×
You will be redirected back to your article in seconds

Alice in Wonderland

Pic has its moments of delight and bedazzlement, but it also becomes more ordinary as it goes along.

With:
Mad Hatter - Johnny Depp Alice - Mia Wasikowska Red Queen - Helena Bonham Carter White Queen - Anne Hathaway Stayne -- Knave of Hearts - Crispin Glover Tweedledee/Tweedledum - Matt Lucas Helen Kingsleigh - Lindsay Duncan Lady Ascot - Geraldine James Lord Ascot - Tim Pigott-Smith Charles Kingsleigh - Martin Csokas Hamish - Leo Bill Aunt Imogene - Frances de la Tour Margaret Kingsleigh - Jemma Powell Lowell - John Hopkins Voices:
Absolem, the Blue Caterpillar - Alan Rickman Cheshire Cat - Stephen Fry White Rabbit - Michael Sheen Bayard - Timothy Spall Dormouse - Barbara Windsor Jabberwocky - Christopher Lee Dodo Bird - Michael Gough Executioner - Jim Carter Tall Tower Faces - Imelda Staunton March Hare - Paul Whitehouse

“You’ve lost your muchness,” Johnny Depp’s Mad Hatter remarks to his newly shrunken teenage friend, and much the same could be said of Tim Burton in the wake of his encounter with a Victorian-era heroine of imaginative powers even wilder than his own. Quite like what one would expect from such a match of filmmaker and material and also something less, this “Alice in Wonderland” has its moments of delight, humor and bedazzlement. But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years. A humongous Disney promo effort and inevitable curiosity about the first post-“Avatar” 3D extravaganza will pull wondrous early B.O. numbers, although long-term forecast could become clouded by the imminent arrival of further high-profile kid-friendly features.

It all seemed like such a natural fit — Burton and Lewis Carroll, Depp as the key component in fiction’s most eccentric tea party, and 3D put at the service of a story offering unlimited visual possibilities. Not that it’s gone all wrong; not entirely. But for all its clever design, beguiling creatures and witty actors, the picture feels far more conventional than it should; it’s a Disney film illustrated by Burton, rather than a Burton film that happens to be released by Disney.

Although it draws heavily upon both Carroll’s “Alice’s Adventures in Wonderland” (published in 1865) and “Through the Looking Glass” (1871), the script by Linda Woolverton (a Disney standard-bearer with a major hand in “Beauty and the Beast,” “The Lion King” and “Mulan”) crucially skews the material by advancing the leading lady’s age from pre-pubescence to 19. The main upshot of the change is that this trip to Underland, as it’s referred to here, becomes Alice’s second, not first. The not-inconsiderable benefit is that enables Alice to be played by Mia Wasikowska, an actress of willowy, Gwyneth Paltrowesque beauty but, more important here, of a pale but powerful resolve that confers upon the picture any gravity it may possess.

After an over-the-rooftops cinematic entry into London that could as easily have alighted at the residence of Sweeney Todd (or, for that matter, Ebenezer Scrooge), a delirious little Alice awakens from yet another nightmare to ask her father, “Do you think I’ve gone ’round the bend?” To which he offers the encouraging, tone-setting reply, “All the best people are.”

Thirteen years later, in an amusing framing story invented by Woolverton, a pale, sulky Alice is put up for an arranged marriage by her widowed mother (the enchantingly mordant Lindsay Duncan) with the twitty son of an aristocratic family. The lavish would-be engagement party quickly and appealingly establishes Alice as an impudent contrarian with a mind of her own; when, in front of hundreds of elegant guests, she is meant to accept the fatuous lad’s proposal, she cries out, “I think I need a moment!” and promptly follows a white rabbit down a hole.

Just as, at such a transformative interlude, “The Wizard of Oz” switched from black-and-white to color, this should have marked the point when “Please Put on 3D Glasses!” flashed onscreen and everything took on an all-consuming, eye-popping look (the 3D in the garden party sequence is actually banal, even poorly judged). In fact, Alice enters a verdant, overgrown world that undeniably resembles “Avatar’s” Pandora and encounters at least one creature, a skeptical caterpillar, that actually is blue.

