To say that Dreamer: Inspired by a True Story is a wholesome family movie would be a strong understatement. Dreamer is the kind of film where you would expect to read "the feel-good, coming-of-age movie of the year!" on the DVD cover. It will not bring you to the edge of your seat, nor will it, at any point, leave you in great suspense or wonderment. It is a textbook film in nearly every respect, rendering it just beyond the cusp of woeful mediocrity. Nevertheless, Dreamer, written and directed by John Gatins, is not without its redeeming qualities. And the kids will love it.

The beautiful, sweeping vistas of Kentucky and Lousiana frame the film's visual style. Obviously a film like this is carried heavily by its characters, and there is a visceral chemistry between Dakota and Kurt Russell, who plays Cale and Ben Crane. Kris Kristofferson's portayal as the estranged and distant father to Ben felt natural, and I also enjoyed the relationship between him and Cale (his granddaughter). David Morse plays the archetypical villain, ruthless and calculating, but also annoyingly over-the-top.

The premise of the film is based loosely on the true events of the improbable story of Mariah's Storm, a horse who fractured her cannon bone but defied all precedent and not only raced again, but took the 1995 Turfway Breeders' Cup.

Dreamer opens with an introduction to the Crane family, who lives on a horse farm (without any horses) in Lexington, Kentucky. There are shadows of unhappiness and distance between Ben and Lily Crane (Russell and Elisabeth Shue), and their daughter Cale (Dakota). Cale, who worships her father (as many little girls seem to worship their fathers), excitedly accompanies him to work. Ben is a trainer for the film's antagonist, Palmer (Morse), who orders his most promising filly, Soñador, to race, doing so against the advice of Ben: "She doesn't want to race today."

Soñador stumbles during the race and breaks her cannon bone. Palmer orders the horse be put down, after which he and Ben exchange some angry words that result in Ben being fired, with $6000 and the wounded horse as severance.

Ben attempts to enlist his father's help, which is difficult and awkward as a result of their strained relationship. But Pop, who has some experience with this type of injury, says if he had any sense he'd put Sonya down. Ben later admits that he would have, were it not for Cale and her sad, blue eyes looking on. But he ultimately decides to see Sonya through her convalescence, and Cale is excited at the prospect of their horse farm finally having a horse.

Soñador has an impressive heritage, so the initial plan is to get her healthy enough to breed. Ben calls in a few favors and the wheels are set in motion. He and Cale even go to meet Grand Slam, the stallion that is to sire Sonya's offspring. Cale looks on with wide eyes and whispers in awe, "Grand Slam? Unbelievable!" That's more or less what I thought. A horse with a stud fee averaging $200,000 who mates five times a day for half a year and his name is Grand Slam? Of course it is. And that's not even the best part: Sonya gets a "teaser pony" named Thunderpants. I felt like a fifth grader giggling uncontrollably at the poor kid who just farted in class.

Unfortunately they later learn that Sonya is infertile, and their plans to breed her disolve, meanwhile Ben becomes increasingly crestfallen. But, shockingly, all hope is not lost, as they soon after discover that she is able to run. Cale, Ben, and Pop begin training her to race again, and united with a common goal, we see bonds strengthen and relationships heal. They decide to race Soñador, to see if she "perks up." Sonya does indeed, but she gets claimed, and the Cranes lose her.

Those of you who know nothing about horses and horse racing, as I did, would at this point in the movie be left quite perplexed. As it happens, any horse that's raced is implicitly for sale. Each horse has a fixed price, appropriate for that category, and to claim a horse you essentially commit to paying that price before you know the outcome of the race. This serves to keep the race fair by preventing champion horses worth hundreds of thousands of dollars from racing (and consistently beating) lesser horses. Claiming levels the playing field by ensuring only horses of roughly equal value will race against each other.

In the remainder of the movie, we follow the Crane family as they overcome odds, mend relationships, learn and grow, and yes, they even beat the bad guy. We see the "healing wounds" metaphor occur in no less than four subplots: Soñador's literal recovery, the relationship between Ben and Pop, the growing bond between Cale and her father, and Manolin, the little jockey that could (and eventually does). The only thing the ending of Dreamer lacks is a group hug and a chorus of Kumbaya.

As usual, Dakota's presence in Dreamer could not be overstated. She is natural and genuine, and while Russell and Kristofferson delivered solid performances, Dakota was without any doubt the shining star. Whatever Dreamer's failings, it was a vehicle for Dakota to provide us with a range and depth of emotion that makes her one of the finest actors on film, in any age category.

Dreamer began shooting just as filming for War of the Worlds was wrapping up, so Dakota has not aged much since, however because Cale is a more mature role, she does seem older. In both films Dakota's hair is slightly curly, which is its natural state, and I find Dakota wears it very well.

It is always interesting to hear about the rapport Dakota develops with her colleagues. She and Kurt Russell were (and still are) apparently very close. During the filming of Dreamer, Dakota would often quote from Napoleon Dynamite, which Russell had never seen, so they went on a date to see it. They also went to IHOP (excellent choice for Dakota), and a ghost tour of the French Quarter in New Orleans. Russell even bought Dakota a Palomino, which she named Goldie. (Kurt Russell is in a relationship with Goldie Hawn.) Amusingly, Dakota has said she paints Goldie's hooves with gold sparkled nail polish and grooms him with a pink brush, making Goldie possibly the most emasculate and traumatized gelding on the planet. The two actors bonded so well that Russell had difficulty staying emotionally distant at the beginning of the film, which was required of his character.

And as with Dakota's other films, her co-stars have plenty to say about her. Elisabeth Shue, who also worked with Dakota in Hide & Seek, says that Dakota is "a stunning human being. Her soul, and her love, and her openness is all there. I'm really blown away by her." Kurt Russell adds, "She is by far one of the best actors I've ever had the opportunity to work with, and I find it fascinating to work with her. She's open. She shows you her feelings without putting them on display."

Director John Gatins says that "there's really way more going on than you think with Dakota Fanning. She's just not this smart kid that can memorize lines ... she really prepares everything." And Gatins adds, "We're all so amazed with Dakota on a daily basis." During one particularly emotional scene for Dakota, the cast and crew remained in awe-struck silence after the director called cut, after which everyone began to applaud. This is a reflection of the power and purity of Dakota's delivery.

Dreamer is not an exceptional film, but it isn't pretentious, and it nicely accomplishes its purpose: to be an honest and enjoyable film for the whole family. With the exception of Palmer, all the main characters were presented with sincerity. Dreamer is by no means Dakota's most memorable film, but she certainly justifies the trip to BlockBuster.