The Nutcracker and the Four Realms

A good movie in my opinion. I know not everyone will like it, and I know a lot of people hate it (is it just because it's live action?), but it has a beautiful atmosphere, the costumes are amazing, and I feel happy whenever I watch it. Not my favourite Disney movie, but it's not the worst.

Greetings again from the darkness. Missing: Tchaikovsky and Ballet. OK, not missing entirely, and it seems all we do is beg for creativity and new approaches in movies, so let's give this one fair treatment. It's not the traditional "Nutcracker" holiday fare you've come to expect on stage, on TV, in the mall, at schools, and just about everywhere. Instead, it's a version wrung from both the 1816 original short story "The Nutcracker and the Mouse King" by E.T.A. Hoffman and the 1892 ballet by Marius Petipa with music from Tchaikovsky, yet also something quite different. Still, different doesn't always mean better ... sometimes it just means different.

We are treated to a beautiful extended opening shot as an owl swoops through old London. This acts as preparation for the abundance of stunning visuals headed our way throughout. Budding star Mackenzie Foy (INTERSTELLAR, 2014) plays Clara Stahlbaum, a young girl distraught that it's her first Christmas without her beloved mother Marie, who recently passed away. Clara's quietly grieving father (Matthew Macfadyen) delivers the presents Marie left for each of the three kids. Mechanically inclined Clara's gift is an ornate egg that requires a specialty key to unlock the hidden message Clara believes her mother has left.

A lavish Christmas party at her Godfather's (Oscar winner Morgan Freeman) mansion leads Clara to a parallel universe where her mother Marie was Queen of the four realms. This is a fantastical land that reminds (maybe a bit too much) of Tim Burton's ALICE IN WONDERLAND and the classic THE WIZARD OF OZ. Clara buddies up with a live Nutcracker soldier Phillip (newcomer Jayden Fowora-Knight), who quickly becomes her trusted bodyguard. Land of Snowflakes, Land of Flowers, Land of Sweets, and the blighted Fourth Realm run by a cast-out Mother Ginger (Oscar winner Helen Mirren) make up this world. Keira Knightley stars as the Sugar Plum Fairy, and her devilishly fun performance is responsible for most of the energy, humor and entertainment outside of the visual effects. The two time Oscar nominee seems to relish the voice, the costumes and the chance to play a quirky character.

Disney touches like the animal sidekicks are noted: Phillip's loyal steed, and the pesky little mouse that flashes more personality than anyone in the film outside of Sugar Plum. Most of the comedic secondary characters (including Richard E Grant and Eugenio Derbez) fall flat with very little do in a screenplay from Ashleigh Powell that gives the impression of multiple hands in the pie. Adding to the disjointed feel and lack of cohesion in the story flow is the fact that two very different directors worked on the project. Lasse Hallstrom (CHOCOLAT) handled principal photography and then Joe Johnston (CAPTAIN AMERICA: THE FIRST AVENGER) spent a month on re-shoots with attention to visual effects. The contrasts between these two directors is quite clear in the finished project despite the cinematographer of Oscar winner Linus Sandgren (LA LA LAND).

The mishmash of styles and tone prevents us from ever really connecting with characters or being drawn in by the story, but beyond that, there are some really terrific visuals and special effects. I especially liked the look of the enhanced tin soldiers and the work of two time Oscar winning costume designer Jenny Beavan. Of course, this is a familiar story and many viewers bring certain expectations into the theatre with them. The iconic Tchaikovsky music is played early and throughout the film, though mostly in teases and in blends with new music from James Newton Howard. We do get a glimpse of Maestro Gustavo Dudamel conducting the orchestra, and for those expecting ballet, the fabulous Misty Copeland performs a couple of times, though it's likely not enough for those hoping for more of a ballet production. The end result is an impressive visual experience that will likely still disappoint those looking for another holiday watching tradition.

The Nutcracker and the Four Realms is a wondrous, visual experience that is somewhat light on substance. Apt acting and sensational ballet dancing excel and make this something more memorable than the premise might suggest. Any Disney fans will want to check this out. The story follows young Clara (Mackenzie Foy) as she recovers from her mother's death. However, a spark of hope lightens Clara after seeing her late mother's parting gift of a box with a hidden key. This key belongs to a parallel world, unlike anything, to which Clara must travel to obtain the key. With the help of budding soldier Phillip (Jayden Fowora-Knight), Clara learns of all obstacles that await, especially in the form of the menacing Mother Ginger (Helen Mirren), leader of the Fourth Realm. Most importantly is a looming war that could preside over the three Realms that are at peace - Land of Snowflakes, Land of Flowers and Land of Sweets and are threatened by the Fourth Realm. In the three Realms resides Sugar Plum (Kiera Knightley) who is on same page as Clara and braves her up for the Fourth Realm as the fate of the Realms and her mother's dying wish relies on it.

