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>
Amy's fake nose ring was Anna Paquin's attempt at being humorously rebellious, to see what the crew would say if she had pierced her nose mid-shoot. She found the fake ring in a 'neat junky jewelry store' in Toronto, and got it for free. To her disappointment, her attempt at being rebellious was well-received, as Carroll Ballard decided to use the nose-ring gag in the film as well. See more »
Although a radar (like the ASR-7 shown at the Air Force Base) can hypothetically detect a flock of birds and an ultralight, it's unlikely. Their low reflectivity and slow ground speed (the support boat said they were going 21 knots, about 25 mph), the radar would "reject" the returns as clutter. 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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