When “Charlie, the Wonderdog” hit screens, it drew comparisons in my mind to the Saturday-morning animated fare of decades past — most notably the 1973 Super Friends series, where Wendy, Marvin and Wonder Dog battled villains alongside their heroic human friends.

Director Shea Wageman’s new feature isn’t related, but it taps into that same affectionate familiarity: the idea of an everyday pet turned superhero, with comic-strip simplicity and charm.

Owen Wilson lends his signature laid-back timbre to the titular canine, bringing a comforting ease to Charlie’s soaring antics. The narrative follows Charlie’s alien abduction and return, equipped with incredible superpowers — including flight and speech — as he becomes a household superhero while young Danny (Dawson Littman) watches in awe.

Wilson’s voice anchors the film; Parents magazine praised his warm delivery as reminiscent of his earlier, tearful role in “Marley & Me,” arguing that it “feels like a trusted friend,” and provides the emotional compass in a story otherwise light on depth.

Charlie’s arrival thrusts him into conflict with Puddy, the scheming cat next door. Emboldened by the same alien power that empowers Charlie, Puddy hatches a far-fetched plan: to swap human and feline intelligence and seize global control through a feline-favoring food monopoly.

While the premise maintains cartoon energy, the execution feels padded: the villain’s motivations are sketched in broad strokes, and his antics rely heavily on volume and slapstick, including a barrage of fart jokes and gross-out gags set in a litter-strewn lair — comedy that proved more cringeworthy than clever.

Visually, the animation is crisp and unoffensive. Fur textures are realistic, lighting behaves believably and there’s a clear technical polish — an impressive feat for a mid-budget animation hovering around $20 to 30 million.

But despite this technical sheen, the environments feel generic — a default of CG artistry rather than the immersive realms of animation leaders. Colorful and functional, yes, but lacking in soul.

Narrative-wise, the film’s ambition is small. It embraces familiar tropes — underdog (or underdog turned superhero), familial bonds, the triumph of kindness — but treats them like ticks on a checklist rather than as emotional journeys.

Instead, “Charlie, the Wonderdog” frequently fills pauses with noise — yelling, slapstick and a soundtrack that competes with the visuals for attention.

Critical responses mirror this ambivalence. Yet, “Charlie, the Wonderdog” is not without audience appeal. For families with children, it’s a harmless 95-minute romp: bright, fast-paced, easy to follow, and anchored by a beloved voice. CineParenting underscores its PGrated content (mild peril, light rude humor, cartoon violence), advising that it’s suitable for little ones with some parental guidance.

Still, the film’s ambition ends where nostalgia begins. Unlike the serialized camaraderie of the Super Friends — where human heroes and Wonder Dog regularly saved the day together — Charlie works mostly alone, with Danny relegated to sidekick status. The emotional connection at its core — man and dog — is sweetly portrayed, but the storyline never digs deeply enough to evoke tears or laughter beyond the expected.

In the context of modern animation, “Charlie, the Wonderdog” occupies a mid-tier niche. Icon Creative Studios positions itself as a bridge between Disney-Pixar blockbusters and bargain-basement direct-to-video features; here, they deliver a technically polished cartoon that, like recent workloads for studios such as Disney and Sony, looks pricier than it is. But while its sheen is convincing, its heart beats at a simpler rhythm.

“Charlie, the Wonderdog” is the cinematic equivalent of comfort food — unassuming, recognizable and easy to digest. Families looking for a light, animated outing will find a friendly spirit and solid polish.

But for those seeking emotional complexity or innovative storytelling, this canine caper may land with a soft thud — pleasant yet quickly forgotten once walked out of the theater.

Rating: PG

Runtime: 95 minutes

Grade: B

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Greg Williams is a reporter and Weekend Editor for The Sentinel. A Mifflin County native, he has been writing for The Sentinel since 1991.