve the main plot, but she then forces her way back in with vital action that Oh couldn’t have done. She reminds me a lot of Vanellope from Wreck-It Ralph or Tigress from Kung Fu Panda 2, lead female characters who aren’t the main protagonists but whom the film treats as well as one anyway. If Home didn’t do that, then I wouldn’t have been in floods of joyous tears at the incredibly sweet payoff to Tip’s story.
(Also, for a personal little plug, it’s very much a major step forward for DreamWorks Animation, who have had major troubles when it comes to the female gender in their films, as those who have been reading The DreamWorks Animation Retrospective will know.)
For two, I find the animation, and more specifically the art style, to be excellent. Human character animations have the same weight, heft, and naturalness of How to Train Your Dragon, whilst the Boov are more susceptible to the occasional squash-and-stretch of various intensities, and the two gel very smoothly with one another. But it’s the art style that really grabs my attention. There is a lot of detail going on, all of it very pretty but most of it arguably unnecessary, but the world itself has this very smooth feel. Places, people, and animals all have this soft, often curved design that creates this warm, huggable, inviting feel that, combined with the bright primary colours colour scheme, I found it very easy to lose myself in.
It’s all best demonstrated in the design of the Boov. They have this very simple cylindrical body shape that extends to their multiple feet and fingers (which both lack any noticeable tips), and that curves instead of points idea extends to their noses which, in their resting state, curl in on themselves, their teeth which gently curve with noticeable gaps, and their eyes which are wide and expressive. They are very eminently huggable, which is a characteristic I like in this kind of genre. Boov also change colour based on their expression – red denotes anger, orange denotes happiness, green denotes lying, etc. – which provides a fun extra layer of information about Oh at any given moment and helps make the designs and world pop that much more.
And for three, despite walking a lot in the same sweet DNA as Mr. Peabody & Sherman – lots of heart, funny but not overly so, not re-inventing any wheels – Home manages to avoid that film’s structural mistake: forcing an action-packed finale. Home seems to be heading towards a superfluous big stakes action finale, but pulls back at the last minute to resolve its central conflict in ways more befitting what came before. The threat of global destruction is there, because of course it is, but the stakes are primarily focussed on our two leads and the set-piece itself only really qualifies as a set-piece because of its placement and general expensive look; no giant chase sequence. Since many animated films lose their nerve and force a last minute action climax, seeing Home pull back is a nice pleasant surprise and display of self-confidence in its storytelling.
(Also, the film takes the DreamWorks licensed soundtrack thing to its logical endpoint and, at multiple points, backs proceedings with songs written specifically for the film. When it actually commits to this idea, it’s a rather neat and non-distracting choice, even with most of them being by Rihanna and Jennifer Lopez. Unfortunately, it doesn’t commit enough to the idea for me, with the really good score handling the vast majority of the film and the songs popping up very sporadically. The songs are good, I rather like them, so the lack of time devoted to them makes it all feel like a bit of a wasted opportunity for me. Ah, well, the soundtrack album will probably be pretty great, though!)
As I said earlier, Home does not re-invent any wheels and it’s not a majorly necessary and vital entry into the Western feature-animation landscape. It’s not laugh-out-loud funny, although the kids at my screening never tired of the Boov’s constant inability to use correct syntax and proper grammar, and it’s not a market leader when it comes to heart or anything. But I really, really dug Home. It’s adorably sweet and sincere in the way that great animated features often are, its two leads are a joy to spend time with, its animation is great, and its vocal performances are surprisingly really strong.
In my review of Penguins of Madagascar, I noted that not all animated films have to reach for the stars. They can aim to be more modest, lightweight entertainment so long as that is all executed with heart and joy by the filmmakers. Home has enough heart and love visibly poured into its creation that I didn’t mind in the slightest when the Dance Party Ending reared its head to send us all home on. That, my friends, is true praise. I dug the hell out of this one.