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    Movie review

    Guillermo Del Toro's Pinocchio returns heart to the classic tale

    Alex Bentley
    Dec 8, 2022 | 12:30 pm

    There have been many instances of competing movies telling similar stories in the same year, but rare is the time when two movies try to tell their version of the exact same story. A few months ago, Disney released a “live action” version of their classic Pinocchio, an unimaginative, soulless film that should have never seen the light of day. Now, Guillermo Del Toro’s Pinocchio has come to save the day, bringing an allegorical story that has much more depth to it.

    Co-directed by Del Toro and Claymation legend Mark Gustafson, and co-written by Del Toro and Adventure Time’s Patrick McHale, the basics of the film will be familiar. The wood toymaker Geppetto (voiced by David Bradley) creates a wooden boy soon dubbed Pinocchio (Gregory Mann) who is looked over by a cricket, this time called Sebastian (Ewan McGregor). Pinocchio is brought to “life” by a blue fairy named Spazzatura (Cate Blanchett), and Pinocchio soon causes all sorts of trouble for himself and everyone else.

    But instead of going straight into that story, Del Toro and his team take the time to fill in some blanks about Geppetto’s life and give some meaning to his wooden creation. An opening sequence showing a tragic backstory sets the mood for the film, one that is serious while not being overwhelmingly dark.

    Inspired by but not beholden to Carlo Collodi’s original fantasy novel, the film is a lively and yet somber adventure story, with Pinocchio’s impetuous nature leading to him getting in a lot of sticky situations. Del Toro has set the film in Italy during World War II, referencing real-world figures like Nazis and Italian dictator Benito Mussolini to ground the often-fantastical story.

    Geppetto and Pinocchio in Guillermo Del Toro's Pinocchio

    Photo courtesy of Netflix

    Geppetto and Pinocchio in Guillermo Del Toro's Pinocchio.

    As the film goes along, the idea of whether or not Pinocchio is “alive” is confronted in a unique way, and also juxtaposed with actual life-and-death moments that go right to the edge of the film’s PG rating. While still appropriate for older elementary-aged kids, it is unmistakably a Del Toro movie, with creepy creatures, storylines, and more that make it much more than just something aimed at children.

    The stop-motion animation, assisted by the Jim Henson Company, is a wonder to behold for a variety of reasons. The flow of movement is astonishing, and a testament to the level of detail and time spent perfecting every moment by the entire filmmaking team. The characters are clearly made of clay, and yet they quickly become believable as living entities, a fun comparison to the story of Pinocchio himself.

    While the film has stars like McGregor, Blanchett, and Christoph Waltz, none of them are showcased in ways where their celebrity overwhelms their character. Geppetto and Pinocchio are played by lesser-known people, allowing them to be interesting just for their voice talent, and not a pre-conceived notion of them.

    Guillermo Del Toro’s Pinocchio is by far the superior version of the story to come out in 2022, returning the heart to the tale that is so clearly needed. With just enough off-the-wall elements and a style that’s all its own, the film from Netflix may just be a contender for best animated feature at next year’s Oscars.

    ---

    Guillermo Del Toro's Pinocchio debuts on Netflix on December 9.

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    Movie Review

    Marty Supreme cements Timothée Chalamet as his generation's movie star

    Alex Bentley
    Dec 23, 2025 | 11:23 am
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also got nominated for an Oscar for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

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    Marty Supreme opens in theaters on December 25.

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