Eine Weihnachtsgeschichte

I took my grandson to see this, but I was dreading it. I'm not a Jim Carrey fan but it's a Christmas movie, after all , so I bit the bullet and we saw it at the IMAX in 3-D.

The visual effects are great, even though a lot of it was :"Look, we have 3-D!" They stayed very close to the original story, though they added a miniaturization segment that was unnecessary. Carrey was muted and did a great job with some occasional clowning around. It was actually scary in some parts, as it should be, but not overwhelmingly, and there were some laughs as well.

I have always enjoyed this story, because it's one of redemption, and there is no better time than Christmas to tell it. It shows people being compassionate, even in the face of someone as seemingly heartless as Ebeneezer Scrooge. I was first exposed to this story as a little boy watching the animated version with Mr. Magoo that came out in 1962 and is shown every year on TV. There are many such movies that define the season and I truly expect this to be one of them, along with Christmas Story, Home Alone, Miracle on 34th Street, and It's a Wonderful Life.

Like the Macy's Parade, we all have our list of must-see holiday movies, no matter how many times we have seen them. I really expect this to make this list, with one caveat- I'm not sure how well the non 3-D version will translate to the TV screen. But the story is timeless and this movie does a good job of telling it.

After directing The Polar Express in 2004, Robert Zemeckis vowed to only make 3D movies using motion-capture technology from then on, never to return to traditional live action films again. What? How could he? Moviegoers everywhere were bemused at how the bloke who gave us Forrest Gump, the Back to the Future trilogy, Who Framed Roger Rabbit?, Contact and Cast Away could settle for some silly 3D business. Perhaps Zemeckis was smarter than us all though, his pledge to developing a decent 3D output coming half a decade earlier than most. It seems he was on to something.

It is credit to Zemeckis though that his use of 3D isn't the drawcard for this wonderfully told fable, it purely enhances it. The opening title sequence is one of the most breathtaking of the year, as we soar over - and through - the old Victorian town in which Scrooge inhabits in only one shot. It doesn't end there however, with no less than two more flying scenes and a splendid chase sequence on foot, which capably show what mo-cap and 3D are capable of. One small gripe, as was present with Up, the glasses still make everything darker and subsequently duller; especially as this picture is intentionally not well-lit to begin with.

We all know the famous Charles Dickens novel for which this is based on and Zemeckis stays faithfully close to it, unworried about making a family movie that has very few laughs. Let's face it, the story of Scrooge isn't meant to be a light-hearted laughfest. With demonic horses (complete with glaring red eyes), ghosts with broken jaws and men withering away to a skeleton, this is anything but a hoot. But is that a bad thing? Not at all. In fact it is a relief to see a movie for young (but not too young) and old that doesn't shy away from evoking feelings of fear and regret rather than always sugar-coating them with funny moments. If dealt with rightly, emotions like these can be healthy and will have a longer lasting effect on you and your kids than something that only makes you laugh.

Providing the voice of Scrooge from childhood to old-age, along with the three Ghosts of Christmas, Carrey does a fine job, even with his normal over-the-top voicing toned down a few hundred decibels. He is barely recognisable in all his parts - a result that I'm sure Zemeckis would have been aiming for - which allows the characters to stand on their own two feet rather than be a typical Carrey product. The experienced supporting cast of Oldman, Hoskins, Firth, Elwes and Wright Penn add a nice level of class to the proceedings.

The dark and morose atmosphere might at first shock, but ultimately both children and adults will gain more from this experience than most family films. See it on the big screen.

4 out of 5 (1 - Rubbish, 2 - Ordinary, 3 - Good, 4 - Excellent, 5 - Classic)

A Christmas Carol (2009) is a movie that I recently watched with my daughter on Disney+. The storyline delivers the classic Charles Dickens storyline in a fresh animation format with far more intensity and darkness than you'd expect from an animated picture.

This movie is directed by Robert Zemeckis (Back to the Future) and contains the voices of Jim Carrey (The Mask), Gary Oldman (True Romance), Colin Firth (The King's Speech), Cary Elwes (Princess Bride), Robin Wright (Forrest Gump) and Bob Hoskins (Who Framed Roger Rabbit).

The animation in this is remarkably good as are the presentation of the ghosts. I was thoroughly impressed by the settings and visualizations. The voices are well selected and Scrooge looked very similar to Carrey. There were many intense and scary elements, especially at the beginning and end. There were a couple elements they went a bit too far, like the scene on the cover, but it didn't detract from the enjoyment of the film.

Overall this is a nice, fresh delivery of the classic A Christmas Carol Dickens masterpiece that is definitely worth a viewing. I would score this a 7/10 and recommend seeing it once.

There have been many films based on Charles Dickens' Christmas carol and each one has their own way of telling it. This version is no different story wise (obviously). The only things changed were the visuals and tone. There was nothing I didn't like about this film but there were parts that make me question whether this movie was intended for children.

The voice cast to this story is pretty remarkable. Just like how Tom Hanks was able to do multiple voices for The Polar Express (2004), Jim Carrey plays Scrooge and various other characters throughout. Along side Carrey is Carey Elwes, Robin Wright, Bob Hoskins and much more. Surprisingly, the audience will be able to identify which actor/actress is doing the voice for whomever the character they are portraying. I suppose the voice characterizations were not needed to be enhanced. But it's blatantly clear whose speaking for whom.

