Hubbry Logo
Lawn DogsLawn DogsMain
Open search
Lawn Dogs
Community hub
Lawn Dogs
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Lawn Dogs
Lawn Dogs
Lawn Dogs
View on Wikipedia
from Wikipedia

Lawn Dogs
Theatrical release poster
Directed byJohn Duigan
Written byNaomi Wallace
Produced byDuncan Kenworthy
Starring
CinematographyElliot Davis
Edited byHumphrey Dixon
Music byTrevor Jones
Distributed byRank Film Distributors[1] (United Kingdom)
Strand Releasing (United States)
Release date
  • 21 November 1997 (1997-11-21) (United Kingdom)
Running time
101 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£6.9 million[2]
Box office$106,404[3]

Lawn Dogs is a 1997 British fantasy-drama film directed by John Duigan and starring Mischa Barton and Sam Rockwell. The film tells the story of a precocious young girl (Barton) from a gated community who befriends a landscape worker (Rockwell), and examines the societal repercussions of their friendship. Written by Naomi Wallace, the film was released by Rank Organisation, and was the company's last production.

Although filmed in Louisville and Danville, Kentucky, in the United States, Lawn Dogs was a British film produced by Duncan Kenworthy. Lawn Dogs won numerous film awards at film festivals in Europe and met with generally positive reviews, with praise for the performances of Barton and Rockwell in particular.

It was the last film financed by the Rank Organisation. The Rank Group sold its film interests to Carlton Communications in April 1997 and in September that company shut down Rank's distribution and production arms.[2][4]

Plot

[edit]

Ten-year-old Devon Stockard, a precocious and lonely young girl, has recently moved into the gated community Camelot Gardens in the Louisville, Kentucky suburbs with her parents, Morton and Clare. Recently recovered from open heart surgery, Devon is encouraged by her parents to make friends, and is pushed to sell cookies for a charity event for the summer.

While selling the cookies, Devon leaves the gated community against her mother's instructions, and meets Trent Burns, a landscaper living in a trailer in the woods, who works in Camelot Gardens.

Devon, at first annoying Trent, continues to come to his property and slowly befriends him. Despite the innocence of their friendship, he insists that she keep it a secret because of their age difference. While working in Camelot Gardens, Trent has altercations with two young men who live there; Brett, who is fooling around with Devon's mother; and Sean, a closeted homosexual who flirts with him.

During a family barbecue, exploring her father's car in their garage, Devon finds his handgun in the SUV's glove compartment. Brett discovers her with it and attempts to molest her, but she escapes. Telling her parents about the incident, they respond by stressing over the social implications and how influential Brett's father is. So, Devon changes the story to that Brett was only trying to tickle her.

Clare begins to notice Devon's friendship with Trent when he comes to do lawn work at their house and becomes alarmed. Meanwhile, Brett and Sean vandalise Trent's lawnmower, pouring sugar in the fuel tank and start a fight with him after accusing him of stealing CDs from Sean's car.

Devon and Trent's friendship grows, and they visit Trent's mother and his father, a Korean War veteran dying of a lung disease. After leaving their house, Trent and Devon go for a drive in the country. While stopped in a field, she insists that as they are "best friends", she can show him the surgical scar on her chest. Insisting he touch it to his reluctance, she then demands he show her the abdominal scar he sustained in a shooting, which she touches as well. After this, they see Sean's escaped dog, running through the field. While trying to chase it down in the truck, they accidentally run him over. Trent kills the badly injured dog although Devon pleads with him not to, and she runs home in a panic.

Clare and Morton, concerned over Devon's frantic behavior, ask her what happened. She won't provide details, only saying that Trent killed Sean's dog and mentions she and Trent took turns showing each other their scars. Assuming that Trent molested her, Morton drives out to Trent's property with Devon, assisted by Sean and the ex-cop security guard of Camelot Gardens. The three confront Trent while Devon sits in the car.

Morton and Sean take turns beating Trent, and Morton accuses him of sexually abusing Devon. He attacks Trent with a piece of wood, beating him to the ground, handing it to Sean; but before he can hit him, Devon exits her father's car with his gun, shooting him in the abdomen. As Sean bleeds on the ground, Devon urges Trent to leave, and they say their goodbyes.

