“Violent Night” stars David Harbour, John Leguizamo, Cam Gigandet, Alex Hassell, Alexis Louder, Edi Patterson, and Beverly D’Angelo. Released on December 2, 2022, the film has Santa Claus saving a wealthy family from a group of mercenaries. The film is directed by Tommy Wirkola, who also directed films such as “Dead Snow”, “Hansel & Gretel: Witch Hunters”, and “The Trip”. It’s that time of year once again, ladies and gentlemen. The time for us to get into the holiday spirit by watching a ton of Christmas movies and shows and maybe having some eggnog too. While most of us prefer the ones that are harmless and heartwarming, some people usually go for something hardcore and bloody with a touch of Christmas spirit. Luckily, Hollywood has just the movie for them to watch this weekend. This film has my immediate attention for several reasons, mainly the people behind it. You have director Tommy Wirkola, who’s no stranger to combining adult violence and dark comedy, and one of its producers, David Leitch, who still has an impressive track record in the action genre. Additionally, it happens to have screenwriters Pat Casey and Josh Miller, mostly known for writing the “Sonic the Hedgehog” movies. With these people on board, it’s no wonder I was ecstatic to see a badass St. Nick in action, even though it has been done in other movies and shows before this one. So, does it bring enough yuletide cheer to kickstart the Christmas season, or does it deserve a lump of coal this year? Let’s find out. The story follows Santa Claus (Harbour), a rough version of the holiday legend who’s not as jolly as the other Santas. It also centers on the wealthy Lightstone family celebrating Christmas together, including Trudy (Leah Brady), the daughter of Jason (Hassell) and Linda (Louder). Unfortunately, the family’s celebration is cut short when a band of mercenaries invades their estate. Led by Scrooge (Leguizamo), the paramilitary group seeks to steal thousands of dollars in cash from their vault. When Santa visits the Lightstones’ residence to deliver their presents, he gets caught in an unintentional battle for his life. Using his magical tricks, Santa fights to save the family and the spirit of Christmas. I’ve heard that the film’s concept is a mixture of “Die Hard” and “Home Alone”. However, I describe it as a “what if” scenario, in which Santa watched the “John Wick” movies and decided to use the character’s violent methods to punish people on his naughty list. Since David Leitch was involved in the action franchise, this description makes perfect sense to me. The movie belongs in the category of films that deliver adult-rated takes on beloved fairy tales and legends, including the ones that went under our radar. While I’m usually down with the idea, it can only take these movies so far regarding the execution of their plots. “Violent Night” hopes to be the one that effectively combines popcorn entertainment with crazy adult violence without taking itself seriously because nothing screams “holiday cheer” than watching Santa stab someone in the eye with a Christmas star. The important thing to know about the story is that it doesn’t set out to be an award-winning action classic. It only exists to do one thing and one thing only: to spread Christmas cheer and adult-rated entertainment. Unsurprisingly, the movie did just that, and it was a splendid early gift to have this year. It does take unoriginal elements from other action films and holiday-related stories, but the way it uses them is enough to inject some fun into its silly concept. One of the elements I liked about its plot is that it examines people’s greed during the holiday season. With the kids always wanting nothing but cash and video games for Christmas, Santa loses hope and meaning due to the lack of Christmas spirit. He didn’t want anything to do with the holiday because of the greed that affected people’s minds. But all that changes when he gets caught in a dangerous scenario where he has to rescue Trudy, the daughter who wants nothing more than to have her family back together. It’s a somewhat heartfelt reflection on the true spirit of the holiday amid the violence and adult language. I wouldn’t say it’s the best-written story relating to its Christmas-themed messages. However, I can say that the plot is as entertaining as Santa brutally murdering the naughty mercenaries, even though it fails to expand on the idea further. The last time Wirkola helmed a violent take on a fictional character was “Hansel & Gretel: Witch Hunters” almost a decade ago. While that movie has its moments of R-rated violence, it didn’t do much to be anything more than a mindless, forgettable popcorn flick. “Violent Night” has the director taking another shot at the concept, but with the jolly old fat man fighting the bad guys. The result is a fitting improvement over the critically-panned action horror take on the fairy tale. What makes Wirkola’s direction decent is how he mixes the adult-rated crass with the innocence of a family-friendly