Valur Gunnarsson skrifar um Lóa – þú flýgur aldrei einn í Reykjavik Grapevine og segir hana takast það markmið sitt að skemmta krökkunum.
There is an entertaining scene where the kría, or artic tern, a very annoying fowl which protects not only its own young but by extension also those of other species by pecking anyone who comes to close, finally puts it skills to good use. The death toll is actually quite high in these opening scenes, reminding us that life in nature often is brutish and short. Suffice to say that our Ploey gets left behind and has to struggle to survive the Icelandic winter on his own.
The story is functional, but the films main strength comes from its setting. Just as Frozen recreated northern Norway, if somewhat mythologically, we here get to meet almost all the mammals native to Iceland. There is a sheep (obviously), a mink, a mouse and even a reindeer. One of the main characters is a ptarmigan, a traditional Christmas dish, but here the tables are turned somewhat as the bird in full winter camouflage collects shotgun shells to us against the poor, unarmed (well, apart from the razor-claws) Valur.
The film could do with a few more Easter eggs for the adults, but we do get a Casper David Friedrich painting and a kría poop assault on a bridge that is straight out of Apocalypse Now.
Nevertheless, the film succeeds in its main tasks of entertaining the kids (the youngest ones really learnt to fear the Valur). It also manages to turn Iceland, with it’s stunning settings and particular, if limited fauna, into a suitable place for animal cartoons.