Mirrormask

This is a visually mesmerizing film that takes movie fantasy into new territory. Think Alice in Wonderland meets Wizard of Oz performed by Cirque de Soleil. MirrorMask takes a comic-book approach to Good vs. Evil, with 15-year-old Helena as the protagonist who must find the MirrorMask and save the Light Kingdom.

But the story isn't nearly as important as the fantastic creatures and hallucinatory imagery that parade non-stop through Helena's fantastic journey. Director and writer (and frequent collaborators) Dave McKean and Neil Gaiman leap into the movie business with extraordinary confidence and derring-do. They are both legendary successes and have a devoted fan base from comic books (the Sandman series, for one), novels, short stories, posters, CD art, and much more.

It quickly becomes clear that MirrorMask is the creation of talented and imaginative artists completely unfettered by the bounds of traditional film-making. As a result, it is a bold departure from anything you have ever seen on the screen before. The story is simple enough and the visuals so wondrous that most children should find the movie enjoyable (unless they've become action-oriented adrenaline addicts). Yet the writing is sufficiently deep to satisfy the most thoughtful of adults.

I spoke to both McKean and Gaiman at one of the Sundance screenings and found them both polite, thoughtful and interesting. I told them that MirrorMask was the kind of movie I wanted to see again immediately. It is lovely enough to warrant a second look. And there's enough meat on the bones to go back and catch what you might have missed. The last movie I felt that way about was Memento, one of my all-time favorites.

This is my first review, so pardon me for any clumsiness in its composition. As such I am nervously avoiding any discussion of the plot, lest I spoil anything.

This is a continuation of the tradition of fantastical films about the adolescent transition of young women. Other films in this vein are "Alice in Wonderland", "Paperhouse",and "Labrynth." The film was produced by Henson Studios, and is presented like their other features, but rather than puppets and elaborate sets, animation replaces those elements.

Visually I found it stunning. I am familiar with McKean's work, and I found this to be amongst his best. It was distinctly McKean's style. The use of color was phenomenal, as well as surreal composition. I was enthralled seeing his creations in literal motion, rather than the usual implied motion. I personally thought there were a number of visual references to other great films, but I'll leave that to your opinion. I thought the direction clearly demonstrated his grasp of composition.

The writing was true to Gaiman's tradition of off-beat fairy tales. The pacing was dreamlike, flowing between slow moments of beauty and exposition to frenetic moments of fierce action. Humor, dark and otherwise, punctuated the film. The dialogue was very strong.

I was also very fond of the use of sound. One scene is a frightening and beautiful music video, that can be lifted out of the film completely and carry itself. It fits better in the film, but doesn't need to.

The film fits extremely well with all of the previous Henson Productions. I suggest having seen "Dark Crystal", "Labrynth", and "Jim Henson's The Storyteller" before viewing this. The piece fits very well with these.

I have just returned from seeing this wonderful little film. From the summary, it is obvious to most that not only is this, for the most part, a children's film, but it borrows from the classic "girl trapped in another world as a metaphor for growing up". We're even treated to a brief shot of a man juggling glass balls a la David Bowie in "Labirynth". The obvious "Alice in Wonderland-esquire" story makes things a bit predictable since we've seen it several times, but if one were to sit back and enjoy the magic and the characters, then enjoyment is practically guaranteed. It is a very family-friendly movie because of this.

At the same time, the art crowd will instantly recognize the names of Neil Gaiman and Dave McKean. Gaiman is the author of such novels as "American Gods" and "Neverwhere" and also is a comic writer that reached fame with his metaphysical masterpiece series "The Sandman". McKean, likewise, is a famed graphic designer and also worked with Gaiman on "Sandman". They have both collaborated on children's books as well. McKean's brilliant design work and Gaiman's delightful characters are evident throughout. Those seeking more cerebral movies will not be displeased.

The only negatives of this movie is that it slows a bit in some places and the effects are sometimes "too pretty" and might be a distraction. These are only two small drawbacks in what is otherwise a great film. I know I will not be the only one hopeful that this will be the first in many movies that will be involved in the Jim Henson Company's comeback.

It's impossible to deny that we live in the age of McMovies, where 95% of all films that are produced are either remakes, rehashes, sequels, or carbon copies of other movies (which are, most of the time, far superior). That is why when a truly cosmical event such as the planets lining up or a movie like Mirrormask is released one should really stop and pay attention. Simply put, everyone should see this movie. I am well aware that most people will hate it, but it is a monument of everything which the movie industry could be, maybe should be, and isn't: sublime, heartfelt, intimate, and utterly escapist.