holiday movie. One minute, you’re watching something heartwarming and full of joy; the next, you see Santa drinking alcohol and brutalizing people with a sledgehammer. Additionally, it’s not afraid to throw in some adult humor, which delivers a good amount of shock and hilarity into the kills and dialogue. The movie’s cast was also pretty good in their roles, especially David Harbour. When I first saw the trailer for “Violent Night”, I immediately knew that Harbour was a great fit to play the fat bearded man with a bad attitude. He’s got the grit from his other roles, including Jim Hopper from “Stranger Things”, but he’s also got the charisma to go along with it. As I watched the film, I still believed that he was undoubtedly the right guy to fill in Santa’s black boots. Harbour offers a satisfying blend of crass and wholesomeness to make the film’s mature take on St. Nick the one to believe in. John Leguizamo also did all right with his performance as Scrooge, and Alex Hassell was decent as Jason Lightstone. Leah Brady also makes for a solid presence onscreen as Trudy, the girl who communicates with Santa through the radio. As for the action sequences, I would say they’re about as brutal as you expect from an R-rated action film set during Christmas. They’re violent, a little grotesque, and pretty entertaining. They’re suitably directed without being an eyesore regarding the editing, and they offer some satisfying kills to the people on Santa’s naughty list. You know, because a lump of coal is not enough. There’s also a scene that I can best describe as an R-rated version of “Home Alone”, and it’s honestly one of my favorite sequences of the movie. Overall, “Violent Night” is an early Christmas gift that packs a bloody punch in its violence, comedy, and holiday cheer. Even though its concept is a tad fundamental regarding its formula, the movie is still a fun and gleefully brutal sleigh ride from start to finish and nothing else. From David Harbour’s portrayal as Santa to the entertaining action sequences, the film will have action fans saying “ho-ho-ho” throughout December or any other month. If you’re in the mood for a Christmas movie that’s more mature and violent than others, this film might be what you need to get into the holiday spirit. Just don’t watch it with the kids who believe in Santa, or else you’ll be on his naughty list. B
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"Puss in Boots: The Last Wish" stars Antonio Banderas, Salma Hayek Pinault, Olivia Colman, Harvey Guillén, Samson Kayo, Wagner Moura, Anthony Mendez, John Mulaney, Florence Pugh, Da'Vine Joy Randolph, and Ray Winstone. Releasing on December 21, 2022, the film has Puss in Boots setting out on a journey to restore his lost lives. The film is directed by Joel Crawford, who also directed "The Croods: A New Age". He's also a storyboard artist for films like "Bee Movie", "Kung Fu Panda", "Rise of the Guardians", and "Trolls". It is a spin-off of the Shrek franchise and a sequel to the 2011 movie, "Puss in Boots". Do you ever wish you could embark on another fantastical adventure with the swash-buckling and handsome feline? Well, you're in luck because DreamWorks Animation is here to grant you that wish. Puss in Boots has become a fan favorite of the studio's popular franchise since his debut in 2004's "Shrek 2". Brought to life by Antonio Banderas, the adorable kitty offered a unique and joyous take on the fairy tale character and the similar sword-wielding outlaw Zorro, also played by Banderas. In context, this casting choice makes perfect sense. The titular cat has continued to do so in the other "Shrek" sequels and his solo adventures, including the 2011 spin-off film and the Netflix series "The Adventures of Puss in Boots". Several years later, DreamWorks decided to bring the dashing hero back for a new adventure that can be described as "life-changing". With that said, let's journey back to fairy tale land and see if this latest sequel marks a triumphant comeback for the character. The story follows Puss in Boots (Banderas), a former fugitive and hero of San Ricardo. While saving a town from a giant monster, Puss loses his life due to a tragic accident. After learning that he has used eight of his nine lives, Puss is forced into retirement by living in Mama Luna's (Randolph) cat-filled home. Feeling depressed that his hero days are over, Puss eventually discovers the legend of the mystical Wishing Star, which can grant the founder any wish they want. With the help of Kitty Softpaws (Hayek) and a wannabe therapy dog (Guillén), Puss sets out to find the Wishing Star and restore his lost lives. Unfortunately, he also has to outsmart a few adversaries attempting to hunt him down, including Goldilocks (Pugh) and the three bears, as well as the mysterious Big Bad Wolf (Moura). Puss in Boots has been listed as one of my favorite characters in the DreamWorks Animation library since "Shrek 2" for the reasons I listed above. He's also one of the characters who helped introduce