|Story & Screenplay|
|Sound & Music|
|VFX/Animation (if any)|
“Alice” falls down a deep hole and is unable to get out.
In this 2010 cinematic rendition of the Lewis Carroll classic, Tim Burton’s individual stamp of masterful storytelling doesn’t register. With its wavering tone that is as uncertain as Alice’s decision-making in the narrative, Burton and company should really dig a lot deeper if they eventually decide to make a sequel out of it.
Stylish but dispirited, style over substance, “Alice in Wonderland” is a pretty disappointment. It has great visuals but lacks storytelling value. Clearly a feast for the eyes but not for the heart, it is teeming with marvelous sights but hollow at its core. Overwhelming visuals but underwhelming storytelling. Great canvas but not a great film.
This Disney movie is not the masterpiece people hoped for. It looks more like a coffeetable book showcasing CGI grandeur. It is definitely not within the caliber of Burton opuses such as “Edward Scissorhands” and “Big Fish.”
A Burton interpretation of this tale is quite intriguing and exciting. But shockingly, things just don’t work. The movie lacks the energy and emotional power to breathe life beyond the vision inside the filmmaker’s head. This director who apparently takes the producer role as well loses his authentic knack for effective storytelling. His expressionist signature turns out to be the only aspect he keeps in this motion-picture project.
With its visual splendor, this movie is still a technical feat, mainly for its visual effects, production design, and art direction.
Ken Ralston’s visual effects are pleasantly surreal. Character designs showcase such creative wizardry. Robert Stromberg’s production design is fun and dazzling. The amazing offbeat aesthetics as individual pieces are whimsically great in their own dark and bizarre fashion. Danny Elfman’s musical score offers some magical parts, but the elements don’t transcend to wonderful heights. Chris Lebenzon’s cutting is considerably fine, but it doesn’t reflect the supposed marriage of a Burton vision and a Carroll story. Dariusz Wolski’s photography is wonderfully magical. However, all these still fail to cover up the screenplay’s loopholes. Although the script has its moments, things don’t fall into one coherent piece. Empty, atmospheric, and lacking soul, some individual pieces actually work at times, but things never really work as a whole. The dialogue can’t live up to the film’s superficial narrative flow.
The film falls short in driving the character arcs. The acting is sometimes spot on, but sometimes out of range. Overall, the characters don’t have that firm grip to let the audience relate to and sympathize with them. From frequent Burton collaborators Johnny Depp as the Mad Hatter and Helena Bonham Carter as the Red Queen, to first-time Burton collaborators Mia Wasikowska as Alice and Anne Hathaway as the White Queen, the acting performances provide characters that work more on solo flights.
For its 3D version, unlike in the 3D epic “Avatar,” this motion picture doesn’t offer an immersive 3D experience. Instead of rendering awe-inspiring 3D images, the movie’s shallow visual feast looks lame. The three-dimensional depth looks fake, perhaps because of the post-3D conversion process employed in the picture. Clearly, the technical requirements for filming in 3D are not entirely the same as the conventional filmmaking process done in 2D. The 3D here doesn’t look absorbing enough to recreate a new mythmaking factor for the film. Moreover, the movie lacks that captivating 3D spirit, perhaps because the envisioned film came out from ideas pegged in 2D format. 3D requires a specific sub-culture when it comes to utilizing the immersive qualities of the format, which means its own set of storytelling standards that may or may not entirely work with a 2D-envisioned film.