A Boy and His Dog

1975

Action / Comedy / Drama / Sci-Fi / Thriller

15
Rotten Tomatoes Critics - Certified Fresh 78% · 36 reviews
Rotten Tomatoes Audience - Upright 63% · 10K ratings
IMDb Rating 6.4/10 10 19092 19.1K

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Plot summary

Set in the year 2024 in post-apocalyptic America, 18-year old Vic and his telepathic dog, Blood, are scavengers in the desolate wilderness ravaged by World War IV, where survivors must battle for food and shelter in the desert-like wasteland. Vic and Blood eke out a meager existence, foraging for food and fighting gangs of cutthroats.


Uploaded by: OTTO
August 11, 2013 at 09:56 PM

Director

Top cast

Don Johnson as Vic
Susanne Benton as Quilla June Holmes
Jason Robards as Lou Craddock
Tim McIntire as Blood
720p.BLU 1080p.BLU
702.48 MB
1280*720
English 2.0
NR
23.976 fps
1 hr 31 min
Seeds 4
1.24 GB
1920*1080
English 2.0
NR
23.976 fps
1 hr 31 min
Seeds 32

Movie Reviews

Reviewed by GOWBTW 9 / 10

A silly farce of the Apocalypse

Walking the wastelands of America is a bleak future. The only thing for a companion is a dog, man's best friend. True to meaning. Only here, that man's best friend may be his only best friend. Vic(Don Johnson) and Blood combs the wastelands for food, but Vic wants a woman to have sex with. And the last woman he saw was cut up. Vic is an orphaned teen with no education scour the wastelands for survival, Blood is a telepathic canine who can find food for both he and Vic, and can sense a woman in ways Vic can't. When they find a woman for sex, he would later go to a secret underground world which is decent in one way, but nightmarish in another. The nightmare part is slightly artificial in repopulating the community. Goes to shows that he's much happier up there than here. This science fiction movie is more cheese than scifi. A lot of comedy in in. I like it still. No need for cut downs. Don Johnson would go on to make bigger hits. This is good for the buffs. 3.5 out of 5 stars

Reviewed by Woodyanders 9 / 10

A rather kinky and very quirky tale of post-nuke survival

2024. Rather dim-witted and impetuous, but loyal teenage boy Vic (a sturdy and credible portrayal by a pre-fame Don Johnson) and his much smarter telepathic dog Blood (sharply voiced with fierce caustic aplomb by Tim McIntire, who also composed the folksy score) depend on each other to find food and females in a hostile post-apocalyptic wasteland. Complications ensue after Vic meets and falls for the seductive, yet conniving and deceitful Quilla June (a nicely charming performance by Susanne Benton), who convinces Vic to venture underground where a bizarre community that replicates vintage Topeka (!) require Vic's virility to impregnate their women.

Writer/director L.Q. Jones, adapting Harlan Ellison's classic novella, offers a truly odd, but ingenious and inspired blend of stark savagery and biting satire that has a marvelously off-kilter vibe which in turn gives this movie its own highly distinctive idiosyncratic identity. Moreover, Jones does a masterful job of creating and presenting a harsh and darkly amoral world populated by a rich assortment of nasty and grotesque people.

Without a doubt this film's key triumph is the often perversely funny and sometimes strangely moving central relationship between Vic and Blood that slyly subverts the special bond between a boy and his dog in which it's painfully clear that the more cunning and sarcastic canine is calling the shots for the subservient and stupidly impulsive kid (in essence, Blood's the brain to Vic's brawn). Jason Robards, Helene Winston, and Alvy Moore are wickedly amusing as the serenely strict committee who run the stifling subterranean conformist society, Ron Feinberg contributes a memorably ferocious turn as the brutish Fellini, and Tiger does excellent work as Blood. As for that infamous uncompromisingly nihilistic ending, let's just say that it packs one hell of a deliciously vicious punch. Wholly deserving of its stellar cult status.

Reviewed by funkyfry 8 / 10

unique sci-fi

Surely those who were looking for nothing more than what Hollywood usually delivers when they invoke the words "science fiction" were disappointed, because this movie resembles the usual horror or action film masquerading as sci-fi very little. Its source material is a novella by Harlan Ellison, a writer who's recognized by many in the sci-fi community as a master on the same playing field of "psychological sci-fi" as Ray Bradbury and Philip K. Dick. From Ellison we get a very dark tale about a strangely human dog and his boy. They live in a post-apocalyptic wasteland where Phoenix Arizona used to be, and hunt women and food with the same predatory zeal. But when Vic (or as the dog calls him, Albert) is lured into a surreal society living in a large bomb shelter, their friendship is threatened and Vic is almost forced to become a sort of sexual machine for the good of the State.

Just to run through some of the aspects of the film that I enjoyed, I really liked Tim McIntire's voice work as the dog, perfectly crisp like a cranky old man. How exactly the dog knows so much or is able to speak to Vic is never really explained, but I think there's a clue in that Lou (Jason Robards, Jr.) believes that Vic has spoken to a dog he encounters in the shelter. That, along with the "Committee's" seeming obsession with recounting facts and figures almanac-style, makes me believe that the dog actually came from the shelter. Perhaps he was sent there to "observe" Vic, as Lou tells him they have been doing for some time, and he rebelled against their control. Like all good sci-fi the idea is vaguely proposed but never explained.

Don Johnson did pretty good work here, I mean it doesn't strike you as all that impressive at first but when you think about the fact that he had to do so many scenes with just this dog as his co-star it's a pretty tough act to pull off as well as he did. Susanne Benton was decent in her role as well. I loved when she tried to sweet-talk the dog, basically the same way that she treated Vic. Vic seems confused about her intentions all the way up to the end, which is excellent -- if he had figured her out completely then the ending would just feel mean-spirited instead of humorous. As it is, it's as if Vic believes he's making a sacrifice but the dog knows better and turns it into a joke. By the way my girlfriend thought the last line was too tacky but I thought it was perfect, it gave narrative closure to the film as well as filling in those who might not have understood the scene with the campfire.

Honestly the only performance I wasn't crazy about was Jason Robards'. There's these great scenes he gets to play with Alvy Moore ("Green Acres") and Helene Winston (great laugh she's got... she didn't make a lot of movies but strangely enough just this week I saw her in Curtis Harrington's "The Killing Kind"). He just has no energy, I guess that's the way he wanted to do it but it's annoying how he kind of mumbles through the dialog and I just didn't feel that the dialog was supposed to be quite that casual. Basically I just did not like the way he decided to play the character, I didn't think it was scary at all. His android assistant, like a twisted American Gothic, is pretty strange though. Plus I never understood why everyone down there was wearing clown makeup. Was it the idea of the forced smile? Anyway, I salute the film because I think it was a brave decision to make it as it is and not to try to turn it into a more conventional thing with romance or too much action. I think I can see some influence from this movie on George Miller's "Road Warrior" (though I was told that he claims he hadn't seen it), and definitely on "Slip Stream" with Mark Hamill from the 80s. But this isn't really the kind of movie that was made to fall into place inside the pantheon of "sci-fi" anyway. It's a closer relative to "Electra-Glide in Blue" and other films of the early 70s that explored the bitter end of "hippie" idealism, the same trend that Hampton Fancher was trying to catch onto when he wrote his first drafts of the film that eventually became "Blade Runner." Frankly I can't remember seeing another sci-fi film that is so close to the feel and ethos of the most transgressive and anti-establishment sci-fi of the 1960s.

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