What kind of dog is Hooch?
The dog featured in Turner & Hooch, both the 1989 original and the 2021 follow-up, is a French Mastiff, a muscular breed known for its strength which first gained popularity in the mid-1800s. Radio TimesWhat kind of dog is Hooch in Turner & Hooch?
Where is Turner and Hooch filmed?
Many scenes were filmed on location in Monterey, Pacific Grove, and Moss Landing, California. "Cypress Beach" is fictional, using mostly Pacific Grove for shots such as the police department, the wedding foot chase, and the car chase down Ocean View Ave. wikipedia.orgTurner & Hooch
As best I can figure it, when it comes to 1989’s Turner & Hooch, geriatric millennials and juvenile Gen Xers are mostly nostalgic for a poster, that image of a blank-eyed Tom Hanks staring into the middle distance as a slobbering mastiff looks lovingly at the dab of peanut butter I’m assuming somebody placed behind Tom Hanks’ left ear.
Creator: Matt Nix
It probably isn’t nostalgia for the premise, because Turner & Hooch is basically The Odd Couple if Felix and Oscar solved crimes and Oscar humped Felix’s leg. More frequently.
It probably isn’t nostalgia for the theme, which is “Dogs are smart and lovable” puppaganda on the surface and “Dogs don’t need to worry about Miranda rights and search warrants” copaganda just beneath the surface. Turner & Hooch was part of a small wave of ’80s and ’90s films — see also K-9 and Top Dog — designed to help repair the image of police K-9 units, seen for decades as the vicious adversaries of peaceful protesters.
No, Turner & Hooch nostalgia probably isn’t for the brand as a stealthily conservative trifle. It’s all just Tom Hanks in third-tier charm mode and one slobbering mastiff. Disney+’s new sequel to Turner & Hooch has at least one of those elements and not much more, but if there wasn’t much more to begin with, I guess easy-to-please audiences will be half-satisfied. For anybody else? What were you expecting? Disney+’s Turner & Hooch is not, in fact, the Battlestar Galactica of cop/dog buddy reboots.
Josh Peck, delivering at least a modicum of Hanks’ loose-limbed everyman appeal from that period, plays Scott Turner Jr., son of Hanks’ character from the film. Scott is an ambitious U.S. marshal with an OCD streak. Instead of a pet, Scott talks to his Roomba, which careens around an immaculate San Francisco apartment with all the usefulness of the Maytag repairman.
Scott is neat, professional and thoroughly unprepared when his sister Laura (Lyndsy Fonseca) shows up at his door with the latest in a series of Hooches, the reasonably new mastiff left homeless after Scott Senior’s death. Like the original Hooch, this Hooch loves salivating, running in slow motion and destroying property at a clip that, given the location of Scott’s apartment, may be financially prohibitive. Scott is forced to take Hooch along on rides with his pregnant partner, Jessica (Carra Patterson) and the persistent pup soon runs afoul of their boss (Anthony Ruivivar) and requires assistance from K-9 facility trainer Erica (Vanessa Lengies), who develops such a fast crush on Scott that the writers decided she didn’t need any additional character traits.
Meanwhile, Laura has discovered that even though Scott Senior was just a small-town detective, he’d been accumulating some files on a potentially major case and that his death, attributed to a heart attack, might not have been so natural after all.
That bigger-picture storyline is probably the only way Turner & Hooch could possibly work as an ongoing series, because calling the show otherwise narratively flimsy would be an insult to flimsy things. Each of the three episodes sent to critics is the same basic thing: Hooch makes a mess and Scott’s career seems to be in jeopardy, but Erica explains that he’s just misunderstanding animal behavior and it turns out that Hooch is actually hugely helpful, if you learn to look past the drool. The movie was less than 100 minutes and consisted of maybe three storytelling beats repeated ad nauseam, so it’s perplexing to me that anybody would have thought Turner & Hooch is material for a TV series — and not only that, but a series with hourlong episodes (44 minutes, technically, but still too long).