Armed with her father's gun, Devon orders her dad to lift her up into the tree she and Trent had decorated with ribbons, and she imagines a river and a forest rising up behind Trent as he drives away, protecting him as he escapes.

Cast

[edit]

Production

[edit]

The film was based on an original screenplay by Naomi Wallace, a playwright and poet from Kentucky.[1] It was financed by Rank Organisation, the first film the British company had fully financed in sixteen years.[1]

Reception

[edit]

The film was well received by critics, based on 18 reviews collected by Rotten Tomatoes it holds a 72% overall approval rating.[5] Time Out praised Duigan in that he "maintains an atmosphere where dream is a short step from nightmare. Quirkily haunting."[6] Janet Maslin of The New York Times praised the casting of Barton and Rockwell "it also shows off a poised young actress and a leading man with charisma to burn". Maslin felt that the "pointedly whimsical film overworks the fairy-tale aspect of this friendship (between Devon and Trent)", she concluded that Duigan "does breathe life into a story that rails against conventional wisdom".[7] Empire praised Barton's "hypnotic central performance" and Wallace's "intelligent first screenplay". The review continued to note that "Duigan makes imaginative use of his material, heightening Devon's home-life horrors to semi-cartoonishness without stretching credibility, and the fantasy finale is a winner."[8]

A dissenting review came from Roger Ebert, who wrote in the Chicago Sun-Times that Lawn Dogs is well-made but ultimately directionless and without meaning: "All of [the film's] events happen with the precision and vivid detail of a David Lynch movie, but I do not know why. It is easy to make a film about people who are pigs and people who are free spirits, but unless you show how or why they got that way, they're simply characters you've created."[9]

Accolades

[edit]
Year Award Category Result[10]
1997 Athens International Film Festival "Audience Award" - John Duigan Won
Montreal World Film Festival "Best Actor" - Sam Rockwell Won
"Grand Prix des Amériques" - John Duigan Nominated
Stockholm Film Festival "Audience Award" - John Duigan Won
Sitges Film Festival "Best Actor" - Sam Rockwell Won
"Best Screenplay" - Naomi Wallace Won
"Best Film" - John Duigan Nominated
1998 Brussels International Fantastic Film Festival "Golden Raven" - John Duigan Won
"Grand Prize of European Fantasy Film in Silver" - John Duigan Won
Fantafestival "Grand Prize of European Fantasy Film in Gold" - John Duigan Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Lawn Dogs

View on Grokipedia
from Grokipedia
is a 1997 British drama film written by Naomi Wallace and directed by . The story follows Devon, a 10-year-old girl from an affluent family in the gated suburban community of Camelot Gardens, , who develops a with Trent, a 21-year-old reclusive living on the community's edge. Starring in her screen debut as Devon and as Trent, the film examines class divisions, suburban hypocrisy, and personal isolation through their unlikely bond. Supporting roles include and as Devon's parents. Released theatrically in the United States on May 15, 1998, after premiering at film festivals, Lawn Dogs critiques the artificiality of upscale neighborhoods and the alienation of outsiders via fantastical and allegorical elements. It portrays the privileged residents' moral failings, including and , contrasted with Trent's marginalized existence. The production marked the first full financing by in 16 years and drew attention for its unflinching . Critically, the film earned mixed responses, with a 72% approval rating on based on 18 reviews, praised by some for Rockwell's performance and thematic ambition but criticized by others, including , for contrived plotting and heavy-handed symbolism. User ratings remain higher, at 7.4/10 on from over 9,000 votes, indicating a dedicated following for its unconventional and early showcases of its leads' talents. The depiction of the platonic adult-child friendship sparked unease in some reviews over its implications, alongside content involving and , though it won festival awards in for its bold approach.

