betty dalton Very subtle comedy. But it angered lots of viewers, which makes it even more special. Produced by Brad Pitt, but dont expect an action picture or something. I just got to know of this movie because Brad Pitt has got a real good knack for producing quality movies. But this comedy is only suited for those who understand subtle tongue in cheek jokes. Lots of viewers thought of it as boring because they didnt understand the tongue in cheek humor of the behaviour by the characters. Lots of others got angry because there are a lot of politically uncorrect characters in this story which ofcourse will upset the masses who expected to see a nice, clean cut comedy. It isnt. It deceives you and then it hits you, gently though...The director and writer of this movie, Mike White, has also made the legendary and hilarious movie called "Office Space", also about neat and clean office workers, who eventually go wild. Come to think of it most of Mike White's movies are about office workers or other boring characters that suddenly get entangled in the wildest action plots. Really hilarious stuff, but again only suited for those who get the subtle tongue in cheek jokes, the masses probably will find it somewhat boring or be really offended if they let their kids watch it...The strength of this movie is its subtle story, in which we start with a clean and neat office worker lady, who is as law abiding and decent as one can be. But the more this nice lady becomes aware of what kind pf cruelties are committed to animals in the meat industry the more she starts revolting. And because of this ever climaxing anger by this previously law abiding lady her actions become ever more dangerous and violent. But in a hilarious and innocent way. Very tongue in cheek. Suited for the whole family, everyone could like it, especially if you are an animal lover. But not suited for the politically correct masses...

Martin Onassis Looking at all the one star reviews here, you would think this movie assails mom, apple pie and the flag.In a way, it does. It is the most unabashed pro-animal rights movie I may have ever seen. It mocks every day Americans who don't care what happens to the chickens they eat or the dogs that become too inconvenient for them to care for. It mocks a hunter. It mocks office bosses in a way quite reminiscent of Office Space.Molly Shannon gives it enough comedic edge, but it isn't really a comedy. What she brings is a credible dramatic performance with a slight comedic edge.I'm not saying this film couldn't be better. it could have a somewhat more complex plot, but that's not its purpose. This film's purpose is to portray an animal rights activist whose life is overwhelmed by her convictions and she follows them. It's got a great cast, and it's certainly not a one or two star film.It will however offend conservatives, christians who believe they are the greatest dominant animal on earth, and have a god-given right to do anything they want with the animals 'below' them. It will also offend people who mock those who don't eat animals. For the record, I do, but I certainly empathize with the plight of animals in our world.I'm sure the scenes involving the hunter really send people over the edge. I would've been happy to see a more extreme outcome, but the movie treated its plot in a way that made the most sense.Anyway, if you have any empathy whatsoever with animal rights, you may find this movie quite cathartic actually. Now we just need a movie like this with climate change as its central topic.

D_Burke "Year of the Dog" is a quirky yet poignant comedy. It's not memorable for its laugh-out-loud moments (the few there are), but more for Molly Shannon's terrific and seemingly effortless performance as a woman who has spent her whole life trying to please everyone around her. It's when she finds a cause she believes in that she gradually learns that it's impossible to please herself and everyone else.Shannon is Peggy, a single, milquetoast, unassuming office worker who lives a quiet existence with her dog. You see from the beginning of the film that she has acquaintances, not friends. The camera shows people talking to her in the direct center of the shot, and therefore her eyesight. When the camera cuts back to Peggy, you normally see her just politely smiling and nodding, not responding.Peggy does not seem to mind this style of living. It's only when her dog dies of apparent ingestion of rat poisoning that her life spins out of control.You see Shannon crying a lot during these scenes, and she's very believable. Any person who has ever had a dog for a pet can understand how heartbreaking it is to move on from such a tragedy.From there, the story progresses well as Peggy finds herself going on a date with slovenly next door neighbor Al (John C. Reilly), only to find an open bag of rat poison in his garage that look like a dog went through it. She then gets to know Newt (Peter Sarsgaard), an animal shelter worker who keeps three misfit dogs at his home because he didn't want them to be put down. One of those dogs, by the way, rendered a smaller dog paralyzed. He, however, just doesn't want to see another dog die.Peggy apparently agrees, and begins a self-administered quest to live a vegan life. She brings vegan cupcakes into her office, has fellow workers sign petitions to ban lab testing, and even adopts every dog that is to be put down at her local pound.This film tells very little, and shows a lot, which gives it a lot of depth. The camera shots that represents Peggy's vantage points work amazingly well, considering how simple they really are. When Peggy, while at Newt's house, silently ponders photographs of Newt, one where he is with a woman, and one where he is with a man, no words really need to express what she is thinking. After all, the audience wonders the same thing.You also really feel for Shannon as her well-meaning acquaintances (Laura Dern, Regina King) gradually react to her newfound poli-social stance as if she's on drugs. You also understand the feelings of those who are not quite as sympathetic, such as her boss Robin (Josh Pais).In fact, Pais plays this role with a permanent sneer on his face, as if he's smelling something awful throughout the entire movie. He's one of those actors whose name is not well known, but you've seen him in other things. Still, after seeing this film, you will not be able to get his facial expression out of your memory.The extremes to which Shannon's character goes to protect as many animals as possible are just that: extreme. You can't help but feel for her as she tries to do as many right things as she can, only to find her life falling apart around her. The tragic irony surrounding this film is that she's not an alcoholic or a drug addict, but suffers similar consequences as a result of adopting too many dogs at one point.Of course, you don't blame her for wanting to save those dogs. After all, I'm a dog lover, and I hate to think about dogs dying simply because no one has adopted them. Then again, one dog is a responsibility, and the pet population, as you've probably heard Bob Barker say, needs to be controlled.The film does well balancing the empathetic with the slightly insane, as screenwriter Mike White tends to do with his more independent films ("Chuck and Buck" (2000), "The Good Girl" (2002)). White makes his feature directorial debut with this movie, and provides a great story with images that tell more than most CGI special effects. Even if you don't like dogs, you can't put this film down.

