‘Dog Man’ Is All Bark, Some Bite

Based on Dav Pilkey’s titular graphic novels, “Dog Man” is the animated equivalent of a dog with zoomies — overwhelming, chaotic and fun.

The film’s energy is infectious, bursting with slapstick humor and rapid-fire gags that mirror the free-wheeling spirit of its source material. Embracing the unrefined, childlike charm of Pilkey’s illustrations, “Dog Man” feels like a child’s imagination come to life.

But, it’s far from a perfect adaptation.

When a police officer and his faithful dog are injured in the line of duty, an outlandish, but life-saving surgery fuses the two together. As Dog Man embraces his new identity, he must stop the feline supervillain Petey from conquering the world.

The unproblematic portrayal of the police force in “Dog Man” means it actively reshapes the audience’s perception of police and prison, known as copaganda. The police featured throughout the film are hailed as heroes despite destroying the city.

“Dog Man” opts for celebrity voice acting, though it doesn’t affect the film’s quality. Actors like Isla Fisher (“The Great Gatsby,” “Now You See Me”) and Ricky Gervais (“Night at the Museum,” “Stardust”) play their characters with such charm their identities are nearly unnoticeable.

The first act of “Dog Man” zooms by, leaving his origin story underdeveloped. At an 89-minute runtime, little time is spent focusing on Dog Man’s relationship with his owner, Officer Knight, whose fleeting presence and early death end up having an ineffective impact.

While Dog Man’s origin is lifted from the first book, the film primarily adapts the third novel, “Dog Man: A Tale of Two Kitties,” in which Petey creates a younger, kinder clone of himself named Li’l Petey. 

The young cat emerges as the film’s true focal point, representing generational trauma through his relationship with Petey and Dog Man — both suffering from the loss of their respective father figures.

The remaining film blends plot points from the first, second and third novels, making “Dog Man” feel overwhelming.

A more blunt, cohesive plot would have benefited the film, which at times feels disorganized. And yet, the chaotic atmosphere is seemingly the point.

From reanimating the dead to a custody battle over L’il Petey, at any moment it’s unclear where the film will go next. The varying subplots are crucial though, culminating together in an overstuffed finale.

Like Pilkey’s other series, “Captain Underpants,” “Dog Man” is an in-universe comic series written by elementary students George and Harold — though any mention of this backstory is brief.

Instead, its simple art style and saturated colors convey a homemade aesthetic, while the mispronunciation of larger words pays homage to the children’s immaturity.

Another unique, yet welcome choice was keeping the titular Dog Man silent. It’s rare for a children’s film to have a completely mute protagonist, but the brash performances from supporting characters compensate for it.

Lil Rel Howery’s portrayal of Dog Man’s police chief, Chief, is especially noisy, shouting a majority of his lines for no real reason. Pete Davidson as Petey is one of few performances to balance the abrasive comedy with subtle moments.

This delivery is what makes Petey and L’il Petey’s dynamic so compelling. Petey’s struggle to care for a child is both comedic and poignant as he gradually learns to be the father he never had.

This blend of heart and humor extends to the film’s overall tone. “Dog Man” is highly self-aware, breaking the fourth wall to mock its own absurdity. When it’s not relying on loud humor for comedic effect, the movie surprisingly balances jokes for both children and adults with tact.

While it stumbles at times, “Dog Man” makes for a thrilling and heartwarming mixture of the original book trilogy and captures the spirit of Pilkey’s unhinged series.

“Dog Man” is in theaters now.