Adventure / Fantasy

IMDb Rating 6.8 10 22193

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Uploaded By: FREEMAN
October 19, 2020 at 09:08 AM



Stephanie Leonidas as Helena / Anti-Helena
Stephen Fry as Librarian
Gina McKee as Joanne Campbell / Queen of Light / Queen of Shadows
Rob Brydon as Morris Campbell / Prime Minister
720p.BLU 1080p.BLU
925.21 MB
English 2.0
23.976 fps
1 hr 40 min
P/S 71 / 102
1.86 GB
English 5.1
23.976 fps
1 hr 40 min
P/S 81 / 142

Movie Reviews

Reviewed by bobtoombs 7 / 10

Like Nothing You've Ever Seen

I'm another of those who saw this at Sundance, and all the things I enjoy about Gaiman and McKean's graphic novels were on display: the quiet humor, the intelligence, the delightful weirdness, the astounding visual vocabulary. Except that in this case, the words are spoken by good actors, and all those visuals get up off their feet and move.

It's hard to describe the impact of watching a McKean painting move and talk. There might be those who quibble about the movie looking too animated, but of course that's exactly the point: to create a world and make it dance. The end result, visually at least, is like nothing you've ever seen before, and absolutely worth seeing for that reason alone.

Some of the people I talked to after the screening also loved the visuals but felt the story was a bit dull, that they had seen it all before. Well, it's true that the story does wear its influences on its sleeve--a little "Alice in Wonderland" here, a little "Time Bandits" there, a lot of "Wizard of Oz" over here, not to mention a resemblance to Gaiman's own "Coraline." But I'm just as familiar with those stories as anyone else, and the resemblances never interrupted my enjoyment of "MirrorrMask"--after all, it's what you do with a story that determines its success. And from moment to moment, there was enough innovation and cleverness, enough delight and wonder, to make the movie a positive delight.

I can imagine kids sitting in the audience with their eyes agog; and I can imagine their parents sitting next to them, just as agog for a whole different set of reasons. "MirrorMask" may or may not be too wild to be a full-out commercial success; but I predict it's going to have a long, long shelf life. I know I'll be buying the DVD as soon as it's available, so that I can show it to people and say "Wait till you see this."

Reviewed by Polaris_DiB 10 / 10

Primal and True Fantasy

The medium of film is--like the medium of writing or other celebrated media--practically limitless in potential for fantastic creations. However, the fantasy (NOT SCI FI) genre is severely underrepresented in it. For every Lord of the Rings, we have ten attempts at The Matrix.

But what better alchemical mix to straight-up fantasy can we have than Neil Gaiman, Dave McKean, and the Henson Company? One thing Henson could do with his puppets that many others never really aspired to do was create fantasy the likes that weren't really done again, and his legacy lives on, using the enriching and creative mind of Gaiman, the celebrated British fantasy writer and comic book artist whose vivid imagination was so perfectly translated into film using practically every chemical for fantasy possible: CGI, animation, painting, set design, split-screen, superimposition, saturated colors, I even think there were moments of stop-motion animation.

The story is about a fifteen-year-old girl named Helena who works for a circus. Her creative and artistic mind keeps her busy from day to day until her mother falls ill and has to go to the hospital. Blaming it on herself for a row she had with her mother, Helena "escapes" into dreamland... or does she? I think what's really refreshing about this film is that, despite what a lot of people say about it, it's NOT that much like Alice and Wonderland. I can't help but think that, despite the fact that this film uses a lot of tropes common to the fantasy genre, it's distinct and original, something to be admired and appreciated. I don't think anything in this film really came off as that clichéd, even though it did come across as familiar. It might even be possible to say that anybody who has a real problem with it is just taking it too seriously, but that argument always goes in the wrong direction so forget about it.

One of the things I think that's important about a film like this is that it's not really a kids movie. Children could watch it, easily, and be fine with it, but it's not directed just to them. It isn't really directed at a target audience in the genre sense. It is simply fantasy for fantasy's sake, going where a lot of filmmakers seem desperate to avoid because "It's just not real enough." That's why, despite the fact that this movie has pretty obvious CGI, it doesn't matter as much as the obvious CGI in The Hulk: it's so fantastic, it helps that it doesn't seem real.

Too bad it just won't get the marketing or the attention it deserves, probably ever. That's why if it's ever considered a classic at all, it'll be a cult classic. Such seems the destination of many things that dare to be what they want and not what others want them to be.


Reviewed by samineson 3 / 10

I thought it was unwatchable.... is there something wrong with me?