What’s odder still is that the people behind Turner & Hooch are really, really overqualified. The series was created by Matt Nix, of Burn Notice fame, and the pilot was directed by McG. Evidence of the latter collaborator can be seen in the show’s sunny action beats and derivative flash. The weekly procedural elements point to Nix’s sweet spot, as does the series’ one early creative episode, an extended Die Hard homage in which the pretzeling necessary to make one silly reference is so convoluted it made me laugh somewhat hard. The decision to make Scott a marshal averts the politics of making this a police comedy and lets Nix take the characters into a variety of interchangeable circumstances with no concerns about jurisdiction.
The dog or dogs playing Hooch are thoroughly adequate and exhaustingly anthropomorphized, and presumably fans wouldn’t have it any other way. Again, this means lots of slobbering — pro tip: There aren’t enough synonyms for “slobber” — and, in the third episode, lots of squeaking on a fish chew-toy, a plot that must have been pitched as “Wouldn’t this be funny and annoying?” in the writers room and, onscreen, plays as only one of those two things. Peck is convincingly exasperated with his canine co-star and there’s some sweet, thoroughly desexualized flirting that takes place with Lengies that already, after three episodes, is beginning to show fatigue. Patterson has the closest the series comes to a developed supporting character, and she and Peck are likable enough together.
I couldn’t quite tell you what Fonseca, Brandon Jay McLaren or several other members of the ensemble are even doing here, nor really what the Turner & Hooch legacy brand name means in this telling. Mare Winningham has been replaced by Sheila Kelley as what is now Scott Senior’s widow and given nothing to do. Reginald VelJohnson, Scott Senior’s partner in the movie, reprises the character in the Die Hard episode, another connection that isn’t commented upon.
More than anything, Turner & Hooch continues a recent trend of nostalgia pandering in which, if nothing else, the reboots are living up to the middling quality of the originals. Disney+ has already made Mighty Ducks into a likable-if-slight underdog sports series, which seems appropriate. Space Jam just got a sequel or remake or whatever it is, and if it’s nearly unwatchable, but still quippy and frenetic, that’s appropriate as well. So I’m not even complaining when I call Turner & Hooch a forgettable, one-joke series. It’s hard to know what else it could have been.
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Read full article at Hollywood Reporter
22 July, 2021 - 03:11pm
Updated 10:25 AM ET, Wed July 21, 2021
22 July, 2021 - 03:11pm
22 July, 2021 - 03:11pm
22 July, 2021 - 03:11pm
22 July, 2021 - 03:11pm
Josh Peck on Stepping Into Tom Hanks’ Shoes for Disney Plus’ ‘Turner & Hooch,’ Reflects on ‘Drake & Josh’
21 July, 2021 - 11:05am
He’s such a legend. I think I was aided by the fact that he’s in such rarefied air, I’ve looked up to him for so long that I never had any delusions that I’d get anywhere close. But I think what was great was that this isn’t a remake. This is a continuation in certain respects. I’m playing his son. In many ways it was how do we honor the magic of what the original movie had and what Tom Hanks brought and try to infuse that into this new story?
People keep asking me what it was like to work with a dog. No one’s asked Hooch what it was like to work with me. I don’t know, he could have thought I was a total dud. Me and the dogs we bonded right away because we both work well for treats, which is great. It’s funny, I think I was a dog person before I started the show, but about halfway through I realized, “Oh no, I’m a total dog person.” I don’t know whether that was because Hooch and I had just jumped out of a gigantic fountain where he was licking food off my face or I was being yanked down the street by one of our Hooches named Hammer, whose specialty was basically pulling me out of my shoes, he would pull so hard. I just fell in love with these animals and each of them had their own specialty. We had Mimi, our only female dog, who was great at picking up things; and we had Obie, who was our older dog who was kind of happily just glad to sit around and just look cute.
When I had my screen test, they said, “So you’re going to be auditioning with a real dog — be ready to improvise, be ready to work around the dog because we know that we might not get exactly what we need from them.” And it was in that moment that I thought, “Oh I’m working with smart people here who get it.”
I went on ride alongs with real US Marshals and spent a lot of time with our U.S. Marshal adviser, Scott Samuels. I did weapons training at Taran Tactical, where they did “John Wick.” When it was all said and done, I definitely felt a little bit more tough, like I could handle myself. But as far as the big stunts went, as much as I begged [executive producer] McG, he wouldn’t agree to flip a car over my head.
