In spite of the undeniable charm that exists in Robert Connolly’s endearing comedy Paper Planes, it shares an unfortunate similarity to its subject. Because, much like a paper plane, this production soars elegantly in the early stages, but ultimately loses it’s way and ends up in a crumpled heap on the ground. Though there are plenty of positives to be taken away, the film never truly leads anywhere, as the audience are fed too much early on, then not leaving us much space to progress, as the cards are all laid out on the table before we’ve even had the chance to sit down.
Ed Oxenbould plays Dylan, a youngster who appreciates the small things in life. While his peers at school are playing on their smart phones, he’s more interested in paper planes – so needless to say he’s somewhat overjoyed when his school propose the idea of entering in to a competition. His past experience – which his late mother had taught him – serves him well, as he soars from one round to the next, eventually taking him to the world championships in Tokyo. The one person he’s finding most difficult to impress, however, is his father, Jack (Sam Worthington), who is struggling to overcome the passing of his wife. That doesn’t stop Dylan though, who becomes hellbent on defeating his conceited adversary Jason (Nicholas Bakopoulos-Cooke), and impressing fellow competitor, Kimi (Ena Imai).
There’s something to ineffably charming about this little number, thriving off this simplistic narrative – as Connolly affectionately abides by the conventions and tropes of the competition genre, as we watch our protagonist fight his way to the top. But it’s the message it preachers – this blissful innocence of youth that is in need of recapturing, showing how much fun can be had with something so pure, this instinctive and playful inclination we have at that age to just create. Paper Planes revels in this notion, it’s all so rudimental. It’s also unashamedly good humoured, with a droll wit implemented throughout which will no doubt please the older members of the audience (though it’s the youngster Julian Dennison, who plays Dylan’s classmate Kevin who has the majority of the best one-liners, showing off a real aptitude for comic timing).
Talking of which, this picture is as much about Jack as it is his son, allowing for this to appeal to both demographics. In fact, the father-son relationship is remarkably well-judged and the poignant aspects that derive from the mother’s death are crafted in an emotional way, as we move effortlessly between comedy and pathos. The performances from the leading two help enormously in this regard, with Oxenbould in particular the star of the show. He’s so self-aware, and similarly to his turn in Alexander and the Terrible, Horrible, No Good, Very Bad Day, it’s a very knowing performance, as you almost expect him to give a wry look to camera on occasion, as he again makes for a likeable, accessible entry point.
Worthington is impressive too, not dumbing down because of the target audience or nature of the project. It’s praise that was also given to Rafe Spall for his work Get Santa – though it’s another of the latter’s recent projects, X+Y, which this shares most in common with – with a similarity not only in the narrative structure, but of the themes explored. But above all, you know a director has done a mighty fine job when he has you caring about a piece of paper. Fair play.
