Directed by:
Tim BurtonScreenplay:
Linda WoolvertonCinematography:
Dariusz WolskiComposer:
Danny ElfmanCast:
Mia Wasikowska, Johnny Depp, Anne Hathaway, Helena Bonham Carter, Alan Rickman, Crispin Glover, Michael Sheen, Geraldine James, Christopher Lee (more)VOD (3)
Plots(1)
From Walt Disney Pictures and visionary director Tim Burton comes an epic 3D fantasy adventure ALICE IN WONDERLAND, a magical and imaginative twist on some of the most beloved stories of all time. JOHNNY DEPP stars as the Mad Hatter and MIA WASIKOWSKA as 19-year-old Alice, who returns to the whimsical world she first encountered as a young girl, reuniting with her childhood friends: the White Rabbit, Tweedledee and Tweedledum, the Dormouse, the Caterpillar, the Cheshire Cat, and of course, the Mad Hatter. Alice embarks on a fantastical journey to find her true destiny and end the Red Queen’s reign of terror. The all-star cast also includes ANNE HATHAWAY, HELENA BONHAM CARTER and CRISPIN GLOVER. (official distributor synopsis)
(more)Reviews (14)
When the most likeable character in a fairytale is the main villain, it’s impossible to avoid the feeling that something went bloody wrong. Alice in Wonderland is a run-of-the-mill film in every aspect, though some people may appreciate Burton’s signature, even if here it’s neutered. Not me, though. Kids will probably like it, it’s not utterly bad.
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This Disney feature film directed (but not produced) by Tim Burton has decent production values and great make-up, but it feels somehow sterile.
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Burton didn't tell a story, he simply narrated. The most frequently asked question by me was why the film is not fully animated, since everything is as artificial as the interior of a Chinese car. In the overload of "Burton-esque visuals," completely in CGI, everything is lost... except for Mia Wasikowska, who carries the whole confused (!!) mess to the end. This time, that’s liberation. It’s sterile, boring, kitschy, plastic... the perfect repellent for viewer empathy.
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Burton's creation is closer to a girl's CGI version of The Neverending Story than the "real" Alice. This is not bad, nor is it good, it's simply simple, and a bit of a sad statement considering the potential of the source material.
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The renowned king of bizarre worlds has finally embarked on the most famous journey yet, and though he couldn't live up to the huge fan expectations, he certainly entertained with a trip from a classic story, with slight modifications. However, surprisingly, everything depends on how much attention Johnny Depp attracts. His Mad Hatter is not just a supporting character, but an equal protagonist who almost outshines the amazingly furious Red Queen or the likeable Alice herself. **Spoilerish PS**: Even I was surprised by how much I was saddened until the confirmation in the second half that Burton didn't go completely against the rules and didn't let Alice stay with the Mad Hatter. That unspoken romantic bond was screaming for it.
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In terms of its aesthetics and costumes, the film is charming... the characters are slightly off, but even that adds to its uniqueness. For me, Tim Burton has succeeded again!
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It's very hard to review this film because a five-star scale is too narrow in this case to express feelings. On one hand, Tim Burton's Alice in Wonderland is certainly mainstream, as the strong influence of Walt Disney Studios is indisputable in shaping the final form of the film. This Alice is simply much more epic than its literary predecessor and corresponds to the classic model of the battle between good and evil, with stereotypical fairy tale characters. The studio has already tried this pattern many times and will definitely not change it because of Lewis Carroll's fans. So Alice fights a dragon and cannot avoid a romantic motif. On the other hand, it is unnecessary to blame Tim Burton for succumbing to commercial temptations and selling his artistic vision to Walt Disney Studios. In the American concept, the director is merely a craftsman, the owner of the work, and the actual creator is effectively the producer, who can dictate. We do not know what Alice would have been if it were made as an independent film, but it would probably be much less elaborate and might not even exist. Tim Burton might be able to produce it if it were exclusively an animated film. Even in this studio version, there is plenty to see, as the visuals are not bad at all, and there are several excellent special effects. Most likely, children will like it, as it was written by Lewis Carroll as a fairy tale for children. Those who seek artistic depth and an adult version will have to look elsewhere. If I were to criticize Burton for being too Disney-like, then I would discard the Disney version from 1951 altogether. The fact is that intellectual depth and ambiguity are missing in the newest adaptation of Alice, but it is still a grand and enjoyable spectacle. Overall impression: 75%.
