What do industry critics think about Guillermo del Toro’s Pinocchio? Let’s find out the reviews of the film, on Netflix from December 9, 2022.
On Netflix, in Italy as in the rest of the world, the next one will be released December 9th 2022 (at the cinema instead from December 4), but some lucky insiders have already had the privilege of previewing the awaited Pinocchio by Guillermo del Toro, on the occasion of the BFI London Film Festival last October, to then close the last edition of the Animation Film Festival with a lot of standing ovations. Announced in 2008 by the director himself, who declared his artistic dream of one day re-adapting the classic by Carlo Collodi, a project later forced to slow down due to the high production budget, the animated film apparently seems to have resorted to an immediate critical acclaim, reaching the 96% approval on the famous site Rotten Tomatoes with a average of 8.8 out of 10. A success.
Relocated to fascist era but in line with the original spirit of the Florentine author, this Pinocchio does not seem to have disappointed expectations, and many overseas film and TV magazines have already written about it with a certain enthusiasm, especially appreciating the combination of impeccable technique, beauty of illustrations by American artist Gris Grimly dating back to a 2002 edition of Collodi’s book, and the screenplay revised according to the taste and aspirations of Del Toro and Mark Gustafsonstop-motion veteran here in his first feature film.
Pinocchio by Guillermo del Toro is “one of the best films of the director” Mexican according to critics
Going into the specifics of the reviews published on Pinocchio by Guillermo del Torothe author of variety Guy Lodge underlines how, although the story is a bit “(…) indulgent but never boring“the movie is”a rare children’s entertainment that isn’t afraid to perplex them as much as it charms themup to a conclusion that suggests a certain level of youthful existential contemplation”, “ascribing to his young audience an eminently adult taste and intelligence, so much so that he occasionally veers into more old-school animated musical territory”, thanks to the bizarre soundtrack of Alexandre Desplat.
Quite a departure from the 1940s Disney classic that had trimmed the darker parts of the late 19th-century novel, the Oscar-winning reinvention of The Shape of Wateraccording to Indiewire is “a powerful, life-affirming father and son story about acceptance and love in the face of pain, misery, fascism and the director’s love of monsters in what is arguably his best film in a decade”. Aspect, that of the relationship between the wooden protagonist and Geppetto which also captures the reflection of the Los Angeles Times: “it’s all very creative and heartfelt, brooding without being punitive, and, in its openness to impermanence and humility, could spark some meaningful exchanges between parents and children sull love and defectsand on the need to spend meaningful time together”.
Human and supernatural creatures
According to The Hollywood Reporter, del Toro’s trademark goes beyond the combination of the name in the title: “(of the bull) it makes its presence felt in almost every frame. From supernatural creatures with creepy snoopers scattered across their bodies – like one of the most famous monsters in Pan’s Labyrinth with his eyes in his hands – to carnival settings reminiscent of his latest feature film, Nightmare Alley”.
In short, at first glance from the foreign press, Guillermo del Toro’s Pinocchio would seem to be one of the best films of the year, something from which to draw inspiration given the (major) human and unfortunately still contemporary themes (war, religion, growth , the consequences on bad behavior), to make their own, whatever the age of the spectator. A dream come true for del Toro (also in the voice cast Ewan McGregor, Cate Blanchett and Tilda Swinton) and which will arrive for us directly on Netflix on December 9th. A real Christmas present.