Directed by Marc Forster
Starring – Ewan Mcgregor, Hayley Atwell, Bronte Carmichael
The Plot – An adult Christopher Robin (Mcgregor), who is now focused on his new life, work, and family, suddenly meets his old friend Winnie the Pooh, who returns to his unforgotten childhood past to help him return to the Hundred Acre Wood and help find Pooh’s lost friends.
Rated PG for some live action
– Considering the immense shoes that ‘Christopher Robin’ has to fill, the movie’s overall imagination and innocence come through in the clutch. This inescapable range of heart that tries to bridge the gap between the inevitability of adulthood surrounds this film, leading to many moments where Christopher’s past and present collide in a fight for clarity. In this regard, we too as an audience can lose ourselves in 97 minutes of light-hearted material, with the very same furry characters who were such a big part of our childhoods as well.
– The visual effects are charming in their subtlety. Much of the movements of the animals feel authentic without sticking out like a glaring attention-grabber, and the attention to detail with their shaggy designs grants a stuffed animal concept that really grounds the illustrations in realism. Likewise, the gloomy and often times dimmed lighting filters of the film also does wonders for the graphs in effects work that more times than not can relay feelings of counterfeit reflection, in how it bounces off of the live action setting around it.
– While the live action performances are just alright, it’s the voice acting of some of our favorite animated characters that truly steals the show. Jim Cummings is one of the most infamous voice actors in the world today, and his double duty as Pooh and Tigger radiates with personality when the film so desperately needed it most. As Pooh, you notice the vocal transformation over time, that begins as a somber whimper but eventually leads to thriving adventurer, and we start to feel meaning in his life once again, now that Christopher Robin has popped back up. Brad Garrett as Eeyore is also a dry delight. Garrett was born for this kind of delivery, channeling an unlikely humorous side of depression that the film relies on him for each time they need a sarcastic reaction.
– Much of the introduction in storyboards are done with a storybook animation that pays homage faithfully to these character’s origins. Each meaningful moment of Christopher’s life is given a page-by-page visual enhancement to introduce the moment that is about to play out, and with it comes dream-like animation on the pages being lifted, in the form of the books we used to read growing up. My only complaint is that the movie never does this again after the first few minutes. I really think it could’ve added to the presentational aspects of the film.
– Proper location majority. Because we’ve already seen the Hundred Acre forest in the original Pooh offerings, it’s nice to see this film wasn’t afraid in setting most of the film in the real world. What this does is allow us to not only examine and solidify if these animals talking are just a figment of Christopher’s imagination, but also how they interact with other grown-ups around them. It bridges the film on so much more than a metaphorical level, forcing the characters of this man’s youth to collide with the responsibilities that he harbors as an adult.
– The musical aspect of the film is hit AND miss for me, but not giving respect to Jon Brion and Geoff Zanelli’s glimmering tones would be a crime. So much of the numbers are filled with such wonder and soft encroaching among the story, solidifying that sometimes the most effective musical pieces are those that are patient and never overbearing. These two each have more than twenty years of scoring between them, and that wisdom of experience is on display repeatedly for a film that never settles for just one consistent tone.
– Lack of chances or originality. ‘Christopher Robin’ certainly isn’t breaking any new ground. Every single trace that the script takes us through feels like it was derived between ‘Return To Oz’ and especially ‘Hook’. But I can get over similarities in story. What I can’t get over is how safe Disney continues to be with the sequel/remake formula that is all the rage over the last five years. If you’re going to bring a respected property back to life, add something memorable to this new chapter. Otherwise, the lack of creativity becomes evident, and it loses the chance to rid itself of the immense shadow before it has even started. A fine example is last year’s ‘Goodbye Christopher Robin’, an unaffiliated-with-Disney film that explored the psychological effects of Robin’s time in the war, and why he lacked the connection with his adopted daughter.
– I mentioned earlier that I have my likes and dislikes for the music department in this film, and my problems rely with the lack of musical numbers that we get. With the exception of a line of ‘Wonderful Thing About Tiggers’, there isn’t a single familiar track in the film, leaving much of the whimsical side of the Pooh environment stuffed in a box, like the very memories that Christopher goes through with such forgetfulness.
– Songs aren’t the only thing ‘Christopher Robin’ lacks, as an overall lack of humor adds only further weight to the second act pacing that occasionally stands still. ‘Paddington’ is a great example of a movie that balanced heart and humor alike, without ever feeling confrontational of one another, but ‘Christopher Robin’ greatly lacks the confidence in its delivery, instead settling for cramped slapstick humor during the closing moments that highlighted its desperation. I laughed once during the movie, and that’s saying nothing. The real problem is with the children in the audience who grew restless with material that looks beyond them instead of right in the eyes.
– This film lacks such conflict in plot that it must create its own, with about twenty minutes left in the movie. The emerging subplot with Robin’s work comes out of nowhere, and only points out the silliness when kids movies try to depict big-wig corporations. I’m supposed to believe that this company will go under if they don’t find a way to sell more luggage? I’m also supposed to believe that they’ve never thought about selling to lower class incomes, and THAT is the big break needed to turn it all around? Do poor people not have luggage when they go on vacation? Who cares, because they’re kids, and kids are stupid.