Following the discovery of a new form of space travel as well as Meg's father's disappearance, she, her brother, and her friend must join three magical beings - Mrs. Whatsit, Mrs. Who, and Mrs. Which - to travel across the universe to rescue him from a terrible evil.
In the book, Meg and her family are Caucasian, and in the movie, the Murry family is multiracial. This became controversial among fans of the book and its sequels, but filmmakers believed a multiracial family would be more relevant and relatable for contemporary audiences. Chris Pine has said that the multiracial family dynamic was actually one of the aspects in the script which attracted him to the project. See more »
In several scenes, Meg's glasses do not have any lenses in them. See more »
Do you realize how many events and choices that had to occur since the birth of the universe, leading to the making of you just exactly the way you are?
I guess I never really thought about that.
Maybe now's the time to start thinking about it.
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The Walt Disney Pictures logo is affected by a tesseract. See more »
Park Bench People
Written by Matthew R. Griffith, Osagyefu N. Kennedy, Darryl (JMD) Moore, Kevin Alan O'Neal, and Myka 9 (as Mike Lafayette Troy)
Performed by Freestyle Fellowship
Courtesy of Island Records
Under license from Universal Music Enterprises See more »
Space Oprah: The Motionless Picture
By the time "Wrinkle" reached its climactic scenes, where the stakes are highest and the resolution hangs in the balance, it carried so much forward momentum that I had to keep waking myself up so I wouldn't snore and bother the other theater patrons.
Yeah...it was like that.
Look, I'll admit: I've never read the book (shame on me, I guess, as a lifelong lover of SF and general metaphysical weirdness), so I can't judge
DuVernay's "A Wrinkle In Time" as an adaptation of L'Engle's literary favorite. But I CAN measure it as a film that wants to tell a story, and on that scale...um...
Uy. Never is there a real sense of conflict with which to engage: the tone and mood are so lovey-dovey, from stem to stern, that the film never feels like it's progressing in any meaningful way. The galaxy-gobbling threat doesn't, and isn't. Good performers are wasted on one-note characters (be they whimsical space-nymphs or oh-so-precious baby geniuses) in puzzling costumes and -- were those hairdos? I think they were hairdos. I mean, they were where hair is supposed to be. Expensive FX fill the screen in service to a plot that *drifts* through its paces instead of *advancing*. If there was variance in the musical score, I missed it (but I think I didn't, because I think there wasn't). Michael Peña is asked to leave his "Ant-Man" charm at home and put on a goofy mustache and some red contacts for like a few minutes, and Captain Kirk (the new one, anyway) has a beard and is interesting, but doesn't really do anything and OPE what nope I'm awake not snoring sorry no.
This is going to be someone's favorite movie, and that's a beautiful thing; art needn't be categorically *good* to be *effective*, after all, and I love the hell out of "Xanadu", so I should know. But a film that wants to tell a story should be equipped to tell a story, and if it can't do that, then...it's doing something else, I dunno, I'm...
...huh? No, no, I was just...just resting my eyes. It's nice, maybe you should do the same.
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