Companionship Between Man, Dog and Robot Encompasses the Endearing Finch

Rating: 3 out of 5.

Man and dog almost always seem to go hand-in-hand when post-apocalyptic settings come into question — they’re like buddy-up cop films minus all of the cheesy one-liners and recycled cliches. From I Am Legend (2007) and Mad Max 2: The Road Warrior (1981) to the more recent Love and Monsters (2020) and now Finch (2021); man’s best friend has had a long spanning place in this genre of films.

The film marks the second feature that Hanks has starred in for Apple TV following last year’s Greyhound (2020), and the second feature from Miguel Sapochnik following Repo Men (2010).

Like the aforementioned films before it, Finch focuses on themes pertaining to companionship and surviving, but it is also a much more quiet and reflective post-apocalyptic film that digs into the importance of trust, honesty and loyalty — values exhibited by man’s best friend.

It sees a former engineer and all round tech guru Finch (Tom Hanks) and his dog Goodyear, scavenge for food and supplies in a world where most life has been wiped out due to a sun flare which has resulted in large amounts of radiation infecting the world. Finch’s own health has been impacted by this radiation so he decides to create a robot companion whose main directive among all others will be to take care of Finch’s doggo should he die. That robot, who becomes imbued with vast knowledge through some tech savvy work by Finch, decides to call himself Jeff (voiced by Caleb Landry Jones) and develops an interesting, if not coy relationship with Finch. The three companions eventually set out to San Francisco as a deadly storm closes in on their haven in St Louis.

Tom Hanks and Goodyear in Finch

Hanks begins to play Finch in a similar way to his iconic Chuck Noland from Cast Away (2000) where he’s often talking at something (his dog) as opposed to with someone. This is where the talking robot Jeff comes into play as he helps steer the film away from Cast Away territory to something more involving as opposed to a version of this film that would bank on Hanks’ performance for its entirety.

Jones gives Jeff a level of complexity that becomes more revealing as the trio trudges on in their motorhome and interact with each other. Hanks adopts a more paternal presence as he literally brings this robot into existence whilst also having the job of feeding and taking care of Goodyear and another little non-speaking robot compadre.

For what it’s worth, the trio of man, dog, and robot is actually quite endearing and heart-warming that makes me think of this film as Chappie (2015) meets I Am Legend but without the boxing and killing, respectively. It’s very much a tale of companionship that pays respect to the importance of man’s best friend and celebrates that relationship by seeing Finch echo the values of trust, honesty and loyalty at the robot he has made, so as to help Jeff build a relationship with Goodyear that is comprised of those values once Finch is gone.

While the film doesn’t necessarily offer much in the way of unique spins on the post-apocalyptic genre, it does retain a sincerity and truth that can be felt through the script — especially the dialogue. When all is said and done, it looks like the biggest winners in a world with minimal human existence will be man’s best friend — given they’ll still have someone to play catch with.

Finch is now streaming on Apple TV+

Wolfwalkers Exemplifies The Might of Irish Cinema

Animated films have long regaled viewers with their retellings of folk and fantasy legends, a tradition that extends back to the medium’s dawn, and continues here in this feature-length production from Ireland. But this film is not here merely to capitalise on a time-honoured trend – in fact, it’s more likely to establish a new standard for the artform.

In the mid-17th Century, a young girl named Robin Goodfellowe (Honor Kneafsey) moves from England to Kilkenny, Ireland, where her father Bill (Sean Bean) has been tasked with capturing the wolves that prey on the townsfolk. Robin is adventurous by nature, and longs to accompany her father on his wolf-hunting duties; but unfortunately, she is forbidden from venturing beyond Kilkenny’s walls, due to her age and gender.

Robin eventually sneaks through the town’s gates and into the nearby forest, hoping to find and kill a wolf herself. Instead, she encounters Mebh (Eva Whittaker), an unkempt girl of smaller stature who calls herself a Wolfwalker – the name given to a mystical human who lives among the wolves. After an acrimonious greeting, a friendship between the two girls soon develops, and Robin’s perception of wolves with it.

It’s no coincidence that Wolfwalkers is based in Ireland, since the feature is one produced by Cartoon Saloon, a studio based where the film is set: Kilkenny. Just like the studio’s previous releases, The Secret of Kells (2009) and The Song of the Sea (2014), there’s a strong Celtic influence to this production, as evidenced by the voice-cast, soundtrack and screenplay – the latter of which draws its inspiration from an Irish folk tale.

Despite its mythological origins and Cromwellian setting, Wolfwalkers contains a fresh, contemporary story that grows more compelling with each minute that passes. The writing is masterful, with the film seamlessly, gracefully morphing from one conflict to another, the stakes heightening as it does so. If there is one complaint with the screenplay, it’s that the conflict between Robin and her father does come across as hackneyed at times, though never to the extent of annoyance.

Robin (left) and Mebh, the central protagonists of Cartoon Saloon’s Wolfwalkers

By far the most appealing element of Wolfwalkers is the distinctive art-style, ensuring it looks unlike any other animated feature – including those previously made by Cartoon Saloon. There’s a storybook-like simplicity to the hand-drawn illustrations, witnessed in both the characters and scenery, that charms profoundly, with the best images undoubtedly found in the forest scenes, their gorgeous watercolour backdrops contrasting heavily with the bleak, yet nonetheless striking, greyscale palette of Kilkenny.

Paired with the animation is an equally wonderful soundtrack, composed by Bruno Coulais with the assistance of Kíla, a traditional Irish folk band. The compositions of Coulais and Kíla make use of acoustic instruments such as fiddles, mandolas and tin whistles, sounding quite ethereal when listened to in isolation, yet suiting the tone and imagery of Wolfwalkers perfectly. There’s even the odd pop song to be heard, including a beautiful re-recording of Aurora’s “Running with the Wolves”.

Yet another aural delight is the cast of voice-actors, most of whom are of Irish nationality or descent. The most famous name, and recognisable voice, to the layperson will be Sean Bean, whose mellow, fatherly tone is perfectly suited to Bill Goodfellowe; Eva Whittaker and Honor Kneafsey are good also as the two girls, but to this author’s ear, the finest vocal performer is Simon McBurney, who provides an understated, menacing turn as Kilkenny’s Lord Protector.

Wolfwalkers is simply exquisite, with great voice-acting, stirring music, magnificent artwork and an elegant narrative combining to form a wondrous experience. Very few feature-length animations come close to this level of quality, making this not only a great film but also, quite possible, the best ever to emerge from Ireland.

Wolfwalkers will be screening online as part of the Irish Film Festival from September 3rd to 12th. For more information, head to the Festival’s official website.

The film is also available for streaming now on Apple TV+.