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There is not a single effect in the movie that stirs the mind, a single composition that stirs the eye, a single line worth remembering. I miss his marvelous honeyed baritone voice, which suggests in just a few brief sentences the bedtime story that might have been.Īs in the original, the design is at once hideous and bland-like a rough draft of a CGI-driven blockbuster that filmmakers would show to studio bosses only to ask for more time and money to create something releasable. The film is dedicated to Alan Rickman, who provided the voice of the blue butterfly (and former blue caterpillar) Absolem.

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There are a couple of decent CGI-driven action sequences, but no memorable characters or lines, and only one performance, by Sacha Baron Cohen as Time, that could be called memorable-and even that one is essentially a modified Lumiere the Candlestick outfit plus Werner Herzog's accent. His Hatter is tangential to the action even though the story revolves around his happiness, and he has just two modes, mincing-anxious-fey and vaguely furious. She's in every scene of the movie, yet it's still a nothing part.

The star's ability to project old-movie pluck and innocence are sorely tested.

Carter has her usual grand old time, but the Red Queen is sidelined through most of the movie, as is the White Queen, and when they finally get a halfway decent scene together, the movie is about to end and their previously established rivalry is about to be turned to mush for no discernible reason.Īlice's feminist credentials are satisfied the easy way, by having her do physically brave things (like outrun three pirate ships as a captain in a bizarrely unexciting pre-credits sequence), and by letting her make 'brave' decisions whose outcomes are never in doubt. Replacement director James Bobin (' Muppets Most Wanted') and returning screenwriter Linda Woolverton (' Beauty and the Beast') have made a film that carries on the Burton film's tradition of quality, which is, 'Professional, in the sense that the people who made it were compensated.' All the major characters from the first film return, including the Hatter and the feuding Red Queen ( Helena Bonham-Carter) and White Queen ( Anne Hathaway).

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It might as well have been made by a Tim Burton fan whose main storytelling experience was directing TV ads for candy.

It even had weak character design, direction, lighting and comic timing-areas where, in the past, Burton at least seemed able to amuse himself. Sure, he directed it, and it made approximately 647 gazillion dollars worldwide, but it had no poetry, no grit, no soul. But that's not as big a change as you think, because Burton wasn't what you could really call 'involved' with the original. 'Alice Through the Looking Glass,' in which Mia Wasikowska's Alice travels into the past to prevent the Jabberwocky from roasting the parents of the Mad Hatter ( Johnny Depp), is a sequel to Tim Burton's 2010 film ' Alice in Wonderland.' Burton is not involved with this one. I could have left them in and only cleaned the fronts, but I didn't want to take any chances. But the blend of fidelity and revisionism ensures Miller’s intellectually affectionate adaptation fully merits the epithet ‘curiouser and curiouser’.I removed my eyeballs from my head as soon as I got back from 'Alice Through the Looking Glass' and cleaned them in a sink. Squarely aimed at grown-ups, this was commissioned by the BBC as a centenary celebration. Yet Ann-Marie Mallik’s Alice is anything but a waif, as she gives as good as she gets during a progress whose trance-like oddity is reinforced by Dick Bush’s deep-focus monochrome photography and Ravi Shankar’s sitar score. He also invested the action with a somnambulant melancholy that made adulthood seem forbidding. Stripping away the masks and costumes, he allowed the audience to see Wilfrid Brambell’s White Rabbit, Peter Cook’s Hatter, Peter Sellers’s King of Hearts and John Gielgud’s Turtle. Despising the Disney take, Jonathan Miller set out to de-anthropomorphise the story by returning to Dodgson’s mathematical logic and Victorian values.