Goodbye Christopher Robin (2017) User Reviews

More than just about Winnie the Pooh

[trevorwomble · 8/10 · 30 September 2017]

I watched this wondering if it was going to be a dull, forgettable period piece or a tedious biopic and was very surprised just how good it actually was.

This is a really solid film with good performances and nicely directed. The plot concerns the true story of the life of the young Christopher Robin and the changing relationship he has with his parents in the 1920s.

It blends the mental trauma his father has been living with since his WW1 experience, and Christopher Robin's own traumatic childhood, both of witnessing his own parent's fractious relationship and then the deep unhappiness of having his life turned upside down when his fathers book, Winnie the Pooh, becomes an enormous and unexpected worldwide hit and inadvertently makes a celebrity of Christopher Robin.

This is a film primarily about family relationships and it is extremely well written too. Will Tilston, who plays Christopher Robin at 8 years old, puts in an exceptionally competent and sweet performance that makes you genuinely feel for the character.He finds the only person who actually understands and shares his anguish is his nanny, Olive (Kelly MacDonald). Olive too notices how unhappy Christopher Robin becomes but her pleas fall on deaf ears.

The only real flaw in any of the characterizations is Margot Robbie's turn as Daphne, Christopher Robin's mother. Whilst Domnhall Gleeson's AA Milne at least has some back story to explain why his mentally tortured writer is struggling to shake off his demons and thus oblivious to his son's reluctant celebrity status, Daphne comes across as somebody who is a bit cold and shallow and has no problems with watching her son get exploited to make the book a success. This may of course be what she was really like but the film doesn't dig very deep into her character. However this is a minor quibble in an otherwise well made film.

There are moments of humour in the script and no bad language so I expect this film will appeal to older audiences as well as families. The film is also just about the right length too if you like a good old fashioned biopic/drama. There is also a moral at the heart of this tale about the need to let children have a normal childhood, which is very much applicable even now.

Bitter-sweet, emotional and absolutely delightful

[mt-95256 · 7/10 · 1 October 2017]

The thought of a biopic that charts the touching story of the creation of a children's tale that has meant so much to so many over the years instantly makes me think of Finding Neverland, a sweet film I'm very fond of. In many ways, Goodbye Christopher Robin is very similar – bitter-sweet, heart-warming, full of nostalgia; you could easily swap Johnny Depp for Domhnall Gleeson and Kate Winslet for Margot Robbie (although the characters differ greatly). Although this story behind Winnie the Pooh doesn't contain quite the same childish magic and glee that the story behind Peter Pan gave us, it's still a delightful, emotional story told in a joyful, touching way.

The film as a whole addresses several themes and it's really a bit of a mishmash – it's not just about the creation of the Winnie the Pooh books; it's about the impact of war, the troubles with early 20th century parenting, tricky father-son relationships, the joy and innocence of childhood, and the pain and price of fame. This all works as both a strength and a weakness of the film; in many ways it's wonderful to have such a wealth of topics and the variety keeps things fresh and interesting. On the other hand, some themes aren't fully explored to the extent they could be and it feels as though it's missing something occasionally. It never really focuses on one theme and so does tend to meander around all these topics, telling a vague story; at times it seems to be more a series of scenes with just a semblance of story. Of course this is because the story itself is fairly simple, so it's nice that they enriched the plot with so many themes; it just feels as though it could have benefited from a little more detail.

Nevertheless it's a film that's a joy to watch and brings with it a load of emotions – sniffles and tears seemed to permeate the cinema. This is down to a couple of things; firstly the characters and the story they go through together; but more than that all the references (some obvious, some subtle) to Winnie the Pooh and the rest of Milne's work. From small quotations and images, to creating a little wooden hut to house one of Billy's toys, there are plenty of nods to Winnie the Pooh and these can't fail to bring a nostalgic tear to anyone and awaken fond childhood memories. The childhood especially is heavily romanticised and anyone can identify with Billy Moon in some way, bringing to mind all the happiness and innocence we experienced as children. This is all complimented by beautiful cinematography, making the wilds of Ashdown Forest seem absolutely stunning and really strengthening the magical quality of childhood and its inexhaustible supply of imagination and charm. In fact it's this middle section where the world of Winnie the Pooh is created that is the strongest part.

