All Clara wants is a key - a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother. A golden thread, presented to her at godfather Drosselmeyer's annual holiday party, leads her to the coveted key-which promptly disappears into a strange and mysterious parallel world. It's there that Clara encounters a soldier named Phillip, a gang of mice and the regents who preside over three Realms: Land of Snowflakes, Land of Flowers, and Land of Sweets. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger, to retrieve Clara's key and hopefully return harmony to the unstable world.
This is the first live action Disney film since Alice Through the Looking Glass (2016) to be shot in the taller 1.85:1 aspect ratio and the first Disney branded film since Cinderella (2015) to be shot primarily on 35mm film. See more »
Philip and the others are spared at the last second when the machine turns Sugar Plum back into a toy, removing the life from the soldiers she had brought to life. However, there is no explanation as to why this happens. Marie has died and yet all of the people she created in the Four Realms are still alive. Why do the toy soldiers cease to move just because Sugar Plum is gone? See more »
[from teaser trailer]
It's Christmas Eve. A time of mystery, expectations, who knows what might happen?
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During the credits, Misty Copeland dances a traditional ballet to the "Miniature Overture" from "The Nutcracker". The outlines of male dancers performing a more hip-hop dance to the same music follow. See more »
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.
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