I think we all grow up and we know that [the Marshals] exist, but we don’t know a lot about them because the FBI and other federal law enforcement agencies tend to have a little bit of a better publicist. You hear a lot about the DEA in movies, and even maybe the ATF, but I became a history buff about the U.S. Marshals, and they’re the oldest federal law enforcement agency in existence, started in 1789 by George Washington.
It truly has something for everyone, whether it’s the action-adventure stuff [or] if you’re into the procedural, new bad guy every week. Then we’ve got a rom-com aspect and then the cute dog stuff and the broad physical comedy. I think the intention was to make something that could truly be a co-viewing experience where you could really care about these characters.
Similarly to everyone I’ve only seen and read what’s been out in the press, but it’s upsetting. It’s upsetting and it’s an unfortunate situation and it’s just disappointing.
What I’m proud of with “Drake and Josh,” which I think gave it a lot of staying power, was that it was about a family. It was a super universal concept. And I think all the great sitcoms of the ‘70s, ‘80s, ‘90s, it really boils down to something simple. And then you have the performers who bring their own comedic styling to it. So I think there were so many kids who could identify with having this stepbrother or stepsister or an evil little sister or a dopey dad, or whatever it was, and going through that experience. It means a lot to me the effect that it’s had. To know that you can do something that is your dream and that it also can leave a lasting, positive effect on people, what’s better than that? I definitely tried to sneak in some little “Drake and Josh”-isms into [“Turner & Hooch”]. I hope you catch them.
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21 July, 2021 - 09:00am
Disney's new Turner & Hooch series is a charming follow-up to the original 1989 film, featuring Josh Peck (Drake & Josh, The Wackness) as the son of Tom Hanks' cop character and a new rambunctious, order-destroying hound ready to sloppily sniff out all the clues that evade local law enforcement.
The new Turner & Hooch carries the tone of the perfectly agreeable film, a pleasing balance of comedy, action, and heart -- though maybe it's a little too similar for those familiar with the original. So much of the first episode, "Forever and a Dog," acts as a retread of the beats from the movie, to the point where sometimes it feels like little more than a gussied-up Turner & Hooch rewatch.
There are some elements that just hit differently in the modern age, and not necessarily in a good way. Watching a person's apartment and personal belongings get absolutely wrecked for the sake of comedy is sometimes jarring, as is the notion of giving someone a dog that they do not want and are not equipped to care for. What was once a silly gimmick for a buddy cop movie now just feels wildly irresponsible and potentially harmful. It's not a show-breaker, but it's poor form for all adults involved, regardless of this new Hooch-type dog (named Hooch, naturally) being willed to Scott Jr. by his dad.
Because of this, it feels like Turner & Hooch's best material might be ahead of it. After this premiere episode that sets up the human/dog dynamic while heavily leaning on a decades-old movie and its sort of wonky, antiquated ideas of cops and doggos, hopefully Turner & Hooch can tell stories on its own terms. It will always play as a continuation (Reginald VelJohnson is set to return and Sheila Kelley now plays the role Mare Winningham once played), but it still has the freedom to free itself from elements that don't quite work now. Even the villain in this first chapter is a callback, in a way, to the baddie from the film.
Creator Matt Nix (Burn Notice, The Gifted) infuses Turner & Hooch nicely with the "blue sky" programming tone from his Characters Welcome USA days, providing a few chuckles, a groovy car chase (though I think some innocent people may have died?), clear stakes, a solid ensemble, and an overall sense of friendliness. Carra Patterson plays Scott's partner and mentor, providing another less-put-together foil for our mild-mannered and rule-abiding hero to bounce off of. Patterson's pregnant Marshall Baxter represents a person who's willing to invite both love and something disruptive into her life, which are two avenues Scott has sort of closed himself off to. Nikita and Agent Carter's Lyndsy Fonseca, as Scott's sister, also represents this to a degree. In fact, everyone around Scott is someone more willing to confront clutter and confusion.