Production

Development

Director conceived Lawn Dogs as an examination of the fragile boundary between innocence and corruption amid the artificiality of suburban American life. The screenplay, an original work by playwright Naomi Wallace—who hails from , the film's setting—centers on the of Gardens as a symbol of bourgeois conformity and , contrasting manicured lawns with the raw outsider existence of the protagonist's friend. Wallace's script incorporates motifs, such as the affluent enclave's name evoking mythic isolation, to underscore real class antagonisms between the wealthy residents and working-class interlopers. Pre-production emphasized casting young talent to capture the story's themes of youthful alienation and adult hypocrisy. Mischa Barton, then 10 years old and in her screen debut, was selected for the role of the precocious Devon Stockard, bringing a raw authenticity to the character's defiance of parental expectations. Sam Rockwell, an emerging actor known for indie roles, portrayed Trent Burns, the lawn mower whose marginal status amplifies the narrative's critique of socioeconomic barriers. Principal photography commenced in locations including Louisville and Danville in 1996, aligning with the script's regional specificity. As a modestly budgeted independent production, Lawn Dogs marked the Rank Organisation's first full financing of a feature in 16 years, blending British oversight with American filming and performers in a transatlantic collaboration. Duncan Kenworthy, known for prior indie successes, navigated these constraints to prioritize atmospheric visuals over spectacle, reflecting Duigan's intent to probe moral ambiguities without overt . This approach preserved the screenplay's poetic edge, focusing on symbolic elements like the titular dogs to evoke primal disruptions in civilized facades.

Filming

Principal photography for Lawn Dogs took place in 1997 across , and surrounding areas in Jefferson County and Oldham County. These locations provided stark visual contrasts between the film's affluent, gated suburban enclave—modeled after manicured residential developments—and the isolated settings, utilizing real river bridges, wooded trails, and open fields to ground the narrative in authentic Midwestern American geography. Cinematographer Elliot Davis employed handheld and wide-angle shots to capture the protagonists' isolation amid expansive, often barren landscapes, such as rolling hills and sparse lawns, which symbolically reinforced themes of and otherworldliness without relying on extensive sets. Director integrated practical outdoor filming for surreal interludes, including folklore-inspired sequences in the woods, shot on location to blend realism with heightened fantasy elements during . Filming adhered to child labor laws for 10-year-old lead , restricting her on-set hours and requiring welfare supervision for emotionally intense scenes depicting vulnerability and budding friendship. Co-star , portraying the adult , improvised protective guidance during takes to preserve the unforced dynamic between characters, navigating the material's sensitive undertones through on-site rehearsals.

Release

_Lawn Dogs received its international premiere at film festivals in late 1997, including the International Film Festival in on November 16, followed by theatrical releases in the and on November 21. In the United States, the film had a on May 15, 1998, distributed by . The film's domestic box office performance was modest, grossing $106,404 in the United States and Canada, with an opening weekend of $22,491 across a limited number of screens. This reflected its status as an independent production with niche appeal, achieving no significant international box office data beyond early festival and UK screenings. International distribution was handled through various regional partners, including Rank Film Distributors for the UK market, but no verified reports indicate mandatory censorship cuts for theatrical versions in major territories due to content. Home video releases followed soon after, with VHS distributed by Trimark Home Video in the US starting December 8, 1998, and DVD editions available from the same period, broadening access and supporting its gradual cult following. By the 2020s, the film became available for streaming on platforms such as Amazon Prime Video, Tubi, and Pluto TV, often in a censored television edit.

Cast and Characters

Principal Cast

Mischa Barton portrayed Devon Stockard, the 10-year-old daughter of affluent suburban parents living in a gated community. This role marked Barton's feature film debut following her appearance in the independent film All My Friends Are Leaving Brisbane. Sam Rockwell played Trent Burns, a socially isolated lawn maintenance worker residing on the outskirts of the community. Rockwell's performance as the enigmatic outsider highlighted his early career versatility in independent cinema prior to mainstream recognition. Christopher McDonald acted as Morton Stockard, Devon's father and a developer enforcing community exclusivity. Kathleen Quinlan depicted Clare Stockard, Devon's mother, navigating family tensions within the upscale enclave.

