PIercing

 Piercing (2018)

Starring Christopher Abbott, Mia Wasikowska, and Laia Costa

Directed by Nicolas Pesce

Written by Nicolas Pesce

Click here for my Letterboxd review

The RyMickey Rating: C-

Movie Review - Crimson Peak

Crimson Peak (2015)

Starring Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, and Jim Beaver

Directed by Guillermo del Toro

Gorgeous to look upon, Guillermo del Toro's gothic horror flick Crimson Peak is sumptuously designed, but considering its ominous appearance, it disappoints by neglecting to create suspense or elicit any sense of dread or fear that should accompany a film like this.  With some of the actors seemingly told to amp up the camp factor, Crimson Peak ends up being a film that had potential, but doesn't achieve what it sets out to accomplish.

Edith Cushing (Mia Wasikowska) is a young American woman with dreams of becoming a great author someday.  When British entrepreneur Thomas Sharpe (Tom Hiddleston) and his sister Lucille (Jessica Chastain) visit Edith's father Carter (Jim Beaver) in Buffalo, New York, in order to try and secure money for a clay-mining tool, Edith is drawn to Thomas's mysterious demeanor.  Carter senses something off with the Sharpes and forbids Edith to start a relationship with Thomas.  However, when tragic circumstances arise, Edith ends up marrying Thomas and travels to England to the Sharpes' huge, though run-down estate Allerdale Hall.  Unfortunately for Edith, Thomas and Lucille may be hiding some deep secrets from their new family member, the least of which being that Allerdale Hall may be haunted with ghosts of the Sharpe family's past.

From the outset, Crimson Peak excels in all areas related to design with larger than life, though realistically detailed sets by Tom Sanders and luxuriously extravagant costumes by Kate Hawley (both overlooked by the Academy last year).  However, once one moves beyond the way things look, the film feels empty and fails to deliver on its promise of suspense.  Director and co-writer del Toro can't maintain tension via his story and direction, and considering the foreboding production design it's disappointing that the gothic nature of the horror aspect of the tale falls flat.

While Tom Hiddleston plays things relatively straight, Mia Wasikowska's Edith is too much of a blank, emotionless slate to really carry the film on her shoulders.  Jessica Chastain fares worse, however, as she almost laughably chews up the scenery with her character's chilly vibe.  Some may find her role a bright spot in the film, but I found her performance misplaced amongst the rest of the cast as if she was acting in a different movie than everyone else.  Yes, her portrayal feels very old school 1940s film-esque, but it just doesn't mesh with everything else.  The lack of cohesiveness in the performances is certainly mirrored in the lack of del Toro's ability to amp of the drama and suspense in a film that so desperately requires that tension to exist.

The RyMickey Rating:  C-

Movie Review - Maps to the Stars

Maps to the Stars (2015)

Starring Julianne Moore, Mia Wasikowska, John Cusack, Evan Bird, Olivia Williams, and Robert Pattinson

Directed by David Cronenberg

Havana Segrand (Julianne Moore) is an aging Hollywood starlet who is desperate to remain relevant by starring in a remake of one of her deceased actress mother's movies.  She's having difficulty with the notion, however, as she's currently in therapy with Dr. Stafford Weiss (John Cusack) dealing with repressed memories of her mother physically and sexually abusing her.  Stafford's family has its own issues -- his movie star tween son Benjie (Evan Bird) is just coming out of rehab for drug abuse and starring in the sequel to his mega hit with his wife Christina (Olivia Williams) negotiating a major multi-million dollar paycheck which is certainly contingent on Benjie staying sober.  Meanwhile, sullen Agatha (Mia Wasikowska) has traveled to Los Angeles from Florida and gets a job as the personal assistant to Havana, but she's hiding a secret connection to the Weiss family that may create havoc upon her return to California.

A David Cronenberg film (which essentially means that weirdness may take center stage at some point), Maps to the Stars is a darkly comic tale about Hollywood that I found surprisingly enjoyable.  Yes, it doesn't exactly reinvent the wheel in terms of its skewering of Big Name Actors and Television Psychologists, but the flick is aided by some really great performances, particularly that of Julianne Moore who embodies the role of an L.A. ditzy actress with such aplomb that you can't help but be impressed.  With John Cusack's best role in a while coupled with a solid turn from young Evan Bird, Maps to the Stars is able to really shine thanks to the acting on display.

