RETALE

The main dolphin in the Dolphin Tale movies is tail-less. An injured bottlenose rescued in Florida, “Winter” was given a prosthetic tail which corrected her swimming motion, and became a star at the Clearwater Marine Aquarium. She played herself in 2011’s Dolphin Tale, a heavily fictionalized account of her life.

Winter’s back in Dolphin Tale 2, bereaved after the death, of old age, of a beloved tankmate. We’re shown how she bonds with a new foundling, an adorable baby bottlenose named Hope. Much of the movie’s focus, however, is on Sawyer (Nathan Gamble), the teen kid who found Winter in Part One, and his pal Hazel (Cozi Zuehlsdorff), the daughter of CMA’s founder (Harry Connick, Jr.).

These are pleasant enough kids, and some name players return to pick up a check as well—along with Connick, there’s Ashley Judd as Sawyer’s Mom, Kris Kristofferson as Connick’s Dad, and a smiling Morgan Freeman as the prosthetic designer, absolutely failing to convince us that he’s a curmudgeon. Surfer Bethany Hamilton, who lost an arm to a shark in 2003 and thus presumably feels some commonality with Winter, appears briefly as herself. Writer-director Charles Martin Smith turns up onscreen as well, as a cetological bureaucrat, and it’s nice to see him returning to his former, highly useful career as a character actor.

But for the kids in the audience, of course, the real stars of Dolphin Tale 2 are the animals—not just Winter and Hope but also a sea turtle and a comic-relief pelican. Smith could perhaps have used more of these creatures and less of the teen drama stuff, but he keeps things light and colorful, and at the end we’re shown real video footage of some of the rescues and releases depicted in the movie, seemingly just to quiet any suspicions we may have that this Tale is tall.

REPORPOISING

“From the studio and producers of The Blind Side.” That’s how Dolphin Tale is being marketed. This may strike you as a tenuous aesthetic connection, but it’s savvy advertising—Dolphin Tale, loosely based on true events, is another story of a wounded foundling becoming a star.

The young dolphin in question is injured when she runs afoul of a crab trap. She’s rescued & taken in by Clearwater Marine Aquarium in Florida, & her damaged tail is amputated soon after. Given the name Winter, the creature learns to swim by moving her rear stump left-right instead of up-down, & it turns out that this technique endangers her life by improperly building up the muscles around her spine.

How Winter got her groove back is, in a highly fictionalized form, the subject of Dolphin Tale. In the movie’s account, a lonely fatherless boy, Sawyer (Nathan Gamble), ditches summer school to hang out at the Aquarium with Hazel (Cozi Zuehlsdorff), daughter of the widowed Dr. Haskell (Harry Connick, Jr.) the vet in charge of Winter’s case. When Sawyer’s Mom (Ashley Judd) finds out about the ditching, she’s furious at first, but the charm of the aquarium & her son’s passion for his newfound interest breaks her down.

There’s talk of putting both Winter & the cash-strapped aquarium to sleep. But while visiting his war-wounded cousin at a Vet’s hospital, Sawyer meets Dr. McCarthy (Morgan Freeman), a designer of prosthetic limbs, & somehow talks him into attempting to craft a new stern for Winter. Getting the mammal (who Dr. McCarthy persists in referring to as a “fish”) to accept the uncomfortable appliance is a struggle.

Directed by character actor Charles Martin Smith, Dolphin Tale is a brightly-colored, slick piece of moviemaking, with corny humor & carefully engineered moments of uplift. The cast is big-name & talented—along with Judd, Freeman & Connick are Kris Kristofferson, Frances Sternhagen, Ray McKinnon & even Richard Libertini in a bit—but overall, the actors seem to be on autopilot. Freeman has a line or two that seems meant to suggest that the Doc is an eccentric curmudgeon, but you’d never know it from the performance. He just smiles amiably & cruises on through. He’s always pleasant company, but this isn’t a rich character.

It’s a shame that the filmmakers didn’t try to dramatize, beyond the most general terms, the technical challenges of the tail-making project—Apollo 13 showed that such details can be absorbing. But the thing is, Dolphin Tale is about the attempt to build an amputee dolphin a working tail. If you can’t emotionally invest a little in a quixotic effort like that, regardless of the movie’s gravitas or even, really, of its implications, you’re tougher than I.