Caleb Landry Jones’ Lackluster Performance in ‘Dogman’

Caleb Landry Jones disappoints in the crime drama ‘Dogman’ with a weak script and direction that fail to showcase his talent.

Caleb Landry Jones’ Lackluster Performance in ‘Dogman’

Caleb Landry Jones, known for his notable roles in ‘Nitram’ and ‘Get Out,’ delivers a lackluster performance in the crime drama ‘Dogman.’ Despite his undeniable talent, Jones struggles to elevate the weak script and direction in this film. His portrayal of Doug, a disabled dog shelter owner and amateur drag performer, fails to captivate the audience, leaving them unimpressed by his exaggerated gestures and forced dialogue.

( Credit to: Rogerebert )

In ‘Dogman,’ writer/director Luc Besson encourages Jones to take bold risks with his performance. However, these attempts fall flat as Doug, the character Jones portrays, lacks depth and fails to engage the viewer. Despite Doug’s intriguing backstory as a misunderstood underdog, Besson and Jones fail to develop the character into a compelling study. Jones’s usual intensity and brooding looks, which have worked well in smaller roles, do not translate effectively to the lead role of Doug.

The dialogue in ‘Dogman’ often feels forced and unconvincing, hindering Jones’s ability to bring his character to life. The scenes between Doug and the police psychiatrist, Dr. Evelyn Decker (played by Jojo T. Gibbs), suffer from over-editing and choppy transitions. Evelyn’s role primarily serves as a platform for Doug’s self-pitying observations, further diminishing the impact of Jones’s performance.

The film takes detours into the cabaret night club world of drag, but these scenes lack the energy and excitement typically associated with the genre. The build-up to these moments feels flat and uninspired, leaving the audience wanting more. Doug’s attempts to captivate with his drag performances, including lip-syncing to Edith Piaf’s ‘La Foule,’ come across as campy and forced, failing to evoke the desired response from viewers.

‘Dogman’ introduces several subplots involving human antagonists and potential threats to Doug’s dog shelter. However, these subplots add little depth to the story or the character of Doug. Characters like the insurance claims adjuster Ackerman (Christopher Denham) and the Mexican gangbanger El Verdugo (John Carlos Aguilar) merely serve as vehicles for Doug’s self-isolation and loneliness, aspects that Jones’s performance already conveys effectively.

Ironically, casting Caleb Landry Jones as Doug turns out to be a misstep in ‘Dogman.’ Besson’s direction and the underdeveloped script do not provide Jones with the necessary opportunities to showcase his talent. Jones’s exaggerated acting style and constant awareness of being on camera detract from the authenticity of his performance. Even in Doug’s drag scenes, where Jones should shine, his campy portrayal feels forced and disconnected.

Despite Caleb Landry Jones’s undeniable talent, his performance in ‘Dogman’ fails to impress due to weak writing and direction. Jones’s exaggerated acting style, combined with the underdeveloped character of Doug, leaves the audience disconnected and unengaged. Luc Besson’s campy sensibilities do not complement Jones’s skills, resulting in a missed opportunity for both the actor and the film.