Simon Wincer

  • D.A.R.Y.L. (1985)

    (Second Viewing, In French, On Cable TV, July 2022) Hey, I’m old enough to remember seeing D.A.R.Y.L. not just in the late 1980s, but watching it in grade school! The film was considered innocuous and fun enough to show to kids, I guess. Revisiting the film much later does offer a few surprises. In some ways, the film is intensely formulaic—the moment you have a kids-who’s-really-a-robot, and have him be brought back in government custody after a first act free to live in normal suburban America, there’s not much doubt what will happen next. But D.A.R.Y.L. occasionally goes beyond the strict minimum in ensuring decent thrills for its younger target audience. The opening car chase is surprisingly well done for a kid’s film, and using the SR-71 plane as an element of the climax is still something that gets me smiling. The rest of director Simon Wincer’s film, however, is both overly familiar and weirdly written—the usual mix of military super-soldier research, middle-class moral values, cute gags that raise questions that the film isn’t interested in answering, and some tragic moments sandwiched in between the rest. Plus, a lot of wildly convoluted material that feels about as natural as the title acronym (“Data-Analyzing Robotic Youth Lifeform”… yeah). The release of the film predating the introduction of the PG-13 rating means that the film often feels a bit older than its stated PG rating (plus the more freewheeling 1980s factor). Still, it’s not occasional quirks and moments that prevent D.A.R.Y.L. from remaining, even today, a rather innocuous pick for any pre-teen.

  • Free Willy (1993)

    Free Willy (1993)

    (In French, On TV, August 2019) I can guarantee you that anyone who was alive and watching TV back in 1993 can tell you all about Free Willy’s climax: Reprinted in posters, every single trailer and most TV reviews of the film is the Big Shot of the film: An Orca jumping over a barrier on its way to freedom. That’s … pretty much the entire film. Marketing strategies for family films do not rely on surprise: they inform parents precisely of what they’re likely to get at the end of the film’s duration, so it’s not as bad as you’d think to reassure everyone, young or not so young, that the Willy will be freed at the end. (Which reminds me of the other reason why the film is still remembered: an endless decades-long snickering over the film’s title.)  For anyone with higher critical standards, director Simon Wincer’s Free Willy is not all that pleasant to watch: clearly aimed at the younger set, it sports a stock teenage protagonist, a cute animal sidekick, cartoonish villains and almost exactly the plot that can be deduced from the poster. It’s executed decently enough for its target audience, but does not hold any surprises or interest to anyone outside of it. Made of that what you will—Free Willy remains a movie made for a very specific audience.