There aren't a great many characters in this film, making it all seem more intimate, allowing us to grow attached to the characters – though at times this can be challenging. As excellent as Gleeson is, it can be sometimes difficult to understand and empathise with him as his character is so stiff and reserved; still Gleeson gives us a wonderful contrast to this and how time with his son helps him to loosen up and re-discover his 'inner child'. Margot Robbie's Daphne comes across as a missed opportunity. Stunning and beautiful as always, it's hard to imagine Robbie playing a detestable character, but this she manages to do and do well. It's just the writing doesn't really seem to do her credit as we aren't given a real insight into her character. Kelly Macdonald and Will Tilston do shine though. Macdonald's Olive grounds the film as the friendliest, least complex adult character and Tilston exceeds all expectations you would have from a nine year old in their first ever acting role. Sheer innocence and childishness emanates effortlessly from his big eyes and little movements. He really is the heart of the film and fortunately they make the most of him. Sadly every boy has to grow up, but Billy Moon's 18 year old self played by Alex Lawther fills the shoes of his younger counterpart well, giving us the necessary angst and emotion needed.

Perhaps not quite the early Oscar contender I hoped for and it lacks some of the magic that I loved in similar film Finding Neverland. However, this is still a great film, dripping with emotion, nostalgia and a romantic view of childhood; exploring a wealth of themes and with some excellent performances (particularly from the titular Christopher Robin) and affectionate references to a childhood classic, Goodbye Christopher Robin is a lovely, bittersweet film for the whole family. Bring the tissues – this one's going to move you.

A wonderful film

[studioAT · 8/10 · 3 October 2017]

This a lovely film focusing on the relationship between A.A Milne and his son, Christopher Robin and how together they became sucked into the world of Winnie the Pooh.

With good performances from all this is a wonderful film, all about lost innocence and the importance of family. We are left with the question about whether Milne really did his son too many favours by placing him in a children's book after all.

Special mention must go to Will Tilston, who plays the young Christopher Robin so beautifully.

I hope this film goes onto wider acclaim, because I thought it was marvellous.

You'll pull the book out of the attic after seeing this lovely biopic.

[JohnDeSando · 2 November 2017]

Not having any serious connection with Pooh, Tigger, Piglet and the rest of the children's story, Winnie the Pooh, I am perhaps even more ready than its devotees to admire Goodbye Christopher Robin. It's a biopic of great sensitivity that mixes nostalgia for the most popular children's book ever with the harshness of two world wars and the practice of parents leaving their children with nannies in the first quarter of the 20th century.

I now wish I had a stronger relationship with those little critters and that lovable boy, for I could have used the distraction from the aftermath of WWII just as Pooh was able to do for the world after the war to end all wars. Author A.A. Milne (a stoic and yet lovable Domhnall Gleeson) was traumatized by his service in the war, and moved slowly to erase that PTSD while creating Pooh. The film spends too much time on his trauma, but it does help fill out Milne's character.

Yet, this is the story of Billy Moon (a remarkably-dimpled, serene Will Tilston), as Christopher Robin is called in real life, who supplies his dad with inspirations for the book. The film centers on remote dad's growing love for the boy and the book while remote mom goes off to London to do who knows what. The film carefully shows how children might be lucky to have a nanny like Neu (Kelly Macdonald) to give them love and some creative inspiration along the way.

Goodbye Christopher Robin is a successful biopic because it doesn't spare the story of anti-helicopter parents who endanger the mental health of their children with their absences. As fame overtakes the Milne family, the film still relays the sense of wonderment Billy had as a child immersed in love of his forest, animals, and imagination.