I am a fan of Jim Henson. I have seen the Dark Crystal and hadn't really liked it. However, I walked out feeling that it was something I needed to see, I didn't want my time refunded as with most movies I don't genuinely enjoy.

The story of Mirrormask is about a teenage girl who works with her family at the circus. Every kid's dream, right? WRONG. She yearns for a normal life, which is the reason for much dispute between her and her mother. After one particularly nasty fight her mother falls before an illness. As she dwindles between life and death Helena, our heroine, is sent to live with an aunt and gets a taste of the life she so desperately wanted. As she tries to come to grips with all of this she falls into a dream. There she is trapped inside a magical land. The dream world is divided in two, the "light" kingdom which symbolises Helena's idealized version of things, and the "dark" kingdom, that stands for all the aspects of her life she hates. Perhaps by walking through both of them she may come to understand the real world, which lies somewhere in the middle of the two.

Like Eternal Sunshine of the Spotless Mind did while exploring the murky depths of the human mind, Mirrormask does a sublime job of truly capturing the essence of a dream. The world that Helena walks seems to be without boundaries and undaunted by the laws of the physical world but at the same time it does operate under its own twisted logic and rules. This is where the film's top assets comes in: it's maverick and inspired art direction. Even in the real world there is a surreal edge that hovers over everything dominating our minds. But once you enter the dream world the wonder-bomb truly explodes in an orgy of CGI-madness. I think that every scene in the dream world has digital elements but it never felt overdone (I'm looking at you, Lucas). There's way too much visual flair to capture it all in one viewing, but you're not really meant to. You're meant to move through it, to be surrounded by it, and whatever you retain from your voyage will be more than enough. This pushes the envelope of the wonders that CGI can create. Many will say: it's a kid's movie driven by special effects so it can't be art. Yet art it is.

And that's right, it's a kid's movie. No matter how you cut it that is what it is. But still, it is a great movie that will be entertaining for the kids but provide something for the adults that will fly over the kid's heads. The film is an incredible analysis of the human subconscious. What makes it great is the fact that it is so intimate, everyone can identify themselves with Helena as she comes to experience the duality of her world, in a way it speaks to all of us. The actors are good, not great. But special mention must be done to the fact that most of them act their way through masks and we are still able to understand the emotions behind them.

Yet... the film is not perfect. It falls short on story. That is the one place where Mirrormask does not shine and is not original and unfortunately it is a big one. The story is a retelling of Alice in Wonderland. In addition to not being original, the plot is not exactly brilliant. The ultimate payoff is good and the voyage is a triumph of imagination, but the movement of characters from point A to point B is often without a strong motivation or flimsy reasons. And for anyone that does not bond with Helena the movie, no matter how visually original, will not work. Still, you should not stop these flaws from letting you give a chance to one of the most brave and unique movies of the 21st century.

At the end of the day Mirrormask feels like a good movie who had the potential to be a masterpiece but fell just shy of being great (allow me to clarify, 10=perfect, 9=masterpiece, 8=great, 7=good). It feels like a wondrous painting that had the misfortune of being trapped in a film, where it is still good but is weighed down by the other aspects of the medium, which ultimately muck up its glory. Nevertheless, it is a wild trip and I stand by my conviction that everyone should watch this film although most of the people won't like it. For those who will hate it: At an hour and half it's not a terribly bad waste of your time and at the end of the day you will walk away having seen a truly original piece of film the likes of which you won't likely see for many years. And for those that like it... well sweet dreams to you.

I went into this film with high expectations and it didn't disappoint!

Dave McKean is a genius! He has created a film which is an unparalleled amalgam of live action, puppetry, classical and computer generated animation. This is the kind of movie that makes me want to be a filmmaker. McKean is constantly aware of the camera and how best to use it to draw the audience into the world he and Neil Gaiman have created.

The story is a fascinating examination of the self and issues of duality through the lens of the carnivalesque. The film references the mythologies of various cultures to create one of its own. There are some clear links back to Lewis Carroll and Alice's Adventures In Wonderland and Through the Looking Glass and it shares the dark, twisted sense of humour seen in earlier Henson Company films like Labyrinth and Dark Crystal.

The whole film is captivating and visually gorgeous. Within each frame there is so much to see, that, I would guess, even upon dozens of viewings, you'd be seeing new things. The visuals alone would have been enough to make this film nearly perfect but coupled with the frenetic and wacky music it's made even more amazing.

Kudos to McKean and Gaiman for creating a masterpiece that will stand the test of filmic history.