As things get “curiouser and curiouser,” she also meets the round, argumentative twins Tweedledee and Tweedledum; the vaporous and grinning Cheshire Cat; the manic March Hare; Depp’s Mad Hatter, with saucer eyes, Bozo-like red hair and gap teeth that bring Madonna to mind; and, inevitably, the fearsome Red Queen (Helena Bonham Carter), who spares Alice from her favorite edict — “Off with their heads!” — because she, like all the others, needs to know if this is “the” Alice who visited so many years before.

Script arguably needed a narrative backbone of a sort not to be found in the episodic books, and Woolverton has obliged. Unfortunately, it’s one that turns “Alice” into a formulaic piece of work, which Carroll’s creation was anything but. Climactic action setpiece, with an unlikely young warrior taking on a fearsome beast while gobs of CGI soldiers clash, smacks of “The Lord of the Rings,” “Harry Potter,” “The Golden Compass,” “The Chronicles of Narnia” and any number of other such recent ventures. Thus does “Alice” become normalized, a tilt Burton is surprisingly incapable of opposing.

A jaw-dropping coda pivots on a “visionary” character’s forthcoming voyage to open up trade with China, provoking musings about Disney’s rationale for this sort of corporate encomium to a vast young market, as well as thoughts of a never-to-be-made sequel set among 19th-century Chinese as inscrutable and combative as the population of Underland.

To be sure, the design, effects, makeup and technical work is of a high order. Other than Alice, the most memorable characters are the wonderful hunting dog Bayard and the elusive Cheshire Cat, superbly voiced by Timothy Spall and Stephen Fry, respectively.

Among thesps whose faces can be discerned, Bonham Carter authoritatively takes dudgeon to a new high as the Red Queen. Unfortunately, Anne Hathaway is miscast as her sister, the White Queen, as her white hair and black eyebrows look weird and she’s not temperamentally suited to the role’s benign superciliousness. And Depp is Depp, slip-siding among moods, accents, looks, rhythms and keys like a jazz player on his own wavelength, to disarming, if transient, effect.

Popular on Variety

Alice in Wonderland

Production: A Walt Disney Studios Motion Pictures release of a Walt Disney Pictures presentation of a Roth Films/Zanuck Co. production. Produced by Richard D. Zanuck, Suzanne Todd, Jennifer Todd, Joe Roth. Executive producers, Peter Tobyansen, Chris Lebenzon. Co-producers, Katterli Frauenfelder, Tom Peitzman. Directed by Tim Burton. Screenplay, Linda Woolverton, based on the books "Alice's Adventures in Wonderland" and "Through the Looking Glass" by Lewis Carroll.

Crew: Camera (Technicolor; Deluxe domestic prints, Technicolor international prints, 3D), Dariusz Wolski; editor, Chris Lebenzon; music, Danny Elfman; production designer, Robert Stromberg; supervising art directors, Stefan Dechant, Andrew Nicholson (U.K.); art directors, Todd Cherniawsky, Andrew L. Jones, Mike Stassi, Christina Wilson, Timothy Browning (U.K.); set designers, C. Scott Baker, Jackson Bishop, Tammy Lee, Jeff Markwith, Richard Mays, David Moreau, Anne Porter; set decorators, Karen O'Hara, Peter Young (U.K.); costume designer, Colleen Atwood; sound (Dolby Digital/SDDS/DTS), William B. Kaplan; sound designer, Steve Boeddeker; supervising sound editors, Boeddeker, David Evans; re-recording mixers, Michael Semanick, Tom Johnson; senior visual effects supervisor, Ken Ralston; visual effects supervisors, Sean Phillips, Carey Villegas; visual effects, Sony Pictures Imageworks; additional visual effects, Sassoon Film Design, CafeFX, Matte World Digital, In-Three; animation supervisor, David Schaub; conceptual designer, Dermot Powell; makeup designer, Valli O'Reilly; stunt coordinator, Garrett Warren; line producer (U.K.), Mary Richards; associate producer, Derek Frey; assistant director, Katterli Frauenfelder; casting, Susie Figgis. Reviewed at Disney Studios, Burbank, Feb. 23, 2010. MPAA Rating: PG. Running time: 108 MIN.

