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Hounddog (2008)
Tomatometer
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Reviews Counted:50
Fresh:8
Rotten:42
Average Rating:3.7/10
Consensus: Despite a noble effort from Dakota Fanning, Hounddog is overwrought, cliche-ridden and downright exploitative.
Runtime: 1 hr 33 mins
Genre: Dramas
Synopsis: HOUNDDOG is writer-director Deborah Kampmeier's controversial story of lost innocence set in rural Alabama in the 1950s. Heavy with the dank, rustic hues of the South, the film is a powerfully... HOUNDDOG is writer-director Deborah Kampmeier's controversial story of lost innocence set in rural Alabama in the 1950s. Heavy with the dank, rustic hues of the South, the film is a powerfully vivid and imagistic portrayal of the power of music to overcome the greatest of obstacles. The superbly accomplished child star Dakota Fanning turns in the performance of her career as Lewellen, a tomboy who finds escape from her life with a sternly religious grandmother (Piper Laurie) and a brutish, alcoholic father (David Morse) with her dreams of singing with her idol, Elvis Presley. Lewellen's best friend, Buddy (Cody Hanford), reveals that Elvis will be performing in their town, and the pair scheme to see the show. Before long, Lewellen's guileless impersonations of Elvis's provocative, hip-swiveling "Hounddog" become misconstrued, and she becomes a victim of the lecherous advances of an older teen with promises of a concert ticket. While HOUNDDOG occasionally gets heavy-handed with Biblical allusions--snakes and torrential rains appear repeatedly in the film--the story is, ultimately, a redemptive one; the performances--especially Fanning's--are believable and serve the story well. And thanks to the gentle guidance of a local medicine man (Afemo Omilami), our young protagonist learns that the rock & roll she loves has deep roots in the blues, and like all great blues music, comes out of overcoming the deep sorrow of life's tribulations. [More]
Starring: Dakota Fanning, Robin Wright Penn, David Morse, Piper Laurie
Starring: Dakota Fanning, Robin Wright Penn, David Morse, Piper Laurie, Jill Scott, Afemo Omilami, Cody Hanford
Director: Deborah Kampmeier
Director: Deborah Kampmeier
Screenwriter: Deborah Kampmeier
Producer: Deborah Kampmeier, Jen Gatien, Scott Franklin, Terry Leonard, Lawrence Robbins
Studio: Empire Pictures
Reviews for Hounddog
The whole distasteful mess is sunk up to its neck in a brew of Southern Gothic atmosphere and hocus-pocus sentimentality.
Hounddog boasts a distinctive wood-and-emerald look and several crackerjack performances.
...as discomfiting as you've heard, yet there is one moment near the end that nearly saves it.
Fanning resembles an acting robot: stick a quarter in her head and she'll dial up any reaction in the book, absent the needed gravitas.
We're seeing Fanning in soaking wet white underwear playing in the river, gyrating like Elvis. That's worse that an exploitative rape scene. This is just the filmmakers deciding to depict salacious behavior.
If there's a Southern-gothic cliché (oh, those snakes!) that writer-director Deborah Kampmeier misses, I don't know it.
A slow procession of degradation and suffering, Hounddog is like a tall glass of bitter iced tea.
It's hard to take this wild mixture of sledgehammer symbolism, period Southern Gothic, race-conscious uplift and cautionary coming-of-age parable seriously, despite Fanning's remarkable poise.
The only lesson is that if you're a child of the south, you better get yourself adopted by Yankees.
A handsomely produced but unintentionally risible film that mistakes high grotesquerie for high gothic.
Kampmeier takes everything from the Flannery O'Connor school of Southern Gothic, tosses in cringe-worthy dialogue, and throws in not one but two horrible archetypes for good measure.
Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.
The problems that plague the movie land squarely with the writer, director and producer, Deborah Kampmeier, who has crafted a howler of a bad script, shows little affinity for working with actors and displays no visual sense behind the camera.
A bewildering slice of southern gothic hokum, it suffers from a weak script, proving that old saw about actors being only as good as the lines they're given.
Instead of embracing its pulpy nature, it aims for seriousness, then gives us cornpone performances, a lightning bolt that triggers a tractor's ejector seat, and a simple-minded view of saintly black folk who possess a dangerous blues.
The rape scene is disturbing, but it's not as surprising as the movie's unreconstructed racial attitudes or its deadpan cartoon portrayal of the lightning-struck, rattlesnake-bit, tick-infested white-trash denizens of the humid 1950s Deep South.
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