johnnyboyz Year of the Dog is another one of those films attempting to get under the skin of the notion that comedy and one's potential to fall into madness, at least cinematically, are closer than you initially think. As a matter of opinion, comedy and madness, or the idea that a character can loose control of their surroundings after having existed within the realms they occupied for so long, can indeed go hand in hand; they can play out in a balanced fashion, particularly when there's something especially biting or satirical about it, resulting in pieces from recent years along the lines of Verbinski's The Weather Man or Harron's American Psycho. Take this, and sprinkle in a little bit of sub-text to do with contemporary suburban America and the oddballs one would seemingly encounter within such an environment, and you have what people like to describe as an "off beat" film trying to cover some serious ground, albeit getting tangled up somewhat in the process.Year of the Dog's lead is Molly Shannon's Peggy, a middle aged American woman living alone in a nice American neighbourhood, on a nice estate, in a decent house and with her pride and joy in the form of her pet dog she names Pencil. To say she loves Pencil understates things somewhat; she all of adorns him, lavishing attention on the thing no end – even allowing it to sleep with her on her bed come the nighttime which, to some, would be the beginnings of madness before all the strife has really begun. The pair of them are so attuned to one another, and she to the species in general, that during walks in the park, Peggy cannot help but stare lovingly at all the other pooches owned by all the other people doing as she does now, while Pencil is even granted some brief screen time of his own when he agonisingly watches her back out of the driveway to get to work thus, he is tragically left all be himself. Peggy's life is what it is: single, but more than happy with her pet. Where her boss has his work and Peggy's brother Pier (McCarthy), plus his wife Bret (Dern), have their very young children, Peggy has her dog.Her boss is Robin (Pais), a largely inanimate gentleman with a reservedly cold tone. He outlines certain harsh realities in his office that morning at work, the background of his composition busy with a motorway in the distance plus traffic charging in either direction; hers, in comparison, is the rest of the office: a stilted and quieter set of items on show highlighting respective positions in life as specific facts broadly linked to ability and qualifications are mercilessly outlined. Her work colleague is the busier Layla (King), an African-American woman with a penchant for films; a cheating partner and some pretty lousy advice for our heroine when things get tougher later on. Those things arrive when poor Pencil dies, a mysterious death at a relatively young age when he is heard yelping and yapping one summer's morning out in a neighbour's back garden. It is Al's (Reilly) garden in which Pencil is found, dialogue with the man revealing he too lost a dog when he was very young and helped combat it by maintaining an interest in hunting. Briefly, the film' hypothesis rears up and it is no mystery as to why the scenes with Al work as well as they do, with this idea of grief, and ways in which to deal with grief, simmering beneath a surface while never fully blooming out into a constructed whole.What follows is a film essentially showing to us why it is that, at least socially, our Peggy could never quite hit it off with humans and found such solace with animals. She comes to occupy lonely places peppered with bright hues of colour; breaks at work scored with music you'd more than likely hear rolling out over a baby's crib as a parent attempts to get them to fall asleep, very much instilling a certain child-like sensibility about her. We observe Peggy effectively begin her life anew, the death of Pencil the upsetting of the established norm and systematically launching her out onto a slide downwards in psychological well-being when she is forced from beginning again at the bottom in acquiring a new dog and rebuilding. Trips to family members Bret and Pier feel unnecessary; the mutual affiliation she has with Newt (Sarsgaard), a pound working animal specialist, are tied up in there somewhere while a sub-plot to do with co-worker Layla's man having an affair known only to Peggy is dropped in for good measure.On the overly positive side, Shannon does well to carry the film; doing so with that look about her face, that expression which constantly suggests a deeper, more unremitting sense of tragedy and pain beneath an exterior which you could be told is one of a joyous person, and yet still be moved to ask questions. She has something going about her alluding to stark emotion just waiting to explode out of her that has, so far, been repressed. Things connect and link up with one another uneasily in Year of the Dog, and the electricity is only sporadic in its arriving to the forefront; the idea of the grief and confusion born out of the death of a pet not working quite so well as other ideas did in the aforementioned examples, but making for a film straddling a line between blackly comedic urban drama and a flat-out tragedy asking us to just break down at get seriously upset. Over it looms the ghost of Jeunet's 2001 film Amélie, and while at times its politically imbued content gets the better of it, often forcing it to come across as a Vegan convert video or a self-aware animal rights promotional film, it holds up its end neatly enough.