The film does falter a bit towards the end when Agatha's secrets begin to reveal themselves and take hold of the Weiss family.  With a genuinely fantastic first two-thirds, I must say I grew a bit disappointed at the conclusion because the movie was so thoroughly enjoyable in its balance of quirky humor and depressing pathos up until that point.  Still, Maps to the Stars proves to be an intriguing film that certain connoisseurs may find appealing.

The RyMickey Rating:  B

Movie Review - Only Lovers Left Alive

Only Lovers Left Alive (2014)

Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, Jeffrey Wright, Slimane Dazi, and John Hurt

Directed by Jim Jarmusch

My only other experience with director-writer Jim Jarmusch was an absolutely awful flick called The Limits of Control, so when I checked out Only Lovers Left Alive from the library and saw that it was penned and helmed by him, the dvd sat atop my tv for nearly two-and-a-half weeks before I decided to give it a shot.  I must admit that I found myself pleasantly surprised.  The slow pace apparent in The Limits of Control was certainly still present, but Only Lovers Left Alive at least contains a story to latch onto that is surprisingly compelling.

In the simplest of terms, Only Lovers Left Alive revolves around Adam and Eve (Tom Hiddleston and Tilda Swinton), two centuries-old married vampires who have evolved into creatures of the night who don't seek out living, breathing humans for their blood sustenance, but instead get their "fix" by other less brutal means.  When Eve's sister Ava (Mia Wasikowska) comes to town, things get shaken up a bit and Adam and Eve's mellow life becomes a bit more chaotic than they hoped.

Certainly uncomplicated, that's just about the entire summary of Jarmusch's film.  What keeps you interested are Swinton and Hiddleston, both of whom are surprisingly captivating considering that the first hour of the film is about as slow-paced a film you'll have seen from 2014.  Somehow, though, the two actors are compelling with Hiddleston's mopey and depressed Adam being countered by Swinton's more hopeful and pleasant Eve.  Swinton really is one of the best actresses working today and I continue to be impressed with nearly everything she chooses to take part in, and Hiddleston proves here that there's more to him than the egomaniacal Loki from the Marvel Universe.  In addition, Wasikowska really shines in a small role, popping in at about the one hour mark as the childish Ava to give the flick some much needed verve and pizzazz.

This is one of those flicks that you absolutely have to be in the "mood" to watch and it undoubtedly will not suit everyone's tastes.  However, I found Only Lovers Left Alive to be an intriguing piece of cinema -- one that I assume is much deeper upon subsequent viewings (the Adam/Eve symbolism alone would probably give you enough material to write a research paper), but works quite well on its initial watch as well.

The RyMickey Rating:  B

Movie Review - Tracks

Tracks (2014)

Starring Mia Wasikowska and Adam Driver 

Directed by John Curran

***This film is currently streaming on Netflix***

"I'd like to think an ordinary person is capable of anything."

And with that quote, Robyn Davidson (Mia Wasikowska) begins a 1700-mile trek across the Australian Outback on April 9, 1977, with some camels and a dog by her side.  With the exception of occasional visits by National Geographic photographer Rick Smolen (Adam Driver) -- whose magazine is monetarily sponsoring her trek -- Robyn is on her own, struggling to wind her way across the desolate land.

There are definite similarities between Tracks and 2014's Wild starring Reese Witherspoon -- the biggest being that they place their focus on a woman desperate to learn more about herself by spending time alone on a long journey.  I wasn't overly enthusiastic about Wild in that I thought the film weighed itself down by being overly intellectual.  That's not the case in Tracks at all (which is a good thing), but, unfortunately, I never found myself truly understanding why Robyn was making this trek across Australia.  There was never an emotional connection made between myself and Robyn, and in a movie in which the focus is solely on one person, I couldn't help but feel a little disappointed.

Mia Wasikowska is able to carry the movie without a problem exuding the strength needed for anyone to be able to complete this mission, but I felt she was underserved by a script that never quite fleshes out the purpose of this trip.  Let's be honest -- no one's doing this for kicks.  There must've been some deep underlying meaning for this and while the film touches a tiny bit on Robyn's relationship with her father being the impetus of the journey, it doesn't delve nearly deep enough to stir up the needed emotions.  The film looks great with its sweeping images of Australia, but it lacks an emotional core at its center.