Supporting Roles

portrays Nash, the security guard employed by the Willow Wind , whose role underscores the vigilance and control exerted over the suburban enclave. David Barry Gray plays Brett, a resident of the affluent neighborhood who interacts within the social hierarchy of the development. appears as Sean Torrance, another young man from the upper-class circle, contributing to the ensemble's depiction of interpersonal dynamics among the elite. Angie Harmon plays Pamela "Pam" Gregory, a neighbor in the subdivision whose presence helps populate the insulated world of privilege. Additional supporting performers include José Orlando Araque as the mailman and as Mrs. Burns, roles that add texture to the everyday figures surrounding the central community. These actors collectively form the backdrop of secondary figures, enhancing the film's portrayal of a stratified through their archetypal representations without driving the primary action.

Plot Summary

centers on Devon Stockard, a ten-year-old with a and resulting surgical scar, who relocates with her family to the upscale of Camelot Gardens in . Feeling isolated from her status-conscious parents—Megan, a homemaker aspiring to social prominence, and Morton, a developer—and shunned by neighborhood children due to her imaginative and unconventional nature, Devon seeks solace outside the community's manicured confines. Wandering into the adjacent woods, encounters Trent Burns, a 21-year-old itinerant who services the affluent lawns while residing in a rundown trailer with his two dogs, enduring from local and teenagers. Despite stark class disparities—Trent hails from the impoverished outskirts and faces systemic exclusion—the pair forms an unlikely bond rooted in mutual vulnerability and candor. They exchange personal anecdotes, engage in playful rituals like and mock ceremonies, and navigate Trent's nomadic existence, which includes scavenging and evading authorities. The friendship invites scrutiny when Devon's parents discover her absences and associations, interpreting Trent's presence through lenses of suspicion and propriety, while community hypocrisies—such as infidelities and —surface amid escalating tensions. Local adolescents target Trent with and , culminating in a chaotic confrontation at a lavish party that exposes underlying prejudices and forces Devon to confront adult deceptions. The narrative resolves through Trent's protective actions and Devon's awakening to social realities, underscoring themes of authenticity amid artificial divides.

Themes and Symbolism

Class Divisions and Social Critique

The film depicts Gardens as a sterile, gated suburban development in , characterized by uniform mini-mansions and expansive, treeless lawns that underscore engineered prosperity detached from natural vitality. This enclave functions as a deliberate barrier against perceived lower-class intrusions, with residents hiring outsiders like Trent only for menial labor while enforcing exclusionary norms, such as denying him basic amenities like restroom access. The visual barrenness of the lawns—meticulously maintained yet devoid of trees—symbolizes the community's artificial , prioritizing superficial order over substantive community ties. In contrast, Trent's existence in a remote trailer amid a wooded glade highlights the unromanticized realities of working-class , including financial strain from supporting disabled parents and routine exploitation by affluent employers who withhold payment. Rather than idealizing hardship, the narrative illustrates class resentments through the suburb's overt disdain for Trent as "white trash," manifesting in coordinated efforts to him, including false accusations that escalate to physical brutality. This portrayal avoids narratives of inherent virtue in , instead emphasizing causal frictions like economic dependency and reciprocal hostilities without resolution through forced equality. Devon's parents exemplify hypocritical within the upper strata, pursuing through rituals while engaging in personal indiscretions, such as the mother's extramarital affairs with local youth. Their patronizing oversight—pressuring yet neglecting emotional bonds—reinforces the 's facade of propriety, where moral lapses are tolerated internally but weaponized against outsiders. The resulting social fissures produce tangible fallout, including vigilante violence and fractured familial dynamics, underscoring how entrenched divides perpetuate isolation and conflict absent external interventions like policy-driven redistribution.

