One of puppet-maker Geppetto's creations comes magically to life. This puppet, Pinocchio, has one major desire and that is to become a real boy someday. In order to accomplish this goal he ... See full summary »
Jonathan Taylor Thomas,
Geppetto the carpenter carves the object of his hidden desires out of a log: a puppet that will keep him company and will be like a son to him. He will call him Pinocchio. Imagine his ... See full summary »
A re-imagining of the classic Hans Christian Anderson tale. In straight suburbia, in a world comprised entirely of lines and squares, a young boy's love of bright colours and strange ... See full summary »
In the beginning of the movie, when Geppetto takes Collodi's desk to his workshop the drawers are left behind, stacked on the floor. At the end of the movie, when Collodi comes to the workshop to collect his desk all drawers are in place in the desk. See more »
First of all, this is a TV production lasting three hours. It would normally be broadcast in three or more installments, so I won't call it overly long. The film makers have used the time to produce a somewhat complete rendering of the original novel, be it with unfortunate diversions with the intention to make it more palatable to children.
It is these inconsistencies created within the story that undo much of the strength of the tale. The other major flaw of this film is the unbalanced cast. Bob Hoskins delivers an excellent, believable performance as Gepetto, some of the supporting cast do a fine job too. However, their good work is undone by the protagonist. Pinocchio the marionette has more believable expression than Pinocchio the boy, who gives a new meaning to the term "wooden". In addition, the insipid, annoying mannerisms of the "invisible" cricket make one wish that she had been invisible indeed. Mitigating elements, like palatable sound effects and the beauty of the Tuscany landscape cannot save the film from the detrimental effect of the silly changes to the plot and the uneven acting performance of the cast.
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