Amy is only 13 years old when her mother is killed in an auto wreck in New Zealand. She goes to Canada to live with her father, an eccentric inventor whom she barely knows. Amy is miserable in her new life...that is until she discovers a nest of goose eggs that were abandoned when developers began tearing up a local forest. The eggs hatch and Amy becomes "Mama Goose". The young birds must fly south for the winter, but who will lead them there? With a pair of ultralight airplanes, Amy, her dad and their friends must find a way to do it... Written by
Martin Lewison <firstname.lastname@example.org>
The song "10,000 Miles" is originally an 18th Century folk ballad. It was recorded by Mary Chapin Carpenter specifically for this movie, and was subsequently released on her CD "Party Doll and Other Favorites" (1999) See more »
When Amy and Thomas are flying through the Baltimore skyline, the buildings are too tall to be any of the Baltimore skyscrapers (it's Toronto). See more »
This is poetic, emotional, breathtaking film-making blessed with a truly inspiring Mark Isham score. The theme song, "10,000 Miles", is achingly beautiful and is first used with intuitive irony over the film's opening credit sequence.
Anna Paquin is the little girl who, with her father, Jeff Daniels, "imprints" with a flock of young geese and leads them, via homemade aircraft, to a new home thousands of miles away.
The flight sequences, which combine real flying with computer-assisted imagery over rivers, pastures and cityscapes, are flawless. They capture the awe and staggering thrill of flight without ever resorting to unnecessary, contrived stuntwork.
Daniels, not a regular face on the silver screen these days, is natural and likable as Paquin's eccentric father while Paquin once again demonstrates what a brilliant talent she is.
The narrative builds to an exciting conclusion as the film's environmental theme is amplified.
Director Ballard, who also made the striking BLACK STALLION and the stark NEVER CRY WOLF, brings acute visual economy to every scene and never allows the film's underlying theme to become preachy.
Caleb Deschanel, the film's cinematographer, gives us flawless images that frequently drop the jaw.
A major achievement in a minor key.
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