Mirrormask

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.

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.

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.

Maybe this is an "art piece," but as a movie, it plays like a Bosch-induced nightmare. Sure, some of the images are intriguing, but the interest wanes quickly, as a murky plot grinds the film to a halt.

Somebody smoked something, and decided to combine "Oz" with "Alice," and pay homage to "Labrynth." And, hell, why not throw in a bit of Stephen King's "Talisman," as well. And then there's that whole Bosch connection.

The budget is listed as only $4 million, so Henson Co. didn't burn off too much cash in the process.

I do NOT recommend this film for younger children, as many images are disturbing. That human/cat in a dirty toilet? Hey, now there's something for the kids!

The audience that showed up for the Sundance premiere of this gem was quite diverse. Some came for Neil Gaiman, some for Dave McKean and the rest for the Jim Henson legacy. Based on my informal polls conducted in waiting list lines around Salt Lake City, everyone got what they wanted.

The visuals -- as you would expect from a move involving Henson's company -- are simply stunning. Most of the movie is blue-screen, which is quite unbelievable for a movie made for a mere $4 million. The human actors blend into the gorgeous painting-like backgrounds (google McKean's art and you will understand that this is quite a feat), and do an outstanding job of interacting with the digital characters.

Only 17 people -- all freshly graduated students -- worked on the animation, but the result looks like 170 professionals did. It should be noted however that Dave McKean spent 18 months in post-production, pretty much 24/7.

The weakest part of the movie is the story. Dave and Neil came up with the outline over 3 days, and worked out the details as they filmed. The end result is a run-of-the-mill Alice in Wonderland rip-off, with some elements from Labyrinth and other familiar children's tales.

I have to give extra credit to Stephanie Leonidas, who does a great job bringing Helena, a girl who ends up lost in the world of her Dali-meets-Picasso-meets-McKean drawings, to life.

I hope this movie will get picked up for theater distribution, because it deserves to be seen on the big-screen. In any case, McKean fans will be happy to hear that a Mirrormask picture book is in the works that will contain the 1700 drawings produced for the movie...

If you get a chance, go see this movie. It should be fun for children of all ages. If it comes to theaters, I will go see it again, and will give it an A again :)