Pinóquio

Zemeckis’ retelling of the Disney classic has its moments, but overall it comes across a little half-assed, both in the modernization as against the original and in the visual approach. Pinocchio tries to warn kids against the evil of influencers and the dangers of showbiz, but while doing so he turns formerly enchanting moments in the story into a breakneck blurt. There are maybe too many songs for my liking, but my daughter liked that, so I have no complaints. The way they brought the wooden puppet to life was fantastic. Hanks was really affected, maybe over-acting. Silvestri’s music is great. P.S.: Maybe they threw Pinocchio out of school because he put the apple for teacher next to the horse dung and the race bit was just an excuse. Maybe... (12/09/2022)

A difícil substituição do trabalho manual honesto de carpinteiro por versões "mais modernas" de plástico barato. Os únicos pontos positivos são Tom Hanks e suas atuações, especialmente a do Honest John (em inglês), as cenas com a baleia (que os cineastas transformaram em um monstro marinho com tentáculos) e, às vezes, os truques, convincentes em algumas cenas, mas lamentavelmente ruins em outras. Neste filme, quase tudo é digital e parece feio e artificial (animais, água e aquela bebericada de refrigerante irreal OMG). Meia hora adicional em relação ao clássico animado de 80 anos atrás não acrescenta nada interessante, dilui terrivelmente a exposição inicial e altera o tom de várias cenas e motivos (incluindo a motivação de Geppetto para criar Pinocchio). A partir do momento em que Pinocchio desperta, a trama se torna excessivamente acelerada e os eventos individuais são narrados de forma tão apressada (ou modificados para pior) que, no final, a mensagem moral original, que deveria ser o cerne do filme, se perde neles. Personagens importantes (incluindo a Fada Azul) são introduzidos em uma única cena e desaparecem permanentemente da trama. Sempre que uma passagem cantada acontece, você imediatamente deseja que ela acabe o mais rápido possível. A tentativa de incorporar gags contemporâneas é irritante, não surte efeito e não faz sentido. O novo Pinocchio não herdou a alegria brincalhona, a inventividade, o encanto de um milagre repentino ou a inquietação por tons sombrios de seu antecessor. Triste e desnecessário. (11/09/2022)

The year 2041: an excerpt from the Wikipedia entry on "The new nihilistic wave of late Hollywood": "Pinocchio is an ideal illustration of the creative nihilism that characterized the era. It was the remake of a classic cartoon, produced by a major film studio in the hands of a formerly renowned director and technical innovator. The film combined live actors with digital objects and environments, even when it would have been no problem to make the environment or objects real. The result ultimately demonstrates the creative chaos that was then unfolding in the freshly acquired and merged studios and the production companies attached to them, where the resulting work is a hectic clash between a seventy-year-old director's idea of a technologically advanced film and the inputs of dozens of focus groups and elusive external forces such as the COVID-19 pandemic or changes in distribution trends, all backed by many millions of dollars. We end up with a fairy tale that is muddled, unappealing, and (due to the poor quality special effects) creepy, obviously having completely slipped the hand of any creative contribution. The palpability of how much everyone who had anything to do with the film had already given up during production was another element that added to the collective depression on which the culture wars of the time were based." (12/09/2022)