Mirrormask

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 :)

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'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."

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!

This is my first review, so pardon me for any clumsiness in its composition. As such I am nervously avoiding any discussion of the plot, lest I spoil anything.

This is a continuation of the tradition of fantastical films about the adolescent transition of young women. Other films in this vein are "Alice in Wonderland", "Paperhouse",and "Labrynth." The film was produced by Henson Studios, and is presented like their other features, but rather than puppets and elaborate sets, animation replaces those elements.

Visually I found it stunning. I am familiar with McKean's work, and I found this to be amongst his best. It was distinctly McKean's style. The use of color was phenomenal, as well as surreal composition. I was enthralled seeing his creations in literal motion, rather than the usual implied motion. I personally thought there were a number of visual references to other great films, but I'll leave that to your opinion. I thought the direction clearly demonstrated his grasp of composition.

The writing was true to Gaiman's tradition of off-beat fairy tales. The pacing was dreamlike, flowing between slow moments of beauty and exposition to frenetic moments of fierce action. Humor, dark and otherwise, punctuated the film. The dialogue was very strong.

I was also very fond of the use of sound. One scene is a frightening and beautiful music video, that can be lifted out of the film completely and carry itself. It fits better in the film, but doesn't need to.

The film fits extremely well with all of the previous Henson Productions. I suggest having seen "Dark Crystal", "Labrynth", and "Jim Henson's The Storyteller" before viewing this. The piece fits very well with these.