me to Antonio Banderas, with another being Gregorio Cortez from the "Spy Kids" movies. My love for Puss in Boots led me to watch his spin-off film in the theater, and I thought it was entertaining. It didn't do much to stand alongside the studio's best works, but it delivered a fun enough story to successfully expand the Shrek franchise. That alone was enough for me to reunite with the character eleven years later. Man, I feel old. If you're wondering how I saw it earlier than expected, it's because I attended a special early screening of the movie. I went with my mother and sister, and we all had a great time together. If there's anything better than watching a movie, it's watching it with the family. But what about the film itself? Did it live up to the expectations it provided? Honestly, yes, it did. With its unique style and a colorful blast of action, humor, and heart, "The Last Wish" granted its own wish of being surprisingly better than the 2011 film. One of the reasons for its improvement is the story. The movie features a clever take on the "nine lives" scenario, with Puss only down to his final life. As a result, the fearless feline faces an even greater challenge: fear. The story sees Puss on a journey to find the star and restore his lives, only to discover what really matters in life. Not only did it maintain my interest in its concept, but it also provided a highly entertaining and thoughtful story to coincide with its fairy tale environment. "The Last Wish" delivers many elements we've come to expect from a DreamWorks Animation movie, including its family-friendly comedy and fast-paced action. However, the direction for the film's challenging topics makes it stand out from most of those films. With its underlying themes relating to death, it makes sense for "The Last Wish" to be a tad darker than the first film. It still provides a series of light-hearted entertainment for the kids, but it also has a few sequences that are surprisingly more intense for that age group. This is similar to the other great DreamWorks sequels, "Kung Fu Panda 2" and "How to Train Your Dragon 2", in which the stories combine their usual brand of humor with intense action and mature themes. While "The Last Wish" is a tad below those fantastic follow-ups due to a couple of predictable moments, the film effectively showcases the studio's ability to provide family-friendly entertainment and test specific boundaries of its storytelling. Like the 2011 film, "The Last Wish" also benefits from its lovable cast of characters, including Puss, Kitty Softpaws, and Perrito. In addition to being enjoyable, some characters offer a good amount of depth to strengthen the film's messages. The movie also felt more connected to the Shrek universe with its cameos, which I won't reveal in case you haven't watched it yet. They are also brought to life by a cast of talented actors, especially Antonio Banderas, who never ceases to amaze me as the titular character. Salma Hayek Pinault was also entertaining as Kitty, and Harvey Guillén was a delightful surprise as Perrito, the dog who accompanies Puss and Kitty. I honestly wasn't expecting Perrito to steal the show in most of his scenes, but he did, and it was a joy to watch. The humor involving Perrito was absolutely hilarious. Florence Pugh was also great as Goldilocks, one of Puss's enemies who are after the star. I can't say anything more about Goldilocks and the Big Bad Wolf, who's marvelously voiced by Wagner Moura. But I can say that the way these antagonists are handled is "just right". But, of course, the story isn't the only thing that got an upgrade for the sequel. The film's animation is another element that makes it stand out from the first movie. "The Last Wish" continues the studio's trend of providing a unique style inspired by "Into the Spider-Verse", which creatively combines CGI and 2D animation. The sequel utilizes new technology to make it resemble more like storybook illustrations and showcase the frenetic and stylistic flair similar to "The Bad Guys" and "Into the Spider-Verse". The result is another remarkable showcase of vibrance and creativity. In addition, the animation provides a splendid amount of color and style to display its imaginative world and thrilling action scenes. If this new style is the studio's future, then I can't wait to see what it'll bring to the table for their upcoming projects. Overall, "Puss in Boots: The Last Wish" makes its wish of being a fun, thoughtful, and visually imaginative fairy-tale adventure come true. This is another animated sequel from DreamWorks that took the predecessor's elements and effectively improved them regarding its themes and animation. Heck, I would even say that it's better than Joel Crawford's directorial debut, "The Croods: A New Age", another DreamWorks sequel. With its delightful cast of characters, strong direction, thought-provoking messages, fantastic animation, and entertaining mixture of action and comedy, the film is a near-"purrfect" choice for families