Dreamer: Inspired by a True Story" is neither inspired nor a true story. Maybe a filly once made a comeback from a broken leg, and maybe a horse once helped pull a family back together. But this DreamWorks Pictures release recycles just about every sentimental ploy and cliche from a raft of horse racing movies. The film is aimed directly at a family audience, and by unashamedly going for one crowd-pleasing moment after another, it might reach that audience. Having Hollywood's Sweetheart, Dakota Fanning, onboard will help.
Screenwriter John Gatins ("Varsity Blues," "Coach Carter") makes his directing debut with his own script about a little girl with a big dream of seeing her horse win a major stakes race. The film traffics in a ready-made villain, a courageous mare, popsicles and sweets -- for the girl and the horse -- and a father who finally "gets back in the game" of horse racing.
The Cranes, Ben (Kurt Russell) and Lilly (Elisabeth Shue), are getting torn apart by financial difficulties on the family horse farm. Ben's dad, Pop (Kris Kristofferson), sulks in a nearby house, having sold off most of the property to pare down mounting debts.
When Cale Crane (Fanning) sees one of her favorite horses take a tumble and break a leg in a race, Ben, who works as a trainer, lacks the heart to put the filly down in front of his daughter. Impulsively, he tells off his boss (David Morse), thereby costing him his job, and takes the injured horse in partial payment of salary owed.
His idea, when he comes to his senses the next day, is to get the horse back on her feet and, because her lineage is royal, mate her with a champion thoroughbred to produce a colt that could net as much as $300,000.
Did we mention the horse's name, Sonador, means "dreamer"?
Adults and even most children can pretty much guess the plot trajectory from here. Of course, Sonador will heal and race again. Of course, the stable hand (Freddy Rodriguez) who dreams of riding a winner will climb aboard Sonador. Of course, the cash-strapped family will miraculously find the six-figure sum needed for entry fees.
The movie achieves moments of genuine affection between daughter and father, thanks to the two actors. Fanning manages the feat of possessing real acting chops and the ability to turn on the charm without cloying mannerisms. Russell and Kristofferson play against this as crusty, often-frustrated men bemused by the youngster.
Shue doesn't have enough to do as the good-hearted backbone of the family. And it's a wasted opportunity not to let the talented Morse at least try to give dimension and shadings to a cardboard villain.
Locations in Kentucky and Louisiana, ably lit and lensed by Fred Murphy, offer a bucolic setting to relax some audience qualms over the formulaic story.
And John Debney's melodic score might lull others into dreams of that old Kentucky home we all have in our imaginations.