The RyMickey Rating:  C

Movie Review - Stoker

Stoker (2013)

Starring Mia Wasikowska, Matthew Goode, Nicole Kidman, Phyllis Somerville, Jacki Weaver, and Dermot Mulroney

Directed by Chan-wook Park

I've only seen two Chan-wook Park films -- Thirst and now Stoker (I've heard great things about Oldboy so I probably should check that out) -- but I feel like I understand the director's quirky tendencies when it comes to choosing stories to lense, peppering his films with oddly uncomfortable moments.  Then again, two films does not a director make, but the similar aesthetic is certainly intriguing.  That isn't to say that Stoker doesn't feel "weird for weird's sake" at times because in the film's first half, I was certainly getting a bit antsy wondering if this was simply a director taking an unusual screenplay (by Prison Break's Wentworth Miller) and failing to inject anything other than a unique stylization behind it.  However, once some of the screenplay's secrets are revealed, the story kicks into high gear and doesn't take a whole lot of breaths, providing an unusual homage to Hitchcockian films of the past.

Owing a significant debt of gratitude to Hitchcock's Shadow of a Doubt, Stoker begins with the death of 18 year-old India Stoker's father from a terrible car accident.  At the wake at the family home, India (Mia Wasikowska) is greeted by her father's brother Charlie (Matthew Goode) and Uncle Charlie and her mother Evelyn (Nicole Kidman) hit it off almost instantly.  Uncle Charlie had traveled the world for close to two decades and neither India nor Evelyn had ever met him, but Evelyn is pleased to have a man around the house.  Soon, however, people start disappearing and India begins to wonder if the charming Uncle Charlie is to blame.  While Evelyn slowly becomes enraptured by Charlie's good look, India also starts to fall under his spell despite her better judgment.

The cast overall is solid although Mia Wasikowska continues to amaze in that her blandness has won her leading roles.  Granted, she's proven herself (see this as validation) and in this role her nonchalance and lack of emotion are warranted, but I am shocked she's a top choice amongst directors.  The rest of cast excel, including Jacki Weaver, Phyllis Somerville, and Dermot Mulroney who make the most out of small roles.  Matthew Goode in particular is fantastic.  Able to convey both an alluring suaveness and frightening slyness, it's as if Goode was picked right up out of a Hitchcock film -- it's a near perfect union of character and actor.  (And although I've failed to discuss Ms. Kidman, she also shines here.)

Much like Thirst, Stoker revels in the sexual tension it creates, at times reaching levels of true uncomfortableness in the audience.  It isn't that the film contains nudity or graphic sex scenes, but there's a sense of unease that's created that has the audience oddly repelled and intrigued at the same time.  Although India is certainly more "adult" than her young eighteen years would suggest, her infatuation with her uncle (and his reciprocation of that) is disconcerting.  But that's part of the game of Stoker and it's why the film works.  Hitchcock wasn't afraid of making his audiences squirm a bit and director Park (in this is first English language film) isn't either.  Park obviously is paying homage to that great director (there's a scene involving a fly that most would overlook, but screamed Psycho to me), but he's also ramping things up just a tiny bit for the modern age.

The RyMickey Rating:  B+

Movie Review - Lawless

Lawless (2012)

Starring Shia LaBeouf, Tom Hardy, Gary Oldman, Mia Wasikowska, Jessica Chastain, Jason Clarke, Dane DeHaan, and Guy Pearce

Directed by John Hillcoat

Although based on the true story of the three Bondurant brothers who, in the midst of early 1930s Prohibition, ran a very profitable moonshine business in a small Virginia county, Lawless is one of those films that you watch and simply ponder why it was brought to the big screen.  Why was this tale deemed exciting enough to be told?  And if it was worth retelling, what went wrong in its adaptation to the cinematic form?  Because, unfortunately, not much went right in this bland and boring flick directed by John Hillcoat (who also brought us the lukewarm The Road, a film which in retrospect I feel I overrated back in 2009).

Jack, Forrest, and Howard Bondurant (Shia LaBeouf, Tom Hardy, and Jason Clarke, respectively) are known throughout Franklin County, Virginia, for creating some of the best moonshine around.  Selling to the local cops, they seemingly have it made until a bigwig Special Agent from Chicago, Charlie Rakes (Guy Pearce, overacting to the point of laughable ridiculousness), comes to the county and demands a share of their profits in order to allow them to continue their illegal shenanigans.  Well, the Bondurants don't want anything to do with that and their refusal leads to some violent outbursts from folks on both sides of the law.