Childhood Innocence and Moral Ambiguity

The film portrays 10-year-old as a precocious whose blend of maturity and facilitates her unlikely with 21-year-old Trent, yet underscores the inherent vulnerabilities of in unsupervised adult interactions. Devon's heart surgery symbolizes both her physical fragility and emotional isolation, limiting her agency and exposing her to risks beyond her comprehension, as evidenced by her naive pursuit of companionship that blurs into ethically fraught territory. This dynamic rejects idealized notions of children's innate wisdom, instead highlighting causal realities where a 's —manifest in shared escapades like dancing and comparisons—invites potential corruption without adequate safeguards. Subtle sexual undertones emerge through Devon's proto-sexual adoration of Trent, creating viewer discomfort and moral ambiguity in their bond, though the narrative avoids explicit exploitation by emphasizing Trent's unease and platonic intent. Fantasy elements, such as Devon's imagined rituals of stripping and howling at the moon, amplify this loss of purity, representing an instinctual shedding of societal constraints that contrasts with her underlying dependence on adult guidance. A tragic stemming from their misunderstanding further illustrates ethical gray areas, where youthful intersects with adult influences, leading to irreversible consequences that prioritize protective realism over romanticized . Symbolism of dogs reinforces instinctual truths against veneers of : Trent, derogatorily termed a "lawn dog," embodies raw loyalty and marginalization, while canine motifs in their play evoke primal vulnerabilities cannot fully navigate alone. These rituals facades of innocence, revealing how adult worlds—hypocritical and predatory—erode childlike trust, demanding empirical recognition of developmental limits rather than presumptions of equivalence in cross-age alliances.

Reception and Critical Analysis

Initial Reviews

Upon its premiere at film festivals in 1997 and limited U.S. release in 1998, Lawn Dogs received mixed reviews from critics, earning a 72% approval rating on Rotten Tomatoes based on 18 reviews. Publications praised the film's originality and performances, particularly Sam Rockwell's portrayal of the outsider lawnmower Trent Burns as a breakout role, with Variety noting his "fine performance" that made interactions with young co-star Mischa Barton "compelling and unexpected." The New York Times similarly highlighted Rockwell's charisma and Barton's poised acting, crediting director John Duigan's adaptation of Naomi Wallace's screenplay for exploring a risky child-adult friendship through subtle fantasy elements. Critics frequently faulted the film's pacing and tonal inconsistencies, with Variety describing it as an "uneven" blend of , class politics, and violence that failed to build excitement despite intelligent scripting. awarded it two out of four stars in his May 1998 review, likening it to "a nasty at the factory" for its contrived symbolism and directionless , which left unclear motivations and an uncomfortable undercurrent of sexuality in the central relationship unaddressed. echoed concerns over heavy-handed sentimentality, calling the fairy-tale aspects "cloying" and the vulnerability of characters irksome amid one-dimensional supporting roles. Some reviewers, particularly from conservative outlets, critiqued the film's overt class divisions as propagandistic, with the Ethics and Public Policy Center's June 1998 assessment decrying its portrayal of wealthy suburbanites as spiteful elites versus noble poor as a "Marxist fantasy" akin to Stalinist , ignoring real-world nuances like self-reliant lawn owners and mowers. This perspective highlighted the indie film's edge in challenging mainstream accessibility but underscored its polarizing emphasis on social antagonism over coherent storytelling.

Accolades and Awards

Lawn Dogs earned recognition primarily at international film festivals focused on fantasy, independent, and genre cinema. At the 1997 Sitges Film Festival, Sam Rockwell received the Best Actor award for portraying Trent, while Naomi Wallace won Best Screenplay for her original script. The film also secured the Best Actor prize for Rockwell at the 1997 Montréal World Film Festival. Additionally, it won the Audience Award at the 1997 Athens International Film Festival. Nominations included Best Film for director at the 1997 Fantafestival in . In 1998, the nominated a cast or crew member in the Breakthrough Actor category, reflecting early industry acknowledgment amid the film's niche distribution. These honors highlight festival-circuit success rather than widespread mainstream awards, consistent with its independent release and unconventional narrative.

