Critic Reviews



Based on 28 critic reviews provided by
The whole thing reads as an indictment of the sort of upper class upbringing that Milne's children's books idealised, with only paid employees offering worthwhile parental affection.
An engrossing biopic. More than just another author/creation story, Curtis’ film has things to say about celebrity, wartime and family.
A witty and touching father-son tale. And at its centre: a startling debut from Will Tilston, whose compelling performance ensures its emotional moments land successfully.
Goodbye Christopher Robin is a good example of how far a film can go with just the talents of its actors and director, even when the script can feel jarring or emotionally uneven.
No one’s going to accuse Goodbye Christopher Robin of subtlety or of rewriting the biopic rules, but it does dare to go darker than most films like it.
It's the chemistry between Domhnall Gleeson and newcomer Will Tilston, as the awkwardly matched father and son, that makes the movie more than a mélange of inept parenting and Tigger too.
All of this is reasonably interesting, but not as dramatic as it ought to be.
We’re left with something handsome but safe, a film that tries to bridge the gap between children’s characters and adult concerns without ever anchoring itself to either side.
A sweet ode to childhood innocence turning sour upon its introduction to the public is an intriguing notion, but Simon Curtis incomprehensibly crams the events of Christopher’s early childhood stardom, his difficulty coping with the ubiquity of his namesake’s legacy, and his ultimate defiance of his father into less than one-third of the film.
Goodbye Christopher Robin doesn’t just lack authenticity, it appears to scorn it.

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