When Lawless gets violent, there's actually some life in the story, but whenever there isn't a gun firing or a fist making the most out of hitting someone's face this is one of the most boring films released in 2012.  John Hillcoat is tasked with directing a misguided screenplay by Nick Cave that meanders all over the place.  Neither the director nor the screenwriter are able to reel in the story and give us the necessary dramatic ebb and flow to create a decent film.

Although I think Shia LaBeouf is obnoxious offscreen, I must admit that he's the best part of Lawless by far.  His scenes are the only ones worth watching and the only ones that have any modicum of life breathed into them.  Even the ridiculous romantic subplot he's shouldered with involving his character's fascination with an über-religious young gal (Mia Wasikowska) is better than it deserves to be because of his presence.  Unfortunately, when the film isn't in LaBeouf's hands, yawns are induced. Tom Hardy follows up his Dark Knight Rises mumblings with an even more incoherent performance here.  Seriously, open up your frickin' mouth when you talk, dude!  I liked you in Warrior and Bronson, but this marble-mouthed inarticulation is getting old.  And poor Jessica Chastain is just wasted here with nary a single character trait or meaningful plot point applied to her role as a former stripper with a heart of gold.

Even her unnecessary nudity couldn't save this one.

The RyMickey Rating:  D

Movie Review - Albert Nobbs

Albert Nobbs (2011)

Starring Glenn Close, Mia Wasikowska, Aaron Johnson, and Janet McTeer

Directed by Rodrigo García

Albert Nobbs is, quite possibly, the most boring film released in 2011 -- and in the year of J. Edgar, The Iron Lady, and Anonymous that's saying something.  However, unlike J. Edgar which had a decent performance from Leonardo DiCaprio, The Iron Lady which had a worthy Oscar-winning turn from Meryl Streep, and Anonymous which had some interesting visuals, Albert Nobbs has absolutely nothing going for it.  Nothing at all.  This "dream" project of Glenn Close is dreadfully monotonous and torturous to sit through and without even a captivating performance with which to breathe life into it, Albert Nobbs is a period piece that really shouldn't even exist.

Sorry, but the raves that came in for Glenn Close's Oscar-nominated performance as the title character -- a woman who has dressed as a man for decades in order to keep a job -- were completely unwarranted.  As Albert Nobbs, Close is emotionally one-note, appearing "stoic" throughout and very little else in terms of notable characteristics.  As Albert struggles to find a woman to spend his life with, training his eye on young co-worker Helen (Mia Wasikowska), I found my eyes wandering around the close quarters of my plane home from London.  Not even the Oscar-nominated turn from Janet McTeer as a fellow woman who lives her life as a man (with a heckuva lot more charisma than Close) can do anything to save this film from simply floundering.

With awkward direction and a horrible subplot involving Wasikowska's character and her relationship with a conniving young handyman (Aaron Johnson), this is a movie in search of itself.  Seemingly as much time is spent on the young lovers storyline which goes nowhere as is spent on Albert's -- and neither of them are worth paying any amount of attention to.

The RyMickey Rating:  D-

Movie Review - Restless

Restless (2011)

Starring Henry Hopper and Mia Wasikowska

Directed by Gus Van Sant

Perhaps if I had watched Restless on another day, I would've found the quirky and twee flick irritating and obnoxious.  However, luckily for the Gus Van Sant film, I was apparently in a mood for oddness, because I was won over by the sweet and touching (though doomed from the outset) romance, and while it's a film that has some flaws, Restless is a pleasant tale of youthful romance.

Enoch (Henry Hopper) is a teenage high school drop-out who spends his days crashing funerals.  Ever since his parents died in a car crash, Enoch's been living in a world replete with death (including his "imaginary" best friend, Hiroshi [Ryo Kase], a Japanese kamikaze pilot who died in World War II).  While out on his daily funeral visits, Enoch meets Annabel (Mia Wasikowska) who doesn't find Enoch's obsession with mortality bizarre at all.  In fact, she's a bit of an oddball sweet free spirit as well...who also happens to have inoperable brain cancer and a three-month window to live.