Long-Term Legacy

Despite its limited theatrical footprint, Lawn Dogs has garnered niche appreciation as an underseen indie gem through releases and streaming availability on platforms like and free ad-supported services such as and , facilitating rediscovery among audiences interested in outsider narratives. Online communities have amplified this in the 2020s, with users in subreddits like r/underratedmovies and r/movies frequently citing it as a "forgotten movie" praised for its raw performances by and , thematic exploration of class barriers, and unconventional storytelling, though some note its strangeness deters broader appeal. Similarly, logs from 2025 highlight its subtle social critique embedded in a fantastical framework, contributing to an average user rating of 3.6 out of 5 across over 3,700 reviews, often emphasizing Rockwell's charismatic portrayal of a working-class loner. Retrospective discussions position the film within indie cinema's tradition of dissecting suburban alienation and unlikely intergenerational bonds, serving as an early showcase for Rockwell's versatility in portraying societal misfits, which foreshadowed his later acclaimed roles without directly spawning imitators. Scholarly engagement remains minimal, with passing references in to its blend of class satire and childhood fantasy elements, akin to critiques in broader analyses of 1990s independent dramas probing American social divides, though it lacks the canonical status of contemporaries like American Beauty. No empirical viewership spikes are documented, and its obscurity persists—evidenced by under 10,000 ratings despite a 7.4/10 average—tempering claims of cult elevation to that of a modest, merit-based footnote in indie film history rather than a transformative influence. This balanced legacy underscores the film's strengths in authentic character dynamics and unflinching realism, appealing to viewers seeking unpolished critiques of privilege over mainstream accessibility.

Controversies

Content and Censorship Issues

The film was assigned an R rating by the of America (MPAA) due to depictions of sexuality and , , and language, including scenes of a man touching a 10-year-old girl's bare chest and implied , alongside a shooting involving the child and animal cruelty. These elements, particularly the adult-child interactions evoking potential impropriety, prompted content advisories emphasizing risks for younger audiences. Family advocacy organization MovieGuide criticized the film for promoting immorality through implied perverse sexual activity, , , and a 10-year-old committing emotionless , such as a neighbor, without moral repercussions or reference to ethical standards. The group highlighted a humanistic, socialist worldview focused on class inequity that unsettled viewers by omitting religious or guidance, rating it as strongly objectionable (H, So, Ro, LL, SS, NNN, VV, ) for family consumption due to , obscenities, and substance use around the . No verified records indicate theatrical bans or required cuts for U.S. or U.K. release, despite unsubstantiated claims in user discussions of initial prohibitions resolved by director concessions. A censored television edit exists, omitting sensitive material like and , which circulates on streaming platforms, reflecting ongoing sensitivities to the child-adult dynamics. International releases showed no documented variations tied to formal , though cultural concerns over such themes likely limited broader distribution in family-oriented markets.

Interpretations of Interpersonal Dynamics

The central interpersonal dynamic in Lawn Dogs revolves around the friendship between the 10-year-old Stockard and the 21-year-old Trent Burns, portrayed as a platonic bond between societal outcasts challenging class-based suspicions. Director and screenwriter Naomi Wallace frame this relationship as an innocent alliance, akin to an adult , where the characters' mutual loathing of suburban fosters genuine companionship without romantic or sexual undertones. Trent explicitly rebuffs any perceived advances, such as when he reacts with discomfort to Devon's naive overtures, underscoring the script's intent to depict non-exploitative camaraderie. Critics have debated whether this depiction inadvertently normalizes predatory risks, citing scenes like Devon's on a rooftop or her sucking on Trent's finger during a moment, which evoke proto-sexual imagery despite the characters' childlike motivations. These elements generate viewer unease due to the significant age disparity and Devon's isolation, prompting interpretations that the film endangers its young protagonist by romanticizing unsupervised adult-child interactions in real-world contexts where such bonds often invite misinterpretation or exploitation. Conversely, the narrative counters permissive views by illustrating causal consequences of societal , including false accusations fueled by class that escalate to against Trent, highlighting empirical risks of unfounded predation claims disrupting innocent relationships. Diverse analyses range from viewing the dynamic as empowering for , who gains agency through unfiltered honesty with Trent absent adult oversight, to seeing it as endangerment via script ambiguities that blur childlike curiosity with adult projections. No legal issues arose for the cast or production, and , who played at age 10, has not publicly expressed retrospective discomfort in available interviews, though the film's mature themes have drawn scrutiny in post-#MeToo reevaluations of experiences. This lack of verified harm supports the filmmakers' platonic framing, yet underscores ongoing debates about causal realism in media portrayals of cross-age friendships amid heightened awareness of grooming patterns.