Mackenzie Foy, as Clara, well presents her character's central struggle to find her inner place amidst all the tragedy, while also being hopeful and cheerful. The end result of this character development is a joy to watch and most definitely the movie's best subplot, amongst all the other slumberous ones. Kiera Knightley, as Sugar Plum Fairy, regales with well-written comedic relief, but the timing of her intervention seems quite random and very over-the-top at times. Regardless, children, most of all, will find enjoyment with all the youthful energy. Jayden Fowora-Knight, as Philip, is my favorite character, despite this being only the second film he has appeared in. His charm and braveness add a relentless vigor to the character that never gets old. Helen Mirren, as Mother Ginger, likewise shines, despite her character suffering from a lack of screen time and character development. With what she is given, she shines with the menacing undertones that could mean good under the entire demeanor. Also, Misty Copeland's cameo is full of entertainment with her ballet proficiency bringing a certain something to the stage without feeling like a forced addition. Instead, it feels more like a celebration of the Nutcracker's roots and remains my favorite scene.

Lasse Hallstrom and Joe Johnston expertly direct the visual flair with clear attention to every nook and cranny of the special effects and sound design. Despite this, the movie has flaws coming from the lack of a compelling story line, aside from Clara's inner struggles. Everything feels introduced way too quickly and without clear meaning. This leaves the movie feeling rather inconsequential and just an excuse to put the Nutcracker on the live screen. Still, the movie delivers an amazing awe to each scene's production.

The message of the movie is to never lose yourself in sorrow and always connect with your family and friends during times of grief. I give this film 3.5 out of 5 stars and recommend it for ages 6 to 18.

Reviewed by Arjun N., KIDS FIRST! Film Critic. For more reviews by youth, visit kidsfirst dot org.

I really enjoyed this film. A lot of the negative reviews seem to be awfully nitpicky for a family Disney movie. It's no masterpiece but I can't understand all the hate.

As we can all agree, it's visually stunning. The costumes are magnificent as well as hair and makeup. The sets are stunning and surprisingly, according to some of the interviews I've watched, most of it is not CGI. They created a beautifully detailed world and it pays off.

The story is not the same as the ballet, nor does it claim to be. I personally wouldn't want it to be the same. We get to experience the beloved elements of The Nutcracker in a new way. Though there's a lot of room for improvement, specifically in the script, I really enjoyed the new story. The dynamic between Clara and her late mother is great and is the real emotional draw of the film. Because it's a Disney film aimed at kids, the script is awfully cheesy at times, but not enough to be distracting.

Clara herself should be a strong selling point of the film. She's highly intelligent, specifically in engineering and physics. They make it a point to differentiate Clara from her sister, Louise, a proper (for that time period) young English woman. Not that there's anything wrong with being all prim and proper, in fact, Clara admittedly does spend a lot of the film in beautiful dresses and makeup. And yet, she's still the hero and she still kicks ass. This is important because it associates these feminine traits with power.

Hear me out on this. I feel like so many of the strong heroines we know and love are, in some ways, stripped of their femininity. They're typically made to be a strict "tomboy" who's "not like other girls." This by itself isn't the problem. The problem is that instead of embracing feminine traits, they diminish them. I know gender roles are bull, believe me, but I don't think women should be shamed for being what society deems feminine. You can be a bad b**** AND enjoy princess dresses. Women should not have to adopt "masculine" traits in order to succeed. Because of this, I think Clara is a fantastic role model for young girls who will almost undoubtedly take something from her.

So, although it's far from perfect, it's fun, beautiful, and full of heart. It's not claiming to be the next Shawshank Redemption so I don't see why it's being drilled so hard. It's a delightful little Disney movie, don't think so much about the specifics and just enjoy.

Supposedly it took two directors to finish and wrap up this gorgeous fantasy movie with a lot of post-production editing. Inspired by the short Nutcracker story, this movie would never be a The NeverEnding Story (1984) movie based on Michael Ende's international best-seller nor The Chronicles of Naria: The Lion, the Witch, and the Wardrobe (2005) based on C.S. Lewis. Nevertheless, the story outline flows together most likely because of the tight editing. From the very beginning the sweeping camera photography enwraps its audience into a delightful collage of old sites of Victorian England. The set design and amazing landscapes are brilliant. The performance captivating, even the father whose stoic face is betrayed with small poignant pauses and looks of subtle emotional despair. Somewhat predictable along with a harsh but maybe unavoidable twist, the movie seems to transform from magical, fantastic mystery along with the royal flourishes of The Princess Diaries (2001) to a more simple dichotomous clash between good and evil. Nevertheless, the simple ending surprisingly is a pleasant soft surprise with its relational bonding scene along with a delightful series of ballet dance numbers during the closing credits. This was a decent, memorable, if not top brilliant classic of a movie.