What certainly makes Restless succeed are the great performances of the two leads.  In one of his first roles, Henry Hopper (son of the late Dennis Hopper) seems pitch perfect.  Yes, his character is morbid, and yes, he's essentially stone-faced throughout much of the movie, but I totally understood the odd character of Enoch thanks to Hopper.  I understood why he went to funerals; I believed the ridiculousness of him speaking with dead Japanese fighter pilots; and I felt when he fell in love with Annabel.  Something clicked there that was impressive.

And as for Mia Wasikowska, it's by far the best role I've seen her in yet.  While I liked her in Jane Eyre where she was forced to play an emotionless statue, in Restless she is as goshdarn cute as could be.  There's a slight Woody Allen-Diane Keaton Annie Hall vibe coming from her (and not just because of the hats she wears throughout) that I totally dig.  You connect with her Annabel right away because she creates a character that seems real and lovable despite her idiosyncrasies, and, because of that connection, the film becomes all the more difficult to watch as her illness progresses.

As the two begin to fall in love, they find themselves overcoming their own demons thanks to the help of one another and considering the rather morose undertones of the whole flick, I found myself smiling quite a bit thanks to the tone set by the director and screenwriter.  Admittedly, as I mentioned in my first sentence, you need to be willing to go along for the ride on this one and give in to the weirdness or else you'll find this a tedious mess to sit through.  I succumbed to the cuteness and found the whole thing rather surprisingly enjoyable.  Granted, it isn't without its faults -- I think the last third unfortunately ends the movie on a rather sour note and doesn't wrap things up with its characters in a believable manner [a pretty big fault, actually] -- but, for the most part, Restless works.

The RyMickey Rating:  B-

Movie Review - Jane Eyre

Jane Eyre (2011)

Starring Mia Wasikowska, Michael Fassbender, Judi Dench, Sally Hawkins, and Jamie Bell

Directed by Cary Fukunaga

Jane Eyre is a rather lovely film with beautiful cinematography, skillful direction, wonderful acting, and a melodic violin-heavy score.  It's also a period piece with a story that's so utterly depressing at times that it's a struggle to trudge through it.  In the movie's defense, I attempted to read the Charlotte Brontë's 1847 novel over the summer and had to stop at its midpoint because I just couldn't get into the thing.  Despite everything being well-above-average in terms of a "film," the story unfortunately drags a bit despite the fact that at the film's end I couldn't help but be somewhat moved by the romanticism on display.

After her parents die, young Jane is sent to live with her aunt (Sally Hawkins) who is angered by the ward left to her by her relatives.  Rather than deal with the child whom she despises, she sends Jane off to an all-girl's boarding school where she remains until her late teens at which point she accepts the position of a governess.  While working at Thornfield Hall, Jane (Mia Wasikowska) finds herself oddly drawn to the master of the house, Mr. Edward Rochester (Michael Fassbender) and he likewise to her.  The two are certainly from different social strata and it seemingly hinders Jane's ability to comprehend that Mr. Rochester could ever be in love with her, causing the young lady to suffer quite a bit under the emotional stress she begins to feel.

The brooding, heavy nature of the tale does cause Jane Eyre to be slow moving, but I certainly appreciate the Gothic tones on display (including a detour into "ghost" territory that provides an interesting twist to the whole story).  Still, I couldn't help but find the whole movie falling into that stereotypical "boringness" that so often permeates British period pieces (despite admirable attempts by director Cary Fukunaga to shake things up including some jumping around in time not present in the novel).

All that said, the film is full of wonderful things.  Its dark shadowy aesthetics are appropriately ominous and are always interesting to watch.  Coupled with a beautiful and haunting musical score, Jane Eyre is a feast for the eyes and the ears.  There are also some great performances from the two leads in an emotionally restrained Mia Wasikowska (in certainly her best role yet) and the somewhat sinister man with a heart of gold Michael Fassbender (who is one of 2011's "People to Watch" apparently based on buzz from his roles in this, the new X-Men film, and the upcoming Shame).

Ultimately, although the film lacks some fire in its story, Jane Eyre has much to admire even though it may not be suited for all tastes.

The RyMickey Rating:  B-

Movie Review - The Kids Are All Right

The Kids Are All Right (2010)

Starring Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, and Josh Hutcherson

Directed by Lisa Cholodenko

The tv commercials are pitching The Kids Are All Right as an "uproarious comedy."  While the flick certainly has its humorous moments, its roots are in family drama and, after a somewhat shaky opening fifteen minutes, the film is able to balance both quite well.