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I welcome stories derived from the stories embedded in the Disney portfolio that bring something new to the table (such as Snow White or Maleficent, in addition to Alice). That's how Disney came up with their version of Alice in Wonderland in 1951, and almost 60 years later they expanded the story with a sequel. Now we meet Alice, who is no longer a little girl, but a nineteen-year-old girl about to be married. She is once again lured by the white rabbit into the world of the Queen of Hearts, the Hatter, and other strange creatures. Lewis Carroll would probably have been surprised if he had been told in 1865 how inspirational his Alice would be. I don't particularly enjoy Burton's films, some I like more, others less, in the case of Alice in Wonderland I'm satisfied that his group is spot on: Elfman in the recording studio, Depp and Bonham Carter in front of the camera.
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The weakest Burton film ever. Unfortunate, but it's true. Alice is too digital, it drags (it only really picks up in those moments when the images are finally supported Danny Elfman's good motif) and is very uninteresting in terms of plot. Moreover, with perhaps two exceptions (Hatter's farewell, the digital dog and his family), it lacks any emotion. The pros: The aforementioned music (including an Avril Lavigne song), Helena Bonham Carter, a great feline named Cheshire Cat and a few funny moments. Otherwise, there’s not much, I'm sorry to say.__P.S. The return to wonderland worked much, much better in Spielberg's Hook.
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Tim Burton is hands down the most interesting director of our time and every one of his films is worth watching at least once. While some of them didn't do much for me (Mars Attacks, Beetlejuice), others are among the best I've seen so far (Sleepy Hollow, Ed Wood). This one is somewhere in between, it didn't impress me, but given the premise it was a pleasant surprise. The story is a bit secondary anyway, the main thing are the amazing sets, the make-up effects, the music and of course the performances led by Depp and Bonham Carter (hats off to the great dubbing). If it all formed a traditional, Burton-esque unconventional whole, I'd give it four stars without blinking an eye, but Alice is mostly overstuffed with that uninhibited, sterile form that any filmmaker who isn't afraid to break free from his chains, even though he doesn't have much to say, would produce, and in this case, that’s a disappointment...
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Tim Burton returns and this time he takes us to Wonderland. “Alice in Wonderland” has been adapted into a variety of films and Burton has taken it in his own distinctive way. Of course, you can't expect anything normal, if only because of Burton's style of filmmaking. The new Alice in Wonderland is full of colour, bizarre creatures and funny moments that amuse rather than make you laugh. I noticed a lot of elements that reference Burton's previous films, especially the depiction of the digital landscape of Wonderland. What I would criticise the film for is its at times rather over the top portrayal of the characters and their behaviour - some people liked it, I found it off-putting. The dialogue is simple and does not offend. Danny Elfman once again did not disappoint and added his unique music to the film. As for the actors, I'm happy with most of them. Mia Wasikowska looks like she's going to die any minute, but she’s good; Johnny Depp is great and crazy as always and the two queens fit their characters perfectly. Finally, there's the skinny Absolom and the perpetually effusive Sklíba. In short, a typically Burtonian film, not gloomy this time, but instead a film of all colours, which perhaps cannot surprise, but is a feast for the eyes ... 75%.
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I had a great time. The film was off the rails just like the book on which it was based. Mia Wasikowska was extremely convincing, Anne Hathaway was hilarious, and I’m not exactly a fan of hers, Johnny Depp was at his wackiest, Helena Bonham Carter was fantastic ("I need a pig here!” and "Off with their heads!" – brilliant) and Crispin Glover was sleazy to the core. Except for a few minor details, I was satisfied.
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In the movie theater, the film captivated me, but it was mainly due to the vibrant color spectacle. Who doesn't enjoy a bit of kitsch now and then? But then the film settled in my mind, and I consider it one of the worst that Tim Burton has ever made. Depp found the right role for himself again. He's great, and he's funny. And he's the same as in other recent films, although the mask is different. The visual spectacle is nice, but the titular Alice didn't find the right representative in Mia. In fact, she quite successfully repels me. This is simply something that didn't work for me. Great actors, interesting roles, but why does this have to be an adaptation of "Alice in Wonderland?" Plot-wise, it's just another Hollywood spectacle.
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Alice in Wonderland is undoubtedly one of the weaker efforts from the workshop of the master of imagination Tim Burton. On the one hand, it actually seems quite paradoxical: a work like this, when rewritten as a film, certainly offers considerable avenues for portrayal, plenty of room for self-expression, and is directly built for directorial exhibition. Unfortunately, the whole film leaves a rather faint impression in terms of directing and inevitably gives the impression that Burton had the whole process of filming very precisely mapped out in advance and thus left his authorial imprint only to a very limited extent (though hints of Burtonian poetry and humor thankfully do appear here and there). The bright side of the whole project for me remains the fabulous performance of Helena Bonham Carter and a few funny moments. Even Danny Elfman's music is not as impressive as usual this time around. Burton's most divisive film in the last ten years of his career.
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