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When the newly-crowned Queen Elsa accidentally uses her power to turn things into ice to curse her home in infinite winter, her sister Anna teams up with a mountain man, his playful reindeer, and a snowman to change the weather condition.
So Charley does what a lot of kids might do in that situation: He runs away with the animal, blazing a trail towards Canada in search of the aunt he hasn’t seen in years.So when he sits on the porch of his rundown Portland house, holds out a wad of cash, and apologizes to his towheaded teenage son that he only has to spare, it’s easy to understand that Ray’s not just talking about the money.It’s not that he’s a bad guy, necessarily, he’s just weak. He loves Charley (Charlie Plummer), and he’s raised the kid by himself after his ex-wife skipped out on them both, but he can’t hold down on a job to save his life, and he seems to have burned down every bridge he’s ever crossed.Entranced by all the pretty horses, he catches the attention of surly trainer Del Montgomery (Steve Buscemi), who offers to throw him a few bucks for some help at a race a few towns over.They seem like a classic pair of unlikely friends — the beaten-down hustler and the kind-hearted kid — but Del never softens.Each scene is so quietly compelling because Haigh doesn’t focus on cruelty, but helplessness — instead of dwelling on the fact that so many people fail to rescue a distressed teenage kid, he hones in on that low tide feeling of letting let a moment of compassion slip through your fingers.
The residue of these discrete scenes accumulate into an undeniable force as the film drifts towards its finish, Haigh mining a rich and profoundly human sense of regret from the unrealized potential that lingers in the air between Charley and the strangers who can’t save him.
On the trip, they discover that Manny, in fact, is not the last of the woolly mammoths.
While Gru, the ex-supervillain is adjusting to family life and an attempted honest living in the jam business, a secret Arctic laboratory is stolen.
It’s the difference between a grand adventure and just getting lost.
There’s no stirring music, no opportunities for Pete to do anything especially cute.
Essentially “My Life as a Horse” (or “Pete’s Horse,” to riff on a more recent touchstone), Haigh’s unhurried movie meanders its way up north in episodic fashion, the director watching from a distance as Charley and Pete move from one encounter to the next.