A Heavy Piece of Animation For Adults (Guillermo Del Toro's Pinocchio)

Guillermo Del Toro is a visionary filmmaker with a dark imagination and themes that appeal to aspects of a developed mind. With films like Pan's Labyrinth, the fan-favorite Hellboy, and Oscar-winning Shape of Water under his belt, audiences can only imagine what he would do with a classic adaptation like Pinocchio. This will be quite a feat considering Disney attempted a remake of their classic tale that I was quite fond of despite everyone's vocal opinions of the changes made. 

Del Toro's Pinocchio follows the same premise of a grieving Gepetto creating a puppet in the image of his passed son. Unlike the wholesome Disney story, this adaptation provides a more realistic, human-origin story of the enchanted puppet. With the inclusion of death, Italian folklore, and the consequences of war into a tale of a puppet who wants to be a real boy, the film means to only compete by leaning into the cautionary messages rather than wonder. 

There's no doubt that the vision presented here should pique the interest of Del Toro's fans. From the creature design, takes on death and stunning stop-motion animation, Pinocchio is a worthy contender for Best Animated Feature. Every scene pops, and the character movements are stellar which allows stories like this to be allowed to soar, and so will the imagination. With a set of new takes to swallow this time around, Pinocchio treads further away from being original to be appreciated by adults, which is a downer as a fan of Del Toro. 

It might just be the feeling of fatigue after recently only having doses of explicit but majestic horror tales curated by the filmmaker's vision through the talents of other directors but like Tim Burton, Del Toro works best when he isn't telling someone else's story. Watching Pinocchio also makes one wonder if he borrowed elements from his other iconic works to make it his own, specifically from Labyrinth. This choice is what probably could specific viewers off.

The voice work, however, should manage to humble audiences to appreciate the film's heaviness through the performances by Ewan McGregor (Sebastian J. Cricket), David Bradley (Gepetto), Christopher Waltz (Count Volpe), and newcomer, Gregory Mann (Pinocchio), who evoke their portrayals wonderfully. Some talents like Finn Wolfhard (Candlewick), Tilda Swinton (Blue Spirit and Death), Tim Blake Nelson, and surprisingly Cate Blanchett aren't given the right amount of time to properly make an impact but steal the show in the short moments their voices are heard. 

Another highlight of the film is the songs. Realizing this adaptation was a musical may be a surprise but this new set o original songs would definitely cleanse the morose pellet, possibly making this adaptation a tad more memorable than Disney's recycled soundtrack. It was such a relief to hear McGregor sing again after Moulin Rouge but the real outstanding voice in this soundtrack is without a doubt, Gregory Mann. Ciao Papa is the best song that sucesssfully strings along melancholia in order for goosebumps to form, marking it a probable contender for Best Original Song at the Oscars. 

Despite its misfires, Pinocchio was indeed a feast for the eyes, especially audiences who appreciate what one can do with stop-motion. It is probably too hard to watch again for its heavy themes but it is an experience worth spending 2 hours of your time with family this holiday season. And be wary for there might not be a dry eye left in your living room.