Mania Grade: B
Maniac Grade: D+
20 Comments | Add
Rate & Share:
Related Links:
Info:
- Starring: Johnny Depp, Mia Wasikowska, Helena Bonham Carter, Anne Hathaway, Matt Lucas, Crispin Glover, Michael Sheen, Stephen Fry, Alan Rickman, Timothy Spall, and Christopher Lee
- Written By: Linda Woolverton
- Directed By: Tim Burton
- Series:
Alice in Wonderland Movie Review
Alice, You've Just Had Some Kind of Mushroom By
Rob Vaux
March 04, 2010
Alice in Wonderland Movie Review
© Mania/Bob Trate
Tim Burton films often hinge on which character he chooses to sympathize with. He's irresistibly drawn to the outsider, the freak, the one singled out of the crowd for taunting and thrown fruit. If the story presents such a character as the protagonist, he's in like Flynn. Witness Edward Scissorhands, for instance, or Sweeney Todd. But pick a character less in need of our understanding--someone like Willy Wonka, who we shouldn't always trust or even like--and the apple cart turns over very quickly.
Alice in Wonderland hangs precariously between two figures, one appropriate for our sympathies and one better left to the realm of vaguely threatening support. Johnny Depp's Mad Hatter--an obvious catalyst and the de facto guide through this tour of Lewis Carroll's absurdist masterpiece--clearly calls to Burton and receives the bulk of his attentions as he delivers this not-quite-a-sequel to the original books. Ironically, Depp proves to be one of the weaker elements on display. His Hatter slides from one emotional extreme to another with schizophrenic randomness, switching personalities and even accents with no rhyme or reason. In theory, it should be brilliant, but it comes across as muddled and confusing, and with Depp mumbling his lines more than once, basic coherence proves to be a considerable problem.
Burton does much better with his heroine (Mia Wasikowska), now thirteen years removed from her original adventures down the rabbit hole and facing an unpleasant engagement to a phlegmatic Victorian lord. She escapes his proposal thanks to the reappearance of the White Rabbit (voiced by Michael Sheen), and finds herself back in Wonderland with new tasks to perform. This Alice demonstrates a good-sized helping of Burton's signature iconoclasm: a protean feminist given to odd flights of fancy which baffle and confuse those around her. Naturally she feels more at home in Wonderland (or "Underland" as the inhabitants have it), which she considers a figment of her imagination.
Wasikowska does well conveying the requisite sense of dreamy passivity, though she's not prepared for anything weightier. The script by Linda Woolverton helps her out by placing her on the Hero's Journey once she arrives in Underland. The Red Queen (Helena Bonham Carter) holds the realm in her cruel grip, and with beasts such as the Jabberwocky at her command, none dare resist her. It's up to Alice to slay the beast, something definitely not present in Carroll but which lends the script enough forward momentum to escape the amorphous randomness to which most movie versions succumb.
Even so, the plot remains secondary to Burton's imagery, as potent as always and rendered here without motion capture, which provides it with a fluidity that frees it from the bounds of CG artifice. Yet the onscreen beauty becomes something of a double-edged sword at times, as the director pushes Carroll's vision further towards his own and seems intent on fully supplanting it at times. Ironically, he loses much of the story's key qualities in the process, transforming a piece of stalwart surrealism into standard-issue Hollywood product (though of the admittedly engaging variety).
Salvation comes in his adherence to Alice as a worthy champion, and in a trio of supporting performances which basically walk off with the show. Stephen Fry lends his silky voice to an irresistible Cheshire Cat while Anne Hathaway brings a gleeful closet psychosis to the ostensibly noble White Queen. But for pure brazen scene stealing, no one holds a candle to Carter, who tinges her character's imperious snits with hidden depths of pathos.
As for the rest of Alice, it highlights Burton's usual strengths, along with no small number of his weaknesses. It rambles quite a bit and various elements collide into each other occasionally, but the imagination behind them remains second to none; while the aspects of traditional narrative never rise above average, they provide sufficient direction for the sets and effects to flourish. That, a yeoman supporting cast and a director who eventually figures out what side he's on are sufficient to bring Alice in for a successful landing. That it comes with all the baggage (both good and bad) of its one-of-a-kind auteur should be surprising to no one.
Become a Fan of Mania on Facebook: HERE
Sounds like a renter to me.