and fans of its predecessor to see over the holiday season. Additionally, it's also one of the best animated films from the studio and one of the best of the year regarding the art of animation. A-“Strange World” stars Jake Gyllenhaal, Dennis Quaid, Jaboukie Young-White, Gabrielle Union, and Lucy Liu. Released on November 23, 2022, the film has a family of explorers traversing through an uncharted and surreal world. The film was directed by Don Hall, who also directed “Winnie the Pooh”, “Big Hero 6”, and “Raya and the Last Dragon”. It is the 61st feature from Walt Disney Animation Studios. Besides making fairy tales and musicals, Disney is known for delivering animated adventure films that provide family-friendly thrills instead of characters breaking into song. Those include the likes of “Tarzan”, “Atlantis: The Lost Empire”, “Treasure Planet”, and even last year’s “Raya and the Last Dragon”. The studio’s latest animated feature is no different, as it looks to take viewers to a world where surreal is the norm. Seeing that I enjoyed some of Disney’s previous action-packed animated films, there’s no doubt I was willing to join in on this adventure. With that said, let’s head into uncharted territory and see if this strange expedition is worth taking. The movie follows Searcher Clade (Gyllenhaal), a farmer who’s also the son of the legendary adventurer Jaeger Clade (Quaid). Searcher has spent 25 years outside his father’s shadow by harvesting a newly found plant into fuel resources for the land of Avalonia. However, the quiet life is interrupted when Searcher, his wife Meridian (Union), and their son Ethan (Young-White) are assigned by Avalonia’s president, Callisto Mal (Liu), to tackle their latest mission. Their assignment leads them to a mysterious world underneath Avalonia, inhabited by various unusual life forms. With Jaeger joining the fun, Searcher must rely on his courage and his family to complete their dangerous task and save the planet from destruction. “Strange World” is another film in which Disney took inspiration from specific source materials and cultures to create an original story. This time, it takes inspiration from pulp magazines from the 20th century and pays homage to retro sci-fi films from years past, such as “Journey to the Center of the Earth” and “King Kong”. Even the teaser trailer was created to recapture the look of a retro movie. Although, from the looks of the trailers, the film also reminded me of James Cameron’s “Avatar”, which is now owned by Disney. This seemed somehow appropriate since Cameron’s sequel is coming out in a couple of weeks. But, of course, all that matters is how they combine them to make a worthy story about the importance of family and legacies. So how does it live up to the brand’s legacy? Well, if you expect it to be the next animated classic, you might be slightly disappointed with this discovery. However, that doesn’t make it less fun than the other family-friendly adventures of years past. The story makes “Strange World” the latest movie in Disney’s library to feature generational trauma as its central theme. Amid the adventure into the unknown world lies a tale about Searcher struggling to keep his son Ethan from becoming like Jaeger, who left Searcher behind to pursue his own destiny. However, Searcher would soon discover that a legacy is more than just keeping up with the tradition. The movie offers a suitable message about choosing their own paths and respecting other people’s interests. Additionally, it showcases that the greatest discovery is what’s in front of us, mainly in the case of Jaeger. While the themes shown are genuinely heartwarming, its storytelling doesn’t quite live up to its weirdly convincing premise. The story features many familiar traits we’ve seen in other movies, primarily the ones from the adventure genre, including the overprotective father trope and generational trauma. The film also had plenty of fun moments that kept it from being a dull exploration, especially the humor. Unfortunately, the plot falters from its fundamental world-building and average screenplay. For a peculiar world filled with creative environments, it should’ve been much stranger than the film’s on-the-nose title. Another fun moment that drives this adventure is the characters. Disney is no stranger to making every character in animation likable and entertaining, even the ones that are formulaic. The characters in “Strange World” are no exception. In addition to the diversity and representation, the characters offer the energy, charm, and heart we’ve seen before, especially Searcher and Jaeger. They may not join the ranks of the studio’s memorable characters like Snow White, Tarzan, and even Elsa from “Frozen”, but the ones in “Strange World” deliver enough moments to satisfy me and its target audience. Additionally, the voice cast did a solid job providing their vocal talents to their respective characters. Jake Gyllenhaal was decent as Searcher, and Dennis Quaid offers a lot of energy and amusement