With: Mad Hatter - Johnny Depp Alice - Mia Wasikowska Red Queen - Helena Bonham Carter White Queen - Anne Hathaway Stayne -- Knave of Hearts - Crispin Glover Tweedledee/Tweedledum - Matt Lucas Helen Kingsleigh - Lindsay Duncan Lady Ascot - Geraldine James Lord Ascot - Tim Pigott-Smith Charles Kingsleigh - Martin Csokas Hamish - Leo Bill Aunt Imogene - Frances de la Tour Margaret Kingsleigh - Jemma Powell Lowell - John Hopkins Voices:
Absolem, the Blue Caterpillar - Alan Rickman Cheshire Cat - Stephen Fry White Rabbit - Michael Sheen Bayard - Timothy Spall Dormouse - Barbara Windsor Jabberwocky - Christopher Lee Dodo Bird - Michael Gough Executioner - Jim Carter Tall Tower Faces - Imelda Staunton March Hare - Paul WhitehouseRelated links:Odeon backs down, will carry 'Alice'Italian exhibitors agree 'Alice' dealBelgian theaters stage 'Alice' boycottU.K. exhib Vue to play Disney's 'Alice'Odeon threatens 'Alice' boycottCineworld to carry Disney's 'Alice''Alice' stirs more exhib ireDisney: Early 'Alice' release an 'exception'U.K. malice over 'Alice'

More Film

  • Bruce Springsteen arrives for the New

    Bruce Springsteen Returns to NJ Hometown for Surprise 'Western Stars' Introduction

    Bruce Springsteen returned to his hometown of Freehold, New Jersey to offer a surprise introduction to the first public multiplex viewing of his concert/documentary film, “Western Stars.” Dressed simply in a brown jacket, Springsteen took a moment to say a few words at the AMC Freehold 14 movie theater on Saturday night. “We knew we [...]

  • Backstage in Puglia del film SPACCAPIETRE:

    'Gomorrah' Star Salvatore Esposito Set For De Serio Twins' 'The Stonebreaker'

    Salvatore Esposito, the Italian star who plays young mob boss Genny Savastano in Italy’s hit TV series “Gomorrah,” will soon be hitting the big screen toplining upcoming drama “The Stonebreaker” by twin directorial duo Gianluca and Massimiliano De Serio, who are known internationally for “Seven Acts of Mercy.” The De Serio twins are now in post on “Stonebreaker” [...]

  • Angelina Jolie is Maleficent in Disney’s

    Box Office: 'Maleficent: Mistress of Evil' Tops 'Joker,' 'Zombieland'

    “Maleficent: Mistress of Evil” is on track to give Disney another first place finish after scoring $12.5 million in Friday’s domestic ticket sales. If estimates hold, the Angelina Jolie-led film should finish the weekend with about $38 million — well below earlier forecasts but enough to top holdover “Joker” and fellow newcomer “Zombieland: Double Tap.” [...]

  • Maelle Arnaud

    Lumière Chief Programmer Maelle Arnaud: 'Film History Doesn't Have Parity'

    LYON, France   — As the Lumière Institute’s head programmer since 2001, Maelle Arnaud helped launched the Lumière Festival in 2009 and has watched it grow in international esteem over the decade that followed. This year, the festival ran 190 films across 424 screenings in theaters all over town. The festival will come to a [...]

  • Girl with Green Eyes

    Talking Pictures TV: Bringing the Past Back to Life in the U.K.

    LYON, France – Since its launch in 2015, Talking Pictures TV has become the fastest-growing independent channel in the U.K. with a growing library of British film and TV titles that span five decades, according to founder Noel Cronin. Noel Cronin attended the Lumière Festival’s International Classic Film Market (MIFC) in Lyon, France, where he [...]

  • Wings of Desire

    German Heritage Sector Applauds Increased Digitization, Preservation Funding

    LYON, France  — Germany’s film heritage sector is celebrating a new federal and state-funded initiative launching in January that will provide €10 million ($11.15 million) a year towards the digitization and preservation of feature films. Rainer Rother, the artistic director of the Deutsche Kinemathek, outlined the plan at a panel discussion at the Lumière Festival’s [...]

  • 'QT8: Quentin Tarantino, The First Eight'

    Film Review: 'QT8: Quentin Tarantino, The First Eight'

    In one of the intermittent revealing moments in “QT8: Quentin Tarantino, The First Eight,” a documentary about the films of Quentin Tarantino that’s like a familiar but tasty sundae for Quentin fans, we see Tarantino on the set of “Pulp Fiction,” shooting the iconic dance contest at Jack Rabbit Slim’s. As John Travolta and Uma [...]

More From Our Brands

Access exclusive content