So many people loved this movie, yet there are a few of us IMDb reviewers who found Mirrormask excruciatingly uncomfortable to watch and arse-clenchingly boring. I fall into the latter of these two camps, and I will try to explain what it was that made my toenails curl so unpleasantly.

Firstly, to set the record straight - I like Neil Gaiman's books. I sometimes find his knowing, sarcastic, 'wry asides' humour a little geeky, and I actually prefer his work when he is playing it straight and leaving the jokes alone - but, even with his occasional lapses into crap 'dad' gags, I find his creativity and imagination to be something a bit special.

Interestingly, one of Gaiman's strongest works is Coraline, a Gothic fairy story for kids that is very low on jokes and high on tension and creepiness. His latest novel (Anansi Boys) overdoes the funnies, and tends to read at times like Terry Pratchett does the Sisters of Mercy (not the nuns but the band). Mirrormask inhabits similar territory to Coraline, and when I saw the stunning visuals in the trailer, I got a bit excited that somebody had managed to transfer Gaiman's spectacular vision and imagination to the screen.

In praise of the film, some sequences do look stunning. However, the visual effects are occasionally ruined by CGI animation that looks like a Media Studies student project. Backgrounds and scenery are often incredible, but some of the character animation looks clumsy, amateur and cheap. In an early dream sequence, the spider is animated beautifully, but the book-eating cat-beast looks poorly rendered and very 'computer generated'. Compared with the standard of animation found in productions such as 'The Corpse Bride', Mirrormask occasionally looks very amateur indeed. However, in Mirrormask's defence, the budget was tiny for such a grand vision, and a few creaks in the effects can be understood and forgiven.

What cannot be forgiven is the stilted, stagy, cringeworthy and pretentious dialogue. The actors struggle desperately with the dialogue - and there is so much of it that they are constantly hampered and stumbling over it. Conversation is rendered completely unnatural, the jokes fall flat time and time again, and the turgid speeches appear to be the writer's only method of plot exposition. Combined with the fact that the actors are working against a blue screen (which always adds an element of 'Phantom Menace') - this renders the film almost unwatchable. In such an unreal setting the actors need to work twice as hard to be believed, and in the main they fail terribly. The girl who plays the lead role puts in a valiant struggle against the impossible stage-school dialogue, and occasionally shows real promise, but it is never enough. The god-awful cod-'Oirish' of the Valentine character (with whom she is forced to spend an inordinate amount of screen time) puts paid to any chance of this young actress rising above the material. It appears to be Valentine's job to explain the plot to younger viewers, and to add a bit of light relief. Personally, I wouldn't want him anywhere near my 15 year old daughter.

What else is wrong with this film? Answer....Rob Brydon. What's annoying (for us Brits, anyway) is we know Rob Brydon can act! We've seen him hold the screen for half-an-hour on his own (doing those 'Marion & Geoff' monologues), and in the first 'real world' bit of the film he is fine. However, stick him in front of a blue screen and he loses all sense of character and turns into the worst am-dram-ham I've seen in years. A real shame.

What else is wrong? Answer... the wanky slap-bassing, sub-Courtney Pine saxing and unlistenable, too-high-in-the-mix soundtrack that never shuts up. God, the music is incessant, loud, distracting, irrelevant and, if that isn't enough, has wanky slap bass wanking all over it. It makes the dialogue very hard to hear, but that could be a blessing in disguise.

What else is wrong with it? Answer.... The whistling mime artist. In modern society there should be no place for mime, apart from certain secret places in France. Every moment the camera lingers on the gurning, whistling, moss-juggling, yogurt-weaving idiot, I understand why the Edinburgh locals get a bit anxious and fractious when Festival time comes round again.

My final criticism is that the film is pretty dull. Surrealism often is dull – it either requires its audience to slip into a dreamlike, Zen, accepting state, or for the audience be constantly wowed by bigger and grander surprises. A story with a bit of pace involving characters that we could believe in and care about would have gone a long way to giving this film the emotional centre that it sadly lacked, whilst stopping the eyelids from drooping.

Finally, apologies to all those who found depth, meaning and wonder in this film. You have managed to suspend your disbelief, you have seen past the creaky CGI, ignored the crappy dialogue and the abysmal performances that resulted, and understood the maker's grand, imaginative vision. I wanted to, but I couldn't see past the real-world failings that dragged it down.

I hope Neil Gaiman gets it right next time, if he gets (or even wants) the opportunity.

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