Fluke

Film critics are always complaining about movies that look like other movies, and from the theatrical previews for "Fluke" one could expect "Beethoven" crossed with "Homeward Bound."

So imagine how surprising it was to discover that "Fluke" is unlike any movie in recent memory, though superficially it resembles "Oh, Heavenly Dog!" (That's right, a man being reincarnated as a dog.)

And the film begins as if it thinks it's "E.T. The Extra-Terrestrial," with stars in the heavens, then lights flashing in the woods, which are revealed to be headlights as two cars race through a wooded area — Matthew Modine pursuing Eric Stoltz. As a truck approaches, Modine veers off the road, crashes into a tree and is killed — and his spirit immediately travels to a newborn puppy.

Born in a box in an alley, the puppy is taken to the pound but manages to escape and is raised by a homeless woman who names him "Fluke." Later, he teams up with another dog for some "Benji"-style adventures, during which they exhibit anthropomorphic behavior and begin having telepathic conversations. (The second dog, Rumbo, is voiced wonderfully by unbilled Samuel L. Jackson, whose work gives the film a real boost.)

Eventually, the real plot kicks into gear as Fluke remembers his former life as a human, senses that his wife (Nancy Travis) and son (Max Pomeranc, of "Searching for Bobby Fischer") may be in danger and tries to find them. This leads to his inevitable confrontation with Stoltz.

Uneven to say the least, "Fluke" is eccentric right down to its structure, with some fairly lengthy segments that are played quietly, with no dialogue to push the narrative. At other times Modine offers a voice-over narration that seems redundant, but which was probably considered necessary for what is essentially a kids picture.

The film is beautifully photographed by Raffaele Mertes (taking full advantage of generic locations in Georgia) and there is a notably stirring score by Carlo Silioto.

At times "Fluke" is amusing and whimsical, and an unexpected climactic twist is surprisingly satisfying. On the other hand, the filmmakers seem unable to resist a few sophomoric cliches, as when we get no less than three gags about dogs urinating.

As a result, sadly, the picture never really soars. It's apparent that co-writer/director Carlo Carlei ("Flight of the Innocent") would like to achieve some level of quirky lyricism, but he never quite gets there.

"Fluke" is rated PG for violence (including an auto accident, some gunplay and a couple of dog attacks) and a few mildly vulgar gags.