Directed By Lasse Hallstrom and Joe Johnston
Starring – Mackenzie Foy, Keira Knightley, Morgan Freeman
The Plot – All Clara (Foy) wants is a key; a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother. A golden thread, presented to her at godfather Drosselmeyer’s (Freeman) annual holiday party, leads her to the coveted key-which promptly disappears into a strange and mysterious parallel world. It’s there that Clara encounters a soldier named Phillip (Jayden Fowora-Knight), a gang of mice and the regents who preside over three Realms: Land of Snowflakes, Land of Flowers, and Land of Sweets. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren), to retrieve Clara’s key and hopefully return harmony to the unstable world.
PG for some mild peril
– Disney’s choice for a 65 mm Kodak format for the presentation. To anyone who has just seen the trailers, it should come as no surprise that this is a beautifully exceptional looking movie, filled with enchanted glimmer that radiates ever-so-gently off of the colorful wardrobes and dreamy landscapes. The team of Hallstrom and Johnston have moved mountains in bringing to life this ballet-turned-film to audiences, and the tinsel of magic that only Disney can emit, is a constant throughout Clara’s wonderous journey.
– Considering this is a ballet with very little exposition between characters and events, it’s a benefit for the film to keep things tight at 89 minutes, leaving the fluff of downtime on the cutting room floor. This is a film that constantly keeps moving, whether you’re into it or not, and I commend the production’s desire to not reach for the low hanging fruit of turning this into an epic, like other Disney live action properties. As far as the burning of an hour-and-a-half goes, it’s as smooth as silk, and keeps the attention of adult and child audiences alike, without a noticeable test of patience.
– Stylishly decadent wardrobes. In emulating the many differences in world, both fantasy and reality, the great Jenny Beavan has her work cut out for her. But with a faithful homage to the nutcracker and toy soldier tinker toy looks of the early 20th century, she wows us in ways that literally transform actors into the characters. For Clara, it’s a second act unveil that grooms her into becoming the woman she is destined to become, and for such an occasion it’s a transfixing gown that greatly compliments her skin, and lends itself to the finer side of class and sophistication.
– My favorite sequence of the film. It’s strange that possibly the only scene that I remember from this film an hour after is the ballet early on in the second act, that depicts Clara’s mother finding the Four Realms, because I myself am not even close to being a ballet fan. But it was in this exceptionally choreographed and wonderfully serenated play that not only built the most in backstory for the film and characters, but also fed into the concepts of majestic, an angle that much of this movie sadly under-developed. It’s a subtle reminder of why this story works on stage in ways that it can only dream of on film.
– No forced humor or cliche supporting cast. You can see it early on. Disney wants so badly to give Clara two dim-witted soldiers to chime in when the movie feels forced to cater to younger audiences. Thankfully, they hold off on this instinct, keeping the film’s tone grounded in expectation, keeping this from becoming a bumbling occasion that would do this story more harm than good. The lack of risk does catch up later on, as I will get to, but the best measures are always those that differ itself from what’s been proven ineffective, and this decision pays off immensely for me.
– Terribly miscast ensemble. It’s a disappointment to me, because I love Foy as an actress, and it’s not all on her. Everyone here is recruited for the wrong intentions, feeding into big budget films dreadful 90’s idea of bringing along the biggest name possible, regardless if it works for their personality or not. In this regard, Foy lacks energy as a protagonist we devote ourselves to, Freeman and Helen Mirren are in the film for a matter of minutes, and Knightley brings forth easily her most annoying portrayal to date. To piggyback off of what I said earlier, I enjoy all of these people individually as actors, but their casting here leaves much to be desired in the way they commit to their roles, and even expanding on their range as actors, making this feel like nothing more than a paycheck project.
– Same old same. You’ve seen it every year: a film will come along involving a child being shipped off to a wonderous land, and asked to save it. There’s nothing shocking about “The Nutcracker” taking this ages old troupe, but rather how little it truly does in adding layers of depth to such a tired plot. Because I’ve seen this concept played off in films like “The Wizard of Oz”, “Empire of the Sun”, and most recently “Ready Player One” to name a few, I can telegraph what will happen throughout, leaving little suspense or imagination to a decaying product.
– Considering this is a film with four different realms inside of this adventure, there’s an overall great lack of concern for the world building that goes unnoticed. Attribute this to the minimal runtime if you must, but in films that depict worlds far from our own, I prefer to be brought up to speed on what makes this place so special, and it just isn’t present here. If it’s in the title, you better do a great job of luring the audience inside, and there was never a moment over C.G backdrops where I felt amazed or riveted by what the film presents.
– This is again another example of a movie with so much computer influence that you wonder why it simply isn’t an animated movie. If you’re going to adapt a story into live action, do so in a way that justifies its existence. Instead, we are treated to hollow properties and poorly rendered rodents that make up the majority, and leave much to be desired in terms of reality. It’s no secret that this is the growing trend, especially with Disney remakes, and to me it’s the kind of creativity the production can muster up in bringing to life live action that impresses me. I’m not against C.G, but it should never make up the majority of any single shot in a movie.
– The dad in this film (Played by Matthew Macfadyen) is creepy to say the least. I get that this is a man who is grieving after the untimely death of his wife, and loneliness eventually sets in, but the way he looks at his oldest daughter in her Mother’s dress, as well as obsess over dancing with both of his daughters, made me slightly uncomfortable to say the least. This is the man’s entire story arc, and his intrusion upon these scenes make it stand out even more unnaturally, and if you think I am indeed bluffing on this, I challenge you to take in the movie and see the weirdness of this aspect, live and in living color.
My grade: 5/10 or C-