The story's pretty simple -- Nic (Annette Bening) and Jules (Julianne Moore) are a lesbian couple who have been together for two decades.  They each had a child conceived by artificial insemination using the same sperm donor.  Their daughter, Joni (Mia Wasikowska), has just turned eighteen and she is convinced by her brother, Laser (Josh Hutcherson), to find out information about their donor dad.  Joni and Laser meet up with Paul (Mark Ruffalo) and a whole new dynamic is introduced to the family, affecting each member in a different way.

I'm not a huge Julianne Moore fan, but her "earth mom" hipster Jules is winning.  Bringing a comedic edge to her work that she hasn't done well since her turn in The Big Lebowski, Moore is light, breezy, and utterly charming.  Annette Bening's Nic is certainly the uptight one, masking any pain in a nice glass of Chardonnay.  The chemistry between Moore and Bening starts off a tiny bit rocky (which is more the fault of the screenplay), but they won me over soon after the movie began.  And I haven't even mentioned Mark Ruffalo yet whose Paul is a little bit aloof, but totally cool -- the dad any kid would love to call their own.  It's completely obvious why Joni and Laser instantly take a liking to him and Ruffalo nearly steals the show.

However, the film's not perfect and the problem is with the writing.  First, as I've mentioned before, the film starts out with a tone that didn't win me over in the slightest.  We get shots of Laser doing drugs, Joni being pressured to have sex, and Nic and Jules making love with male gay porn blaring on the television set.  It all seems a little spastic in the initial ten minutes.  Fortunately, things start to come down to earth soon after and once the main storyline of Laser and Joni meeting their dad surfaces, all is well from then on out.

The second (and final) issue is that the characters of Joni and Laser just weren't quite fleshed out enough for my liking.  They're each given a minor "problem" to deal with -- Joni and her aforementioned virginity and Laser dealing with a bully of a friend -- but both these issues seemed superfluous and tacked on.  Laser's issue is a little bit more developed and understandable -- his lack of a male role model forces him to want to seek out his bio-dad -- but it never seems fully realized.  Still, I will say that Mia Wasikowska (who I thought was stiff and boring as the title character in the heinous Alice in Wonderland remake) and Josh Hutcherson were both very good here.

The Kids Are All Right is a very good dramedy.  Yes, it has a few faults, but they're really just minor quibbles in the grand scheme of things.  There's a good story here and there's some wonderful acting that make this one well worth watching.

The RyMickey Rating:  B+

Movie Review - Alice in Wonderland

Alice in Wonderland 3D (2010)

Starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover, and Mia Wasikowska

Directed by Tim Burton

With a complete lack of whimsy and a rather heavy-handed joyless approach, Tim Burton's re-telling of Alice in Wonderland is just a dull bore.   Thirteen years ago, young Alice "fell down the rabbit hole" and entered the zany Wonderland.  Now, as a nineteen-year-old girl on the verge of womanhood, Alice (a bland Mia Wasikowska) happens to fall down the hole again.  While in Wonderland, she is told by all that she's the land's savior -- for, you see, the evil Queen of Hearts (played with gusto by Helena Bonham Carter) has taken over everything, forcing her sister, The White Queen (Hathaway) to be exiled, and causing some to live in a state of fear.

Yes, the whole premise of any Alice in Wonderland story hinges on "the odd," but it also always has a sense of childhood playfulness.  Everything in Burton's film feels so heavy-handed.  With the exception of the humorously nasty Bonham Carter, every other character feels like they were told to be as blasé as possible.  Mia Wasikowska didn't even seem like she wanted to be there -- not an ounce of emotion.  And the less said about Anne Hathaway the better.

That being said, on the complete opposite side of the spectrum is Johnny Depp who was given free reign to do whatever he damn well pleased and his Mad Hatter is a wreck.  Yes, I get that Depp was playing him as über-crazy and drugged-out, but when your character is so utterly incoherent, it just seems like painful overacting.  And I realize it's just a minor point, but let's not even discuss the Mad Hatter's "dance" at the end of the film (which they had been teasing throughout the movie) -- what an awful scene.

Granted, I've never been a big fan of any Alice in Wonderland tale, but everything about Burton's version seemed so utterly dark and joyless.  If you wanted to go that route, go all-out depressing (or even veer into the horror genre or something).  As it stands now, Burton's version is a dud.

The RyMickey Rating: D