in his role of Jaeger. Jaboukie Young-White was also entertaining regarding his performance as Ethan. But, of course, there’s also Splat, another side character from Disney destined to be popular among kids. There’s not much to say about Splat, one of the world’s creatures, except he’s adorable. Finally, we have the animation. It’s unsurprising that Disney delivers quality in its CGI animation and world-building regarding their movies. Regardless of how you feel about the recent films, you can’t ignore that the studio has consistently met its expectations regarding its style. “Strange World” continues this trend by delivering the dazzle and wonder of its environments with its CGI animation. I also appreciate the different color palettes that resemble the two worlds, with orange and white for Avalonia and red and magenta for the strange world. They set the two apart distinctively and imaginatively, even though the world-building for the underground realm was bare-bones. Overall, “Strange World” delivers a mildly fun expedition through its peculiar setting. However, it’s not enough to overshadow a middling narrative that fails to live up to its title. It’s far from a dull journey, as it provides plenty of elements seen in Disney’s other movies, such as the eye-popping animation, messages, and likable characters. Unfortunately, it also falls short of what the studio is known for regarding its quality. The plot struggles with some of its emotional beats, the script is formulaic, and the world-building is surprisingly more fundamental than weird. It makes for a fine distraction for the kids, but compared to Disney’s other animated masterpieces, there’s not much else worth exploring for anyone else. C+"The Menu" stars Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Judith Light, and John Leguizamo. Released on November 18, 2022, the film has a young couple discovering something sinister at an exclusive restaurant. The film was directed by Mark Mylod, who also directed "Ali G Indahouse", "The Big White", and "What's Your Number?". Usually, we go to restaurants to hang out and try out some of the best meals on the planet. But in a restaurant like this, we're here only to survive. We have many options for people to see before spending Thanksgiving with their loved ones and some delicious food. Although, this may make them not want to fill their stomachs with anything this year.…or go to a restaurant. This film has my attention for numerous reasons, including the cast and its bizarre concept. I'm always in the mood for something completely surreal, and Ralph Fiennes as a chef is enough for me to secure a reservation. So was it able to provide a satisfying main course, or does this experience deserve a one-star rating? Let's find out. The story follows Tyler (Hoult) and his companion Margot Mills (Taylor-Joy). They travel by boat to Hawthorne, an exclusive restaurant on a private island owned and operated by celebrity chef Julian Slowik (Fiennes). Upon arrival, they are joined by the other guests, including food critic Lillian Bloom (McTeer), wealthy couple Richard (Reed Birney) and Anne Liebbrandt (Light), and post-prime movie star George Diaz (Leguizamo). As the group takes in the atmosphere and unusual dishes, Margot questions the restaurant's setting and Julian's mysterious motives. Her concern gradually comes to fruition when the chef's grim actions reveal the restaurant's true colors. It's no surprise that a black comedy film can be fun and darkly bizarre if the balance between the two is present. Sure, we can laugh at some of the silliest and light-hearted moments, but there's also no shame in chuckling at the ones that are unexpectedly grim and shocking. I enjoyed these types of movies because they're not afraid to poke fun at specific topics used in serious dramas in the most creative way imaginable. So I was pretty happy to see "The Menu" being the latest to combine these ingredients to create a unique and twisted meal. To the surprise of no one, this five-course meal is a delectable and sickly humorous combination of horror, black comedy, and social commentary. While the taste may not leave an ever-lasting impression in my mouth, it's satisfying enough to fill my stomach. "The Menu" is another film that may leave some viewers feeling conflicted regarding its direction. The film is basically about a group of guests enduring the disturbing customs of the restaurant, including the course's themes. However, the story offers much more than just this simple appetizer. The actual main course is the movie's satirical reflection on the wealthy upperclassman. The plot uses dark comedy and horror elements to parody the characters' snobby personalities and actions. Additionally, it represents the obsession with perfection and the strive to obtain it, mainly from Slowik. So the movie had the task of balancing the social commentary with its standard comedy/thriller vibes that modern audiences would expect. The result is a delicious and hysterical treat that never