“Come Away” Review: The Fantasy gets puzzled up in Peter Pan and Alice in Wonderland

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Come Away Review

In this week’s episode of Next Journeys in the Public Domain. Peter Pan and Alice’s Adventures in Wonderland are being reworked for Come Away.

The e-real or e-fantasy period on Hulu after debuting on VOD a year ago. “Brave and the Prince of Egypt” and the director Brenda Chapman leaps animation to live-action. With this story of mother and father, son, daughter and siblings leaking material.

Alice (Gugu Mbata-Rau) experiences a fateful summer at the age of eight:

And because she falls down with a rabbit hole in the whole process. She turns it into a bedtime story for her children. His memories are calm, perhaps the calmest.

The young Alice (Keira Chance) rushing into the woods with her brothers Peter (Jordan A. Nash) and David (Reese Yates) pretending to be warriors, adventurers, and so on. A wand turns into a sword with CGI magic. A stuffed rabbit is a hostage threatened with scalping. It was an innocent time.

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His father, Jack (David Oyelovo), builds a model boat ordered by the rich. Rose’s mother (Angelina Jolie) is calm, and her sister Elinor (Anna Chancellor) is nothing like that. Instead, she’s the good old fashioned fanatic of the class. Who thinks blacks are shorter and should sculpt women into slave dolls after graduation.

So I have no problem saying that she is as barren as Hell and deserves her dry and touching solitude. Rose presents little Alice with a bit of bell and the story behind it; it is a fairy named Tinker because the fairy appears.

As a bell through the human eye. Peter has problems with school but has a good imagination and interest in his father’s craft. David goes to a prestigious boarding school, and his father celebrates the moment by giving him a personal pocket watch.

But tragedies do happen, and while I won’t say anything:

You’ve probably noticed that characters in this film. Who aren’t named after famous characters from famous stories, and movies are doomed. Because they don’t like allegory very well with them. Overwhelmed by grief, rose drinks, and jack beats, Peter composes a wildlife “Lawst Boise”. And Alice confronts the Red Queen, and all manner of references and metaphors reach a dramatic climax.

Come Away has it all – imagination, magic, melodrama, intricate designs and costumes, star power, powerful child actors – but it never puts it all together. Chapman and screenwriter Marissa Kate Goodhill started with a decent basic idea of ​​suffering from performance.

It moves slowly into a busy push for the final act. The young viewers shouldn’t go that far, as you can feel them tumbling after about 20 minutes while the adults in the room fumble for a dramatic and robust grip.

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The result is a chaotic set of thematic references and a mix of fantasy and reality:

That’s more mechanical than magical. That doesn’t mean that the film is emotionally empty or ineffective; As their characters go through a series of failed attempts at home. Oyelowo and Jolie go to great lengths to fight the suffocating tone.

(Michael Kane and Clark Peters appeared in roles for Unforgettable Nothing a few times.) The ending is tense but barely comprehensible, somewhat condensed, something dreamy, a bit childish wonder, etc., and hey, older folks. Don’t forget to BELIEVE in their shit. You’ll want Coming Away to do much better.

What cornball cliché do you want here? Have you ever flown like Peter Pan? Or does it not go deep enough down the rabbit hole in Wonderland?

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