References

  1. https://www.imdb.com/title/tt0119506/
  2. https://www.nytimes.com/library/film/051598lawndogs-film-review.html
  3. https://www.rogerebert.com/reviews/lawn-dogs-1998
  4. https://variety.com/1997/film/reviews/lawn-dogs-1200451246/
  5. https://www.rottentomatoes.com/m/lawn_dogs
  6. https://www.facebook.com/celebritychatter1/posts/when-lawn-dogs-1997-was-first-conceived-director-john-duigan-wanted-to-explore-t/122253494042220113/
  7. https://www.naomiwallace.com/essays
  8. https://www.reddit.com/r/Louisville/comments/zlpzjh/lawn_dogs_1997_british_movie_with_sam_rockwell/
  9. https://www.spiritualityandpractice.com/films/reviews/view/1014/lawn-dogs
  10. https://www.imdb.com/title/tt0119506/locations/
  11. https://stygianfilms.tripod.com/generalfilms/lawndogs.html
  12. https://shotonwhat.com/lawn-dogs-1997
  13. https://www.sfgate.com/movies/article/The-Grass-Isn-t-Greener-in-Lawn-Dogs-3003903.php
  14. https://collider.com/sam-rockwell-lawn-dogs-prime-video/
  15. https://www.imdb.com/title/tt0119506/releaseinfo/
  16. https://www.boxofficemojo.com/title/tt0119506/
  17. https://www.blu-ray.com/dvd/Lawn-Dogs-DVD/32449/
  18. https://www.justwatch.com/us/movie/lawn-dogs
  19. https://www.imdb.com/title/tt0119506/alternateversions/
  20. https://www.imdb.com/title/tt0119506/fullcredits/
  21. https://www.rottentomatoes.com/m/lawn_dogs/cast-and-crew
  22. https://www.themoviedb.org/movie/35796-lawn-dogs/cast
  23. https://www.imdb.com/title/tt0119506/plotsummary/
  24. https://www.movieguide.org/reviews/movies/lawn-dogs.html
  25. https://eppc.org/publication/lawn-dogs/
  26. https://www.reelviews.net/reelviews/lawn-dogs
  27. https://www.timeout.com/movies/lawn-dogs
  28. https://sitgesfilmfestival.com/en/latest/list-winners/1997
  29. https://sitgesfilmfestival.com/en/festival/historia/1997/awards
  30. https://www.imdb.com/title/tt0119506/awards/
  31. https://www.imdb.com/event/ev0000821/1997/1/
  32. https://www.filmaffinity.com/en/film290135.html
  33. https://www.yahoo.com/entertainment/lawn-dogs-streaming-watch-stream-154450143.html
  34. https://www.reddit.com/r/underratedmovies/comments/f8h3sq/lawn_dogs_1997/
  35. https://www.reddit.com/r/movies/comments/1gmqxw9/what_are_your_favourite_forgotten_90s_movies/
  36. https://www.reddit.com/r/underratedmovies/comments/1hwbn3h/lawn_dogs_1997/
  37. https://letterboxd.com/film/lawn-dogs/
  38. https://letterboxd.com/abystopia/film/lawn-dogs/
  39. http://filmbantha.blogspot.com/2019/09/essential-films-lawn-dogs.html
  40. https://www.flowjournal.org/2008/12/californication-trouble-in-body-guy-paradise/
  41. https://www.imdb.com/title/tt0119506/parentalguide/
  42. https://www.imdb.com/title/tt0119506/reviews/
  43. https://www.austinchronicle.com/screens/lawn-dogs-11915129/
  44. https://reelreviewschicago.wordpress.com/2014/03/06/retroreviews-48-lawn-dogs-1997/
  45. https://theharvestmaidsrevenge.com/2024/02/23/folk-horror-adjacent-suburban-dread-in-john-duigans-lawn-dogs/
  46. https://www.deseret.com/1998/9/25/20089079/film-review-lawn-dogs/
  47. https://www.yahoo.com/entertainment/mischa-barton-recalls-being-strange-180600495.html
Add your contribution
Related Hubs
User Avatar
No comments yet.