takes itself seriously. However, it's far from a perfect dining experience, as a few elements in the story fell short of its execution. It wasn't as balls-to-the-walls nuts as I thought it would be based on the marketing. However, that could be because I was expecting it to be like "Ready or Not", another black comedy horror film from Searchlight Pictures. Luckily, that doesn't mean I liked this direction even less. Mark Mylod seemed like an odd choice to direct the movie at first, considering his lackluster filmography. However, the filmmaker proved me wrong by providing enticement and oddness in its brief, shocking violence and humor. While its finale also didn't fall prey to the usual trope of going all-out with its violence, it's serviceable in delivering a subtle yet fulfilling closure to its themes. This is due to its screenplay by Seth Reiss and Will Tracy, who favor bold choices in this recipe over modern narrative tropes. The cast was also great in elevating this strange extravaganza with their performances. Ralph Fiennes has never failed to impress me with his charisma and talent in his roles, even in a movie that's far below his standards. Unsurprisingly, his performance as Julian Slowik is no different. I would even say it's one of the best I've seen from him. Julian is seen as a calm yet mentally unstable perfectionist with a grudge against people above him. Fiennes delivers a performance that matches Julian's personality but is also not afraid to have fun with it without being too over-the-top. Julian is one messed-up chef, and I couldn't help but love him because of it. Anya Taylor-Joy also did very well with her performance as Margot, and Nicholas Hoult offers the right amount of humor and mean-spiritedness in his role of Tyler, a snobby food fanatic. There's also John Leguizamo, who has recently appeared in more movies than ever. I still wouldn't complain about that since he still makes a solid presence onscreen, and his performance as George Diaz is no exception. Overall, "The Menu" is a fun, stylish, and darkly comical dish that's tasty enough to fulfill my appetite. It may not be extreme as I thought it would be regarding its concept and violence. However, after thinking about it more following my experience, I figured that it's better with what it is now. A movie like this doesn't need to showcase plenty of ultra-violent deaths or any over-the-top shenanigans to get its point across or even provide a sense of enjoyment. All it needs is a good story and a proper execution of its balance of comedy and horror to deliver a fun and refreshing experience. "The Menu" offers precisely that, even though the aftertaste isn't 100% perfect. If you're a fan of dark comedy and even food in general, the film is worth checking out or, in this case, dining at. B+“Guillermo del Toro’s Pinocchio” stars Ewan McGregor, David Bradley, Gregory Mann, Ron Perlman, Cate Blanchett, Finn Wolfhard, Christoph Waltz, and Tilda Swinton. Released on November 9, 2022, the film is about a wooden puppet who comes to life and learns the meaning of life. The film was directed by Guillermo del Toro, who also directed films such as "Mimic", "Hellboy", "Pacific Rim", and "The Shape of Water". It is co-directed by Mark Gustafson. It is based on the 1883 novel The Adventures of Pinocchio by Carlo Collodi. It wasn't that long ago when we got another film adaptation of "Pinocchio", courtesy of Disney+. Long story short, you're better off watching the 1940 animated version. So it's surprising to see another adaptation of the classic tale come out so quickly. However, this film looks more interesting than Disney's latest remake. The main reason is Guillermo del Toro, who continues his remarkable streak of providing high-quality and darkly fantastical movies. What's even better is that he's making his directorial debut in the world of animation. The filmmaker is no stranger to being involved in animation, having produced "The Book of Life" and created the "Tales of Arcadia" shows for Netflix and DreamWorks Animation. He also executive produced a few DreamWorks Animation movies in the 2010s, including "Puss in Boots", the "Kung Fu Panda" sequels, and "Rise of the Guardians". If those things aren't enough to convince us he's ready to direct an animated feature, I don't know what will. Because of this, I was ecstatic to see how his take on the beloved classic compares to the other versions. So was the film able to stand out above the other animated movies, or is it another adaptation that deserves to be firewood? Let's find out. The story centers on Geppetto (Bradley), a heartbroken woodcarver who recently lost his son in 1930s Italy. To cure his depression, Geppetto sets out to carve a wooden puppet out of a tree. One night, a spirit arrives and brings the puppet, now named Pinocchio (Mann), to life, much to Geppetto's shock. With a cricket named Sebastian (McGregor) acting as his guide, Pinocchio goes on a coming-of-age journey to make his dream of being a real boy come true. During