Guillermo del Toro's Pinocchio

From the get go, this movie had everything going for it. Guillermo del Toro knows how to make a good film, and this was definitely no exception. Now I'm a fan of the 1954 Pinocchio, and I'll say right off the bat that this is not a remake! Don't be foolish and think that, because this is an adaptation of the book more than anything. This movie took some creative liberties, some really good creative liberties, in fact. The movie is set during World War II, in an Italy under Mussolini. War plays a huge role in this film, and I think Del Toro did a good job of taking the basic ideas from the original story, and expanding on them. For example, a certain island setting from the original story is not present in this film, but in its place is a genius substitute that serves practically the same kind of purpose in a way. Every character is interesting and the worlds are very dense with details. While having a dark tone, the movie also finds a way to be upbeat and charming at times. Also, the music is great, the musical songs are pleasing to the ear. Best of all, the visuals are stunning, the puppets capture emotion even though they're puppets. This movie beats Disney's remake by a long shot, and I hope it gets lots of credit for that. Watch this movie if you like the story of Pinocchio, but expect differences and a darker tone. Your kids will like it, and you will love it. 10/10 totally recommend.

Hot on the heels of the Disney released Tom Hanks starring misfire that has found little fanfare around the world after its release on Disney+, Netflix's high profile and ambitious take on Carlo Collodi's beloved children's tale courtesy of the overseeing of Guillermo del Toro and his co-director Mark Gustafson is an artistic triumph that successful re-imagines the tale of a wooden boy and his creator/father in a way that brings new life and freshness to a story that unquestionably wasn't in need of yet another cinematic adaptation.

Transporting the fantastical adventure of Pinocchio (hear voiced by Gregory Mann) from the setting of 1800's Italy to pre-World War 2 Italy under the dictatorship of Benito Mussolini and his National Fascist Party, del Toro and Gustafson's tale is a lot more mature and adult-minded than we've seen most times previously in film versions of this tale but as is to be expected from anything with the Mexican artists touch, the film still manages to offer up whimsy, heart and laughter around all the more serious elements that are sure to affect adult viewers here even more than any little ones that give the film a go.

Currently the longest stop-motion feature film ever made, every frame of Pinocchio is a significant feat of artistry come to life and vision explored, with one left wondering how on earth the team behind this effort managed to pull off such exemplary feats of animation to birth this tale into existence and whether its colourful cities, mangy looking monkey sidekicks, rabbit filled underworlds or a belly of a giant sea beast there is no doubt every inch of this Netflix original is right up there with the best of 2022's feats of film-making, making this film as close to a shoe-in as possible for this years Best Animated Film Oscar.

While there is so much to enjoy in a visual and aesthetics point of view not everything else in del Toro and Gustafson's film works to the same high level with some of the films infrequent hit and mostly miss humour (a frequently explored joke of Ewan McGregor's mistreated Cricket grows wearisome), hammer over the head reminder that fascism is bad, Mann's slightly irritating voice work of Pinocchio and most tellingly a collection of songs that feel slightly underused and questionable in a sense that perhaps this film might have worked perfectly fine ditching the song and dance numbers all together, combine to stop Pinocchio from operating in other departments as highly and memorably as it does in a purely artistically viewed point of analysis.

Undoubtedly Pinocchio can be viewed as a success and head and shoulders above the other 2022 film of the same name but when it comes to what cinematic version of Collodi's tale still remains best, the 1940 Disney animation must still be regarded as the king.

Final Say -

An outstanding artistic achievement that fails to inspire the same level of magic and awe as its technical prowess elsewhere, Netflix's Pinocchio is a good film that could've been an all round masterpiece if other pieces had come together to reach the same levels of its artistry.

3 1/2 hot chocolates out of 5

Jordan and Eddie (The Movie Guys)

Right from the get go there're some loop holes, and themes that seems a bit odd but then it grew on me. While my brain is processing and nitpicking the logic, my eyes and heart enjoys this. After finishing the movie, other than shedding some tears, I don't really feel anything much but entertained. Half day in, the movie is now stuck in my mind. Took me awhile to process the meaning of life I took from this movie, and the beauty, the growth, the love, the treasuring the time we have together, precious time. It is now in a special place in my heart. Hands down the best Pinocchio movie I have the honour of watching, in my lifetime. Thank you.

With less than 1/4 of the budget of the soulless Disney live action remake earlier this year, Del Toro & Co. Have managed to craft a version of Pinocchio with more personality, heart, and soul than Disney could have dreamed of crafting.

It injects new life into the character by telling a story that is vastly different both narratively and thematically than any version we've seen on screen before.

This tale deals with the malleability of identity, unconditional love, the impressionable nature of children, and the close link between joy and sorrow. And it does so with dark wit, refreshingly complex three-dimensional characters, and stunningly haunting stop-motion animation.

However, I do think this could have benefited a bit from cutting down on the plethora of plot points and having Pinocchio and Geppetto spend more time together. This version lacks the tight focus and brisk pacing of the 1940 version.

But aside from this, I was thoroughly entranced by this dark fairy tale. It has a spine and a soul, and unlike it's titular protagonist, it's far from wooden.

Geppetto's carved and chiselled a new son, replacing Carlo who was tragically taken, made from fine Italian pine, dovetailed, screwed and fixed with twine, just imagine his surprise when he awakens; as a Wood Sprite's taken pity on this fellow, who's sorrow, grief and sadness make him bellow, taken all internal strife, the grain now imbued full of life, though he won't age, he might just season, but never grow (except for an inbuilt polygraph). A cricket helps, to make sharp edges round, untying knots that seek to limit and to bound, but there's danger in the town, someone else would like to own, it's not too long before Pinocchio's has gone; whisked away, by the unscrupulous Count Volpe, who's recognised a fortuitous, new pay day, a puppet without strings, will make his tills ka-ching and ring, with some swindling alongside a small betray.

A dark and tenebrous retelling of the tale of the wooden boy that introduces some additional tangents and places it during the turbulent times of war and conflict. Great animation, some great dialogue, only tarnished by the fact that it's a perpetually told story, and you know what familiarity invariably brings (if you're of a certain age).