Hasta pronto, Christopher Robin

This a lovely film focusing on the relationship between A.A Milne and his son, Christopher Robin and how together they became sucked into the world of Winnie the Pooh.

With good performances from all this is a wonderful film, all about lost innocence and the importance of family. We are left with the question about whether Milne really did his son too many favours by placing him in a children's book after all.

Special mention must go to Will Tilston, who plays the young Christopher Robin so beautifully.

I hope this film goes onto wider acclaim, because I thought it was marvellous.

The thought of a biopic that charts the touching story of the creation of a children's tale that has meant so much to so many over the years instantly makes me think of Finding Neverland, a sweet film I'm very fond of. In many ways, Goodbye Christopher Robin is very similar – bitter-sweet, heart-warming, full of nostalgia; you could easily swap Johnny Depp for Domhnall Gleeson and Kate Winslet for Margot Robbie (although the characters differ greatly). Although this story behind Winnie the Pooh doesn't contain quite the same childish magic and glee that the story behind Peter Pan gave us, it's still a delightful, emotional story told in a joyful, touching way.

The film as a whole addresses several themes and it's really a bit of a mishmash – it's not just about the creation of the Winnie the Pooh books; it's about the impact of war, the troubles with early 20th century parenting, tricky father-son relationships, the joy and innocence of childhood, and the pain and price of fame. This all works as both a strength and a weakness of the film; in many ways it's wonderful to have such a wealth of topics and the variety keeps things fresh and interesting. On the other hand, some themes aren't fully explored to the extent they could be and it feels as though it's missing something occasionally. It never really focuses on one theme and so does tend to meander around all these topics, telling a vague story; at times it seems to be more a series of scenes with just a semblance of story. Of course this is because the story itself is fairly simple, so it's nice that they enriched the plot with so many themes; it just feels as though it could have benefited from a little more detail.

Nevertheless it's a film that's a joy to watch and brings with it a load of emotions – sniffles and tears seemed to permeate the cinema. This is down to a couple of things; firstly the characters and the story they go through together; but more than that all the references (some obvious, some subtle) to Winnie the Pooh and the rest of Milne's work. From small quotations and images, to creating a little wooden hut to house one of Billy's toys, there are plenty of nods to Winnie the Pooh and these can't fail to bring a nostalgic tear to anyone and awaken fond childhood memories. The childhood especially is heavily romanticised and anyone can identify with Billy Moon in some way, bringing to mind all the happiness and innocence we experienced as children. This is all complimented by beautiful cinematography, making the wilds of Ashdown Forest seem absolutely stunning and really strengthening the magical quality of childhood and its inexhaustible supply of imagination and charm. In fact it's this middle section where the world of Winnie the Pooh is created that is the strongest part.

There aren't a great many characters in this film, making it all seem more intimate, allowing us to grow attached to the characters – though at times this can be challenging. As excellent as Gleeson is, it can be sometimes difficult to understand and empathise with him as his character is so stiff and reserved; still Gleeson gives us a wonderful contrast to this and how time with his son helps him to loosen up and re-discover his 'inner child'. Margot Robbie's Daphne comes across as a missed opportunity. Stunning and beautiful as always, it's hard to imagine Robbie playing a detestable character, but this she manages to do and do well. It's just the writing doesn't really seem to do her credit as we aren't given a real insight into her character. Kelly Macdonald and Will Tilston do shine though. Macdonald's Olive grounds the film as the friendliest, least complex adult character and Tilston exceeds all expectations you would have from a nine year old in their first ever acting role. Sheer innocence and childishness emanates effortlessly from his big eyes and little movements. He really is the heart of the film and fortunately they make the most of him. Sadly every boy has to grow up, but Billy Moon's 18 year old self played by Alex Lawther fills the shoes of his younger counterpart well, giving us the necessary angst and emotion needed.

Perhaps not quite the early Oscar contender I hoped for and it lacks some of the magic that I loved in similar film Finding Neverland. However, this is still a great film, dripping with emotion, nostalgia and a romantic view of childhood; exploring a wealth of themes and with some excellent performances (particularly from the titular Christopher Robin) and affectionate references to a childhood classic, Goodbye Christopher Robin is a lovely, bittersweet film for the whole family. Bring the tissues – this one's going to move you.

I watched this wondering if it was going to be a dull, forgettable period piece or a tedious biopic and was very surprised just how good it actually was.

This is a really solid film with good performances and nicely directed. The plot concerns the true story of the life of the young Christopher Robin and the changing relationship he has with his parents in the 1920s.

It blends the mental trauma his father has been living with since his WW1 experience, and Christopher Robin's own traumatic childhood, both of witnessing his own parent's fractious relationship and then the deep unhappiness of having his life turned upside down when his fathers book, Winnie the Pooh, becomes an enormous and unexpected worldwide hit and inadvertently makes a celebrity of Christopher Robin.

This is a film primarily about family relationships and it is extremely well written too. Will Tilston, who plays Christopher Robin at 8 years old, puts in an exceptionally competent and sweet performance that makes you genuinely feel for the character.He finds the only person who actually understands and shares his anguish is his nanny, Olive (Kelly MacDonald). Olive too notices how unhappy Christopher Robin becomes but her pleas fall on deaf ears.