Have you watched Turner & Hooch: The Series?
21 July, 2021 - 08:48am
Hanks is the man you go to when you want unshowy relatability. When your movie will live or die by the success of audiences investing everything in the average-looking guy rather than being dazzled by a star and his jawline. When you want the ordinary made compelling, when you want a man who can bring all the deepest emotions to life in the smallest ways (his technique is a miracle of compression), you want Hanks.
Those are some big shoes to fill. You have to pity the actor who finds himself in any position where comparisons are likely, and for Josh Peck they are inevitable. In effect, he plays Hanks’s son in the new Disney+ sequel to the 1989 classic of Hanks’s early comedy years, Turner & Hooch (Hollywood always starts you off in comedy if you haven’t got the jawline). If you remember, the original buddy-cop tale centred on police investigator Scott Turner (Hanks) reluctantly taking in his friend Amos’s dog Hooch (Beasley the dog) after Amos was killed for voicing his suspicions to Turner about a local crime lord.
Hound-human rambunctiousness ensued, with Hooch helping his new owner loosen up, learn to love and, almost as importantly, solve the case. The dog also helps him catch the criminal but – well, the ending is best not spoken of. It’s part of the unholy childhood trinity with ET and Charlotte’s Web. I suspect it will not be replicated in the TV series, so let us not dwell but move on.
Peck is rookie US marshal Scotty Turner, a neat freak as unsuited to taking in a cavorting, drooling mutt as his father was. So, naturally, when his father dies his sister turns up with the cavorting, drooling mutt that belonged to Dad and whom he has bequeathed to Scotty. Cue the traditional set pieces: Hooch gets shut in the kitchen and covered in Scotty’s protein powder. Hooch wakes Scotty up the next day by licking his face. Hooch has destroyed the apartment overnight.
Point of order: we are told that Scott Sr adopted this particular Hooch and that he is the dog who most reminded him of his first companion. But the film left us with puppies fathered by the original Hooch (unless Camille was two-timing him with another dogue de bordeaux). Why is this new Hooch not a descendant? Who thought it would be more narratively or emotionally satisfying to make him unrelated to the original? I need answers.
From there we lollop to all the other expected set pieces and plot points. Turner Jr is forced to take the dog to work, where he is meant to be protecting a member of a bank heist gang who is due to testify against the other robbers. Until, that is, Turner’s charge is kidnapped, to the fury of his boss (Anthony Ruivivar). Turner meets attractive dog trainer Erica (she is attractive, I mean; she doesn’t just train attractive dogs, there’s legislation against that now) and is oblivious to her interest in him.
Hooch, with his infallible instincts for dishonesty (“People see what they want to see!” says Erica. “Whereas dogs just see what’s there!”), plus superior power of smell and ability to disarm gunmen in warehouses, helps Turner identify the kidnappers, find the witness and save the day. Turner’s furious boss is pleased with him again and makes Turner and Hooch an official police unit. Just like in real life.
The series does exactly what you would expect and exactly as well. There is gunfire but no killing. There are bad guys but no evil. There are homages to the original but nothing to impede your enjoyment of the new version. There is nonsense, but it’s harmless. There are tearjerking bits, as when Scotty reads a letter from his late dad, that don’t actually jerk any tears because – well, it’s a show about a man and his drooling dog, and superficial emotions are the order of the day. Rinse and repeat for the remaining 11 episodes, plus a season arc about a big case Scott Sr was working on secretly when he died from an apparent heart attack.
It’s fine. And it is always good to see dogs getting work. Though, babe, you’re not credited anywhere. You need to bark at your agent about that.
21 July, 2021 - 07:09am
HOW/WHEN & WHERE TO WATCH: Streaming on Netflix
Press Your Luck — ABC
Kung Fu (season finale) — The CW
Married at First Sight (season premiere) — Lifetime
The $100,000 Pyramid — ABC
In the Dark — The CW
Crime Scene Kitchen (season finale) — Fox
Fasten Your Seatbelt (series debut) — A&E
Match Game (new episodes begin) — ABC
Good Trouble — Freeform
Dave — FXX
Trollhunters: Rise of the Titans — Netflix