Wonderstruck is a beautiful film about two deaf kids who, 50 years apart, run away to New York to find a absent parent. Their fates are intertwined through a Cabinet of Wonders exhibition at the Museum of Natural History, and the editing between the two stories has real motive power. The trick, is that director Todd Haynes gives each era its own look and feel. In 1927, Millicent Simmonds (A Quiet Place) is in a black and white, silent film. Not as extreme (no pancake make-up or cue cards), but her world is composed of beautiful cinematography and score. In 1977, the only recently deafened Ben (Oakes Fegley from Pete's Dragon) lives in a world where we do hear other people talk, but are sometimes plunged into a strange tinnitus; his world is in the 70s idiom, yellowed film and soundtrack. Both young actors are very effective, Simmonds especially, and we're sorry to see her go when the past catches up to the present. There's also a third style in here, a flashback told in diorama, which is one of the visual themes of the movie. Again, just beautiful, but you might wonder if it all fits together. I happen to think it does. The film, like its visits to the museum, acts as a visit through different exhibits, each holding its own particular fascination. I was, indeed, struck with wonder.
Wonderful movie, fully captures Brian Selznick's half-illustrated novel by ingeniously filming the two perspectives of the main characters as a sepia-toned silent movie, alternating with the full-color modern-day (1977) story until the two worlds ultimately collide. I won't spoil further, but I must add that is a very sweet movie the entire family should watch that will require patience and an open mind. And what a great soundtrack! Carter Burwell's beautiful score helps elevate all of the emotions conveyed in the girl's story, while Bowie's "Space Oddity", "2001" by Deodato, and Fripp & Eno's "Evening Star" all make integral appearances in the film.
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Siskoid
Wonderstruck is a beautiful film about two deaf kids who, 50 years apart, run away to New York to find a absent parent. Their fates are intertwined through a Cabinet of Wonders exhibition at the Museum of Natural History, and the editing between the two stories has real motive power. The trick, is that director Todd Haynes gives each era its own look and feel. In 1927, Millicent Simmonds (A Quiet Place) is in a black and white, silent film. Not as extreme (no pancake make-up or cue cards), but her world is composed of beautiful cinematography and score. In 1977, the only recently deafened Ben (Oakes Fegley from Pete's Dragon) lives in a world where we do hear other people talk, but are sometimes plunged into a strange tinnitus; his world is in the 70s idiom, yellowed film and soundtrack. Both young actors are very effective, Simmonds especially, and we're sorry to see her go when the past catches up to the present. There's also a third style in here, a flashback told in diorama, which is one of the visual themes of the movie. Again, just beautiful, but you might wonder if it all fits together. I happen to think it does. The film, like its visits to the museum, acts as a visit through different exhibits, each holding its own particular fascination. I was, indeed, struck with wonder.Emiam
5+/10The film answered many question at the end but was a bit too slow the first 1 h 15 min. But still, it left some questions unanswered...
Agrimorfee
Wonderful movie, fully captures Brian Selznick's half-illustrated novel by ingeniously filming the two perspectives of the main characters as a sepia-toned silent movie, alternating with the full-color modern-day (1977) story until the two worlds ultimately collide. I won't spoil further, but I must add that is a very sweet movie the entire family should watch that will require patience and an open mind. And what a great soundtrack! Carter Burwell's beautiful score helps elevate all of the emotions conveyed in the girl's story, while Bowie's "Space Oddity", "2001" by Deodato, and Fripp & Eno's "Evening Star" all make integral appearances in the film.