The only real flaw in any of the characterizations is Margot Robbie's turn as Daphne, Christopher Robin's mother. Whilst Domnhall Gleeson's AA Milne at least has some back story to explain why his mentally tortured writer is struggling to shake off his demons and thus oblivious to his son's reluctant celebrity status, Daphne comes across as somebody who is a bit cold and shallow and has no problems with watching her son get exploited to make the book a success. This may of course be what she was really like but the film doesn't dig very deep into her character. However this is a minor quibble in an otherwise well made film.

There are moments of humour in the script and no bad language so I expect this film will appeal to older audiences as well as families. The film is also just about the right length too if you like a good old fashioned biopic/drama. There is also a moral at the heart of this tale about the need to let children have a normal childhood, which is very much applicable even now.

Not having any serious connection with Pooh, Tigger, Piglet and the rest of the children's story, Winnie the Pooh, I am perhaps even more ready than its devotees to admire Goodbye Christopher Robin. It's a biopic of great sensitivity that mixes nostalgia for the most popular children's book ever with the harshness of two world wars and the practice of parents leaving their children with nannies in the first quarter of the 20th century.

I now wish I had a stronger relationship with those little critters and that lovable boy, for I could have used the distraction from the aftermath of WWII just as Pooh was able to do for the world after the war to end all wars. Author A.A. Milne (a stoic and yet lovable Domhnall Gleeson) was traumatized by his service in the war, and moved slowly to erase that PTSD while creating Pooh. The film spends too much time on his trauma, but it does help fill out Milne's character.

Yet, this is the story of Billy Moon (a remarkably-dimpled, serene Will Tilston), as Christopher Robin is called in real life, who supplies his dad with inspirations for the book. The film centers on remote dad's growing love for the boy and the book while remote mom goes off to London to do who knows what. The film carefully shows how children might be lucky to have a nanny like Neu (Kelly Macdonald) to give them love and some creative inspiration along the way.

Goodbye Christopher Robin is a successful biopic because it doesn't spare the story of anti-helicopter parents who endanger the mental health of their children with their absences. As fame overtakes the Milne family, the film still relays the sense of wonderment Billy had as a child immersed in love of his forest, animals, and imagination.

The biopic may be counter to what we expected of a world-renowned author of a book for children. That he had difficulty initially interacting with his own child is unusual, but the film is successful showing how he warms up and creates a masterpiece as well.

Though not always a feel good movie, Goodbye Christopher Robin makes you wish he'd never go away. It looks like he never will.

Goodbye Christopher Robin certainly tugged at heartstrings, unfolding a somewhat cold narrative, sprinkled with its share of warm joyous moments of family banter and the creation of something we have all adored for the entirety of our lives. Although only rated PG, it was thematically mature in speaking to the audience as much as the characters spoke to themselves. Its power grew strongest when it beckoned the nostalgia of my childhood, telling a story as astonishingly real as I imagined Winnie the Pooh himself to be—whether it was from the books I read to the show I watched (plus the recent animated film), or my late father playing the Kenny Loggins song on guitar to my delight.

The plot may have moved somewhat slowly, but the flow of the film certainly did not. The pace of the scenes moved very fast, keeping strong engagement throughout. I'll say that it helped I am very familiar with the content material (as we all are), which kind of made it funny when you see the "origin" of a toy animal's name comes from, almost feeling contrived because we already know it... but even if this was a fictional tale with an unfamiliar background you couldn't help but be emotionally riveted. It was well acted all the way around, and we have a breakout performance by the adorable young Will Tilston.

As I said before, this film is not completely sunshine and rainbows. It does play on the idea of "in the darkness comes the light," to shine optimism on our main characters who have dealt with internal conflicts and the pains of the world wars, and to also let viewers leave not too distressed over what could have easily been told as a tale of tragedy. I think most of the right buttons were pressed for myself as I watched it, but I can't say that this is totally a children's movie where they will be riveted with joy and delight (not to mention I don't know how much influence Pooh has on children today compared to that of, say, Dora). Director Simon Curtis did this cool thing when Milne's books were being created that sometimes showed moments between young Christopher Robin and his stuffed bear literally jump off the page. Again, anything that could hearken back to my days 25 years ago were great brownie points for me.

There were only three things I did not much care for about this film. The first is the color timing. Skin tones were muddled in a red-pink hue as the entire palette had desaturated any oranges, and the only green that would appear was on the grass in the woods. Even Margot Robbie's irises lost their vivacity with every closeup of her, occurred was quite often (EDIT: after watching the trailer I see my projector may have been uncalibrated, though it still wasn't my favorite timing). The second was the way PTSD was portrayed, although this is only speaking second-hand. The certain triggers, actions, and overall attachment to the story did not really latch onto the same track as the rest of the film, even if it was authentic. Finally, the timeline jumps would be obtrusive when we have to reestablish where we are at and where we are headed. I want to say it only happened twice, but both times threw me out for a good bit.

There are enough quips in this film to provide moments of laughter, and long-drawn sequences where I notice that I was smiling the entire time. However you may be evoked throughout, by the time the credits roll the only time you couldn't hear others' waterworks was when they were overshadowed by your own. Fantastic film, and if you get a chance you owe it to yourself to see it.