There’s little here to surprise anyone with a passing familiarity with the story, and its creepiest elements sometimes feel neutered. It may be heresy, but the body-horror of the Land of Toys and sublime terror of the whale were imagined far more viscerally in the Disney version.
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Matteo Garrone’s adaptation of Carlo Collodi’s story trembles with corporeal strangeness and unpredictability.
For all its flaws and missteps (more nose growing antics, please), the movie gets under your skin and holds interest, if only to find out not if, but how Pinocchio will reunite with his devoted Babbo (dad) and what the future might have in store for Geppetto’s lovingly crafted creation.
This new cinematic imagining of Carlo Collodi’s classic fantasy tale is alternately enchanting and befuddling.
There is no cumulative emotional resonance to be had here, just a succession of incidents to navigate. Pinocchio’s ultimate transformation from puppet to human boy lacks much of the transcendence inherent in the parable, and thus the film never moves beyond its wooden machinations.
It has the makings of a stealth classic.
Fairy tales have always held the threat of darkness as punishment for misbehavior, and this Pinocchio is no exception.
Pinocchio is a thoroughly bizarre story; Garrone makes of it a weirdly satisfying spectacle.
Get our your handkerchiefs for this live-action take from Italy on the Disney animated classic, starring Oscar winner Roberto Benigni as Geppetto, the woodcutter who builds a puppet to replace the son he never had.
The source material is a neat fit for the Italian film-maker, who traversed similarly episodic fairytale terrain with 2015’s Tale of Tales. It’s also a critique of society that feels timeless or, rather, timely – and not just for Garrone.