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Directed by – Lasse Hallström, Joe Johnston
Produced by – Mark Gordon, Larry Franco
Starring – Keira Knightley, Mackenzie Foy, Eugenio Derbez, Matthew Macfadyen, Richard E. Grant, Misty Copeland, Helen Mirren, Morgan Freeman
Disney’s interpretation of the occasion great is kinda the story you know, and it’s kinda Tim Burton’s “Alice in Wonderland,” or, in other words a suggestion. It has bits of Tchaikovsky’s music and some artful dance, cordiality of hotshots Misty Copeland and Sergei Polunin, yet not sufficiently about. And while the film’s folklore is thick, it’s likewise greatly dull.
Mackenzie Foy stars as Clara, a young lady who’s naturally attempting to appreciate Christmas following the passing of her cherished mother. Nevertheless, she should walk to the intricate occasion soiree she goes to every year with her dad (Matthew Macfadyen) and her kin at the palatial home of her back up parent, Drosselmeyer (Morgan Freeman). Prior to her passing, Claire’s mom organized an additional extraordinary Christmas present for her this year: a luxurious, egg-molded box, which she can just open utilizing a key that anticipates her in a mysterious, parallel world.
Clara gets some direction from the leader of the blossom domain and the leader of the snowflake domain (a close quiet Richard E. Concede, shrouded in icicles). Be that as it may, her new BFF is Sugar Plum, the enthusiastic pioneer of the Land of Sweets, played by an about unrecognizable Keira Knightley. “The Nutcracker” gives Knightley an uncommon opportunity to ham it up for expansive, comic impact under levels of sparkly purple and a pink cotton treat swoop of a bouffant. Her voice is an energetic, silly wisp as she makes an assortment of mischievous two sided sayings, and it’s engaging as a checked takeoff for this commended performing artist.
In any case, her character and Mirren’s experience the ill effects of how truncated the content for “The Nutcraker” feels. A noteworthy bend happens out of the blue about part of the way through, which provoked my nine-year-old child to swing to me amid the screening and ask: “Who knew?” Not me. The film does in fact make a sudden tonal move from which it never recuperates, one that unusually transforms this mysterious tall tale into a prosecution of war. ‘Cause kids love that at Christmas. “The Nutcracker and the Four Realms” is a tremendous and costly chunk of coal.