Film Name: 恐龙当家 / The Good Dinosaur
If dinosaurs hadn’t gone extinct, this seemingly intriguing premise unfolds into a rather dull “human-pet” coming-of-age story. Except the talking ‘human’ is a dinosaur, and the crawling “pet” is a little ape-man.
The film fixates excessively on depicting realistic settings, touting its high level of realism and cutting-edge technology. But that’s not what we watch animation for. We want to feel that when Little Thunderfoot imprints his footprint on the rock, he’s truly accomplished something remarkable. But what exactly is this remarkable achievement? Merely overcoming his inner fears to return home from afar?
In the film, dinosaurs appear to have a relatively advanced agricultural civilization, understanding how to till the land, sow seeds, irrigate crops, and store food. Meanwhile, humans remain stuck in a primitive stage of gathering wild fruits and hunting. However, the coexistence of dinosaurs and hominids clearly hasn’t pushed the “What if dinosaurs hadn’t gone extinct?” premise to its logical extreme. We’re far more eager to see what happens next: how humans survive on a planet dominated by dinosaurs, and how dinosaurs cope with the rapidly evolving human brain. A story set in the future is far more captivating than one set in the past. After all, if we’ve already reimagined the past, why not reimagine the future as well?
In elementary biology class, our teacher said dinosaurs once ruled the Earth. Doraemon showed me Nobita encountering all manner of dinosaurs upon arriving in the prehistoric world. Perhaps these preconceived notions are too ingrained—why then does the world of The Good Dinosaur fail to convey the overwhelming dominance of dinosaurs on Earth? There’s no diversity in dinosaur individuals, no dinosaur communities—just one or two families, five or six dinosaurs roaming about. Is this what an Earth where dinosaurs didn’t go extinct looks like? For someone who wanted to see the vast world of dinosaurs, watching a dinosaur-themed movie with only five Brachiosaurus and three Tyrannosaurus rexes is honestly less exciting than looking at the dinosaur toys on my bookshelf.
The film’s biggest flaw lies in the forced necessity of its protagonist being a dinosaur—specifically a small green pteranodon—which feels as flimsy as the thread holding a kite aloft. The ants in “A Bug’s Life” are far better suited to the theme of growth, as overcoming any adversary represents a monumental challenge for creatures so small and positioned at the bottom of the animal food chain. Yet no matter how small, a Brachiosaurus remains a dinosaur. The film awkwardly imposes challenges reminiscent of flying dragons, creating an unnatural fit—especially given these trials involve death, biting, and devouring, unsuitable for young audiences. As for challenges from nature or inner struggles, these are clichés applicable anywhere.
The film does have its shining moments, particularly the emotionally charged scene where the Brontosaurus bids farewell to the ape child, Dian Dian. Watching Dian Dian enter a new family—a pair of parents with two children, where Dian Dian is also the youngest—brings back memories of its own home. Its eyes reflect reluctance to part with Dian Dian, blessings for Dian Dian, and even a touch of envy. This complex mix of emotions sparks deep reflection in viewers. On one hand, they wish Dian Dian and the thunder dragon could remain lifelong companions. On the other, they hope Dian Dian finds a home of his own. This internal conflict ultimately creates a tear-jerking, emotionally resonant moment.
In contrast, the film’s portrayal of the father’s death feels textbook-stiff and formulaic, lacking genuine emotional weight.
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