Visually, the film's animation is nothing to scorn at either. Much of the characters, the backgrounds and lighting is accurately spaced, colored and shaded. Perhaps the most colorful spectacle is the transition between the spirits who visit Scrooge during his sleep. But what's extremely odd is how all the animated characters in this movie look like the actors who give them their voice; especially Scrooge! Look closely when he's on screen; Scrooge at the current time, looks like a weathered Jim Carrey and the younger version of Scrooge looks like Carrey as he is now. I'm curious if the animators knew this while making the film.

Nevertheless, I am leery about the reactions small children will have if they are given the chance to view this film. Scenes where Marley, Scrooges' partner, pays him a visit from hell, or when the ghost of Christmas present dies, is on the edge of being dark. Marley having a lazy eye, or dislocating his jaw? Ehh...not quite sure what those parts were put in for. Comedy? Or the dying ghost of Christmas present having a maniacal laugh? That kind of stuff could freak out a child. The ghost of Christmas yet to come is always a spooker for kids. I'm surprised Disney went through with it. It's not bad though. I liked the change, but it's not suitable for a child maybe under twelve.

Overall Zemeckis' take on Dickens' Christmas carol is visually intriguing and has a great voice cast. All the same, there are some elements in this film that are darker than usual and that's puzzling especially for Disney.

I wonder if Robert Zemeckis weren't a filmmaker if he would have become a pilot. Look at his films and you may find a recurring shot in them, if not all then at least a good lot of them: a shot up in the sky, flying around and bringing the audience along (i.e. the feather in Forrest Gump, the pull-back through the valley and mountains in Beowulf, Back to the Future with the flying Dolorean), and here too are shots like that, more than one in fact. It's exhilarating to see Zemeckis at a mastery of this particular shot, and in the full scope and awe in 3D it's even stronger to watch and wonder 'how did they do it(?)' With motion-capture, anything is possible... except, sadly, making one feel a true emotional connection to the material.

Oh, don't get me wrong. It's an improvement over The Polar Express, whose creepiness was more unto itself and jarring as opposed to serving the story, and one can already see advancements in the technology from Beowulf, which was also lots of fun and had an edge to it allowed only with the digital animation. But for some reason- maybe my heart is a lump of coal or I wasn't in the right Christmas spirit or something- the material in the film didn't connect with me, except those moments that were funny (intentionally or not, sometimes due to Jim Carrey's performance), and it became something peculiar. It's a story that is practically timeless, and the director is at the top of his game, almost at the same control of the medium for a particular story like Forrest Gump or Back to the Future - maybe more-so.

It's also still a WOOSH experience, not carrying the same time and effort for characters to really feel fully human before our eyes like, for example, Up did back in the summer. I mention all of this first since the story we all know pretty much (as an aside, I kept thinking back to the first incarnation of the story I saw as a child, the Muppet Christmas Carol, and marveled at how both that and this film kept much of the book's dialog and storytelling devices exactly), and it's almost pointless to recant it here. What is paramount to mention though is that Zemeckis, in keeping with the tone of the original Dickens text (and having the clout that he has), makes it a true Victorian horror movie.

It should be said also that children will be hit or miss with this version; while they'll delight and be awed by the animation and moments of craziness (my favorite being the scene with the ghost Marley and his entire presentation before Scrooge, unhooked jaw uneasily included), they may be put off by the "old" language, some of it in that olde 19th century English Dickens wrote in. Perhaps this is why, against his own better judgment, Zemeckis decided to add in a few scenes to change the very faithful adaptation, the key one being the chase through the streets of London in the Christmas-Future sequence. This is smack dab in the middle of what is the best segment of the film - seeing death as a silhouette with a bony finger and Scrooge's stark pleas is truly chilling - and it suddenly makes it also the worst. It kills the tension and makes a strange sensation: does one laugh at a tiny-voiced Scrooge running around like a mini Daffy Duck cartoon while he's supposed to be facing down his own demise? It's entertaining to watch, but awkward to behold at this point of the story.

That the motion-capture, for all of its beauty and detail in the faces and people and locations and dazzling set-pieces, doesn't engage on a purely spiritual level (not even to the extent that 'Muppet Christmas' did, that at least had the ghost of Henson on the production to keep things truly haunting), is somewhat forgivable for what Zemeckis does accomplish here. He puts a modern spin on a classic tale, makes it approximately dark and mostly uncompromising for all ages- adults will jump possibly more than the kids at the WHOA effects- and Jim Carrey is nothing short of astonishing.

Carrey plays Scrooge in such a bravura way that only calls attention to itself as a dramatic part (only toward the end, when he becomes "happy" Scrooge are there a few unintentional laughs), and it may even be the best Scrooge seen in many years in any medium. Added to this are his *other* parts in the film, as the ghosts of Christmas past and present, the former creepy just on the pronunciation of 's'. Others like Gary Oldman and Colin Firth come off more or less fine if not remarkable (Oldman as Marley is fantastic - as Cratchit, a Oldman-faced Hobbit, is another thing).