the journey, he encounters several different characters, including a vicious puppet master named Count Volpe (Waltz), a fascist government official (Perlman), and the Wood Sprite (Swinton). The thing to know about this adaptation is that it's nothing like the Disney version you and your kids grew up watching. Yes, it's animated and features some musical numbers, but it's far from what Walt Disney delivered years ago, except for the whole "children being turned into donkeys" thing. In classic del Toro fashion, the new adaptation sticks closely to the book's tone by combining fantasy elements with its dark themes. So even though the film is rated PG, it does feature a few moments that may bring some mild discomfort to younger kids. So keep that in mind before you select this as your next family outing. Aside from that, how does this latest version of the classic book compare with the previous adaptations? Well, I can tell you this: this is miles better than the Disney live-action remake. When it comes to the story, there's nothing in the narrative that we haven't seen in the other adaptations before. However, what makes the plot stand out from the rest is its execution and direction. The narrative involves Pinocchio's journey to be a real boy and avoid temptations that'll slow him down, including performing for Volpe. But it offers much more than that. It's a story about humanity and the aspects of life that came with it, both good and bad. One of them, in particular, is love. Outside of Pinocchio's adventure, the film follows Geppetto feeling affected by the loss of his son during the war. As a result, his will to love died alongside his son. With the arrival of Pinocchio, Geppetto is given the opportunity to regain the love he's lost. The movie offers a heartfelt and profoundly poetic reflection of everlasting love. Just because someone you loved is gone, it doesn't mean the love is gone too. It's as eternal as the wooden puppet himself, no matter how bad life can get. Not only were these messages well-handled, but the movie also has a perfect amount of dazzle and emotion in its visuals and storytelling to please adults and maybe some older kids. It also isn't afraid to represent some of its darker elements like war and even death, primarily due to Guillermo del Toro. I can quickly tell that the film has del Toro's fingerprints all over the place regarding its presentation and tone. It has a sense of gloom and despair in its lighting, backgrounds, and themes, but it also offers a sense of wonder in the darkness within. It's usually the best way I can describe del Toro's style. Additionally, his script, which he co-wrote with Patrick McHale, provided a fulfilling mixture of light-heartedness and sorrow. Unfortunately, my only complaint about the story is that it ran a couple of minutes too long. Besides that, the plot is a refreshing and wondrous take on the classic source material that's both fun and ambitious. It also has a beautiful musical score from Alexandre Desplat. Another way I can tell that del Toro is involved is the all-star cast. Some of the actors worked with del Toro in his previous works, including Ron Perlman and Burn Gorman, so I'm not surprised to see them working with the filmmaker again in "Pinocchio". It's also unsurprising that the actors were stellar in their vocal performances. Newcomer Gregory Mann provides the voice of the titular wooden puppet. Despite being close to getting irritating during a couple of scenes, Mann managed to deliver plenty of charm and joy to the mischievous yet innocent puppet. Ewan McGregor also did very well with his performance as Sebastian. He offers a unique take on the source material's character and delivers some surprisingly decent humor. In addition, David Bradley was compelling as Geppetto regarding his character arc, and Christoph Waltz was delightfully wicked as Count Volpe. Finally, we have the film's stop-motion animation. This is one of the reasons I wanted to see "Pinocchio", and I'm glad it didn't disappoint. The animation gives the story a new coat of paint by reflecting its stunning backgrounds and character designs that are distinctive and detailed. It has the old-fashioned flair of a classic stop-motion short but with the del Toro flavor added to the mix. The way it's represented shows that del Toro understands the values of cinema, both in live-action and animation. Overall, "Guillermo del Toro's Pinocchio" is a dazzling and highly heartfelt adaptation that perfectly combines the art of stop-motion with del Toro's signature style. The runtime is only a minor issue I can get behind, as it isn't enough to distract me from the majesty of its technical aspects and storytelling. From its direction for the story to the stellar animation, the movie is the best adaptation of the source material since the Disney animated version from 1940. I highly recommend this stop-motion gem to the fans of del Toro's other works and the source material. A- |
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