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'Pinocchio' review: Tom Hanks and Robert Zemeckis remake Disney

When stuck in the long-running quandary of going head-to-head with a movie that sounds the same (Meteors Threatening Earth; Volcanoes Threatening Cities; Truman Capote Makes Friends), when a filmmaker can tell himself about his rivals There is no one whose films will not be the real focus. What you don’t want is another film by Guillermo del Toro — especially when the theme is that the Mexican director was actually born to explain.

But Robert Zemeckis ‘s Pinocchio’s ‘s The live-action/CG hybrid won’t be in a good place any time soon, even without a second ambitious adaptation. It’s a well-intentioned but largely bland work, and today it’s just another widget in Disney’s “Remake Them!” Agenda, whose pedigree offers better hope. (At least, unlike Warner, Disney’s monetization strategy doesn’t involve erasing the movie they just made. However.)


Bottom line Lifeless.

Release Date: September 8 (Disney+)
Throw: Joseph Gordon-Levitt, Tom Hanks , Benjamin Evan Ainsworth, Angus Wright, Cynthia Erivo, Giuseppe Baptiston, Kayan Ramaya, Luke Evans, Lewin Lloyd, Sheila Artim, Lorraine Bracco, Keegan-Michael Key, Jamie Demetriou
Director: Robert Zemeckis
Screenwriters: Robert Zemeckis, Chris Weitz Rated PG, 1 hour 45 minutes

Best news first: Zemeckis hasn’t, thankfully, sent star Tom Han Cox is back Polar Express CG Uncanny Valley. The actor wore his own skin as Gepetto, with a curly wig and a harmless Italian accent. He sat there, sculpting a small toy, muttering to himself in rhyme, thinking of what it should have been like for his dead son. Outside the old man’s shop, a peculiar-looking cricket dressed like a tramp and spoke a folklore that was definitely not Italian. Joseph Gordon-Levitt’s voice was not immediately recognizable. But since most of Jimmy Cricket’s value here is dynamic — being blown around and riding fireworks to avoid beasts as he tries to keep up with Pinocchio, it’s no big deal.

Crickets are moral and can avoid obstacles. In a wishful thinking Gepetto accidentally summons a blue fairy (Cynthia Erivo) who moves the puppet and Bloody Boy while he’s asleep.

More good news: Freed from his ropes, the child moves and sounds almost exactly as one would expect. Benjamin Evan Ainsworth’s voice character walks the border between cute and lovable, but remains on the right side; the animator moves his limbs with a joyful sense of discovery. Alas, this kid with a loose skull is too gullible to make the right discovery.

On his first day at school, Pinocchio is blocked by Honest John (Kegan-Michael Key), a sly fox who promises to make him famous instead of going to school. John, Pine-boy, and the humans around them don’t look exactly like they exist in the same dimension, but Key’s delivery is a hit. If only screenwriters Zemeckis and Chris Waits could resist the temptation to add the dreaded word “influencer” to his script and underscore it with “Do you understand?” Visual flourish.

(On other points, the script had better luck with some one-off lines designed to entertain adults. But they were too few.)

vague or Specifically, audiences will remember Pinnock as one by one endangered, being taken farther and farther from home, even though he didn’t want to leave his maker/dad. Most of the new friends he makes are untrustworthy, although one puppeteer – Fabiana (Kian Ramaya), a would-be prisoner of grotesque manager Stromboli (Giuseppe Battiston) , really want to help him. Lamaya gave Fabiana a warm heart, but the new song Alan Silvestri and Glen Ballard wrote for her felt out of place here; fortunately, Zemeckis wasn’t really committed to making it into a musical, and the song (even the famous one) songs) tend to fade away before their popularity wears off.

Pinocchio’s most memorable danger was his trip to Pleasure Island, an area so misbehaving that children unknowingly turned themselves into fools. They devoured an amusement park that was vividly designed but not carefully executed: maybe an artistic choice to make a mug of root beer look downright unrealistic, but the phoniness of those boats navigating a sea of ​​candy is too much Forgive me, of course not on purpose. A similar FX problem resurfaced later, with water and boats shaking in the sea monster’s guts. In you shouldn’t be able to find bad CG in a production with these assets.

But some substandard CGI is a side dish compared to Pinocchio’s overall lack of spark a plate of. Movie hits are few, and highlights (like “I don’t have any conditions” numbers) aren’t enough to keep us engaged. Disney is unlikely to let this year’s Pinocchio disappear from the menu of its streaming service anytime soon. But they’d be smart not to let the animated version drop below it in the search results.

45 Full credits 1940

Distributor: Disney+ Production company: Depth of Field, Imagemovers
Cast: Joseph Gordon-Levitt, Tom Hanks, Benjamin Evan Ainsworth, Angus Wright, Cynthia Erivo, Giuseppe Battiston , Kyanne Lamaya, Luke Evans, Lewin Lloyd, Sheila Atim, Lorraine Bracco, Keegan-Michael Key, Jamie Demetriou

Director: Robert Zemeckis Writers: Robert Zemeckis, Chris Weitz Producers: Andrew Miano, Chris Weitz, Robert Zemeckis, Derek Hogue Executive Filmed by: Jack Rapke, Jacqueline Levine, Jeremy Johns , Paul Weitz
Photography Directed by: Don Burgess Production Designers: Doug Chiang, Stefan Dechant Costume designer: Joanna Johnston
Editors: Jesse Goldsmith, Mitch Ozley

Composer: Alan Silvestri

Casting Director : Victoria Burrows, Scott Boland
Rated PG, 1 hour45 Minutes 45 THR Newsletter 45

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