We Bought a Zoo

A film that's not afraid to deliberately move you, yet is perfectly optimistic and intentionally smiling with every thought and plot point. The whole group of teenagers, children, dedicated caretakers, and gazing animals could easily crumble into a meaningless family mess. But Cameron Crowe proves that he still has a firm hand in calming down turbulent emotions. A film for everyone. Literally. (04/04/2012)

Today’s American genre movies apparently know only two extremes: either complete rejection of certainties and questioning of basic existential values or a safe escape into an idealised fairy-tale world. Cameron Crowe’s new film falls into the latter group with such irresistible guilelessness that I feel ashamed to criticise it for its naïveté. Since I ultimately didn’t get the good feeling that the film ceaselessly pushes on viewers, I’m not rating it higher, but in the same breath, I can recommend that you give We Bought a Zoo a chance, as it can be touching, depending on your state of mind at the moment. It’s solidly directed and offers tasteful humour, even when it comes to the animals. ___ Though the film doesn’t try to hide its affiliation with the Christmas family comedy category (American premiere date: 23 December), it also doesn’t manage to exploit it in any clever way. It is simply an intentionally nice film and nothing more. The type-casting of the characters is flawless; there is no risk that someone would deviate from the clearly defined course. Radical, though of course temporary, deviations are allowed either in the context of the acknowledged game (MacCready) or to confirm the absolute success of the main characters (Ferris). There are no negative characters that could be taken seriously. To be precise, the creepy inspector is a caricature like something out of a children’s book. Like the film’s cast of animals, he serves only for comic situations that alleviate the mourning for the dead wife and the search for a way back to people. The only effort at more sophisticated involvement of the ever-present animals in the central plot is the impassioned (even by the standards that the film sets) episode with the dying tiger. Otherwise, the animals only a) generate grotesque humour or b) try to convince us that it’s natural for them to be locked up in cages. Thomas Haden Church managed to make the most of his thankless role and, unlike Damon, he can deliver his great pearls of wisdom with a light sense of detached humour. The film otherwise falls desperately short. ___ The “fine” mood spiked with rising intensity towards the end (thanks especially to Elle Fanning) made me wonder if that was an intentional change of stylisation on Crowe’s part, resulting in a very clever practical joke. But probably not. 55% (04/11/2012)

If I had the opportunity and the necessary funds, I would also like to own a zoo. After watching this relaxing film, this is doubly true. While it's full of clichés and perhaps overly saccharine, I actually expect all of that from a family movie for animal lovers, so I don't have the slightest problem with it. On the contrary, I was happy to be moved by the sweet story presented to me by mostly likable actors. The film also features great music. (85%) (06/22/2021)

A completely professionally made film (perfect editing, amazing cinematography, breathtaking sets...), which thanks to its "soft drink" script manages to attack the viewer's emotions quite indiscriminately at some moments. Fortunately, the whole thing actually feels on the whole quite natural and civil (mainly thanks to the excellent cast), and therefore there is no need to wonder if Cameron Crowe is just forcing your emotions or if the characters are so wonderfully written and acted that you just believe them all. What’s more, the story itself is so beautifully human that perhaps it must ultimately soften even otherwise purely cynical hearts. The ending is so very moving it's almost unwelcome :))) (10/28/2013)

A a barrage of positivity that relies on the typical trademarks that Cameron Crowe sprinkles into each of his films: strong characters that you can't help but sympathize with, some sparkle between main characters, a common goal to work towards, a dash of emotions and personal attitudes that need to be changed, all adding to one of the film of the year. Crowe hasn't overstretched himself this time around, and made a modest, intimate film that is emotionally transparent and relatable, even though it's actually woefully unoriginal and ordinary. But even fleshing out the characters and dialogue and adding a catchy soundtrack is quite a feat in a production like this. The last scene is awesome. (04/20/2016)