The biopic may be counter to what we expected of a world-renowned author of a book for children. That he had difficulty initially interacting with his own child is unusual, but the film is successful showing how he warms up and creates a masterpiece as well.

Though not always a feel good movie, Goodbye Christopher Robin makes you wish he'd never go away. It looks like he never will.

May ruin the books on you.

[daithiwalker · 7/10 · 4 February 2018]

Film is great. Can't help but feel a little but of animosity towards the mother and father after it all. The pretty much ruined their kids life. Also, seems that he never did forgive his parents for what they did to him in real life.

Warning though. If you love winnie the pooh, this may just ruin the stories for you though. It's not the most romantic story ever told.

WHERE WINNIE'S POOH CAME FROM...!

[masonfisk · 6/10 · 17 September 2018]

The second Pooh influenced film of the last couple of years & this one revolves around author A.A. Milne & his son who was the inspiration for Christopher Robin. Milne was WWI vet who shaken to the core due to the horrors of war but to deflect his desire to write a tome denouncing the futility of combat, his wife convinced him to have a child & write lighter fare to the chagrin of his son who felt more like a plaything for inspiration than a beloved son. Not a miss like the recent Pooh flick but ultimately this tale doesn't really endear one for the Pooh works but questions the rationale for them being written in the first place. I would place this w/Saving Mr. Banks as another sobering take on what most people feel is a beloved classic.

Had potential to be great

[Kingslaay · 7/10 · 2 December 2017]

Goodbye Christopher Robin is in many ways a missed opportunity. It appears that if this film was rewritten and redirected it could have been an exceptional film. It had the elements of a great gripping story and an origin story to one of the most beloved children's stories of all time. This film presented a unique perspective, background and aftermath surround Winnie the Pooh. Too much attention was placed on Christopher's childhood and development of the story and far less on its aftermath which based on the title seemed to be the point of the story. More time could have been devoted to Christopher's adolescence and Christopher himself rather than the creative process and post war trauma faced by A A Milne. The film takes its time in building itself up only to rush towards its climax. It was passable but not exceptional and it very well could have been.

Lessons can be learnt from this film, no matter how much you work, your children want you.

[markthomassintek · 10/10 · 19 October 2017]

REVIEW - GOODBYE CHRISTOPHER ROBIN

Honestly didn't know what to expect when I went to see this film. As its based (loosely) around the creation of the Winnie The Poo stories I thought it was going to be a children's film but.......

The film itself is actually and surprising very good, touching on the family dynamic of the upper classes during the 1930s to 1940s.

Very stand offish parents who seem to care about their social standing rather than their son (Christopher Robin) and how this impacts on all of their lives.

Looking at how one person can force the hand of another, in this case forcing father and son to actually spend time together and bond.

Lessons can be learnt from this film, no matter how much you work, your children want you.

Thoroughly enjoyable film on many levels.

Rating 10 out of 10

Goodbye, indeed.

[alexepatton · 6/10 · 30 March 2018]

I was a fan of Winnie the Pooh as a child and love the character as an adult. This movie was interesting to see the backstory of how Winnie came to life. Endearing that it had everything to do with his son. I thought this movie was good.

Don't say goodbye to this film

[TheLittleSongbird · 8/10 · 2 October 2017]

A.A. Milne's Winnie the Pooh stories captivated me as a child and they are still wonderful stories through young adult eyes. The stories epitomise childhood innocence, the atmosphere is enough to enchant everybody regardless of gender and age and the characters are some of the most charming in children's literature (Disney's treatment of them as some of their most famous ever creations is every bit as special).

Hearing that there was a biographical drama based on the man, his life and his family, the desire to see 'Goodbye Christopher Robin' was overwhelming. Was not disappointed at all after seeing it today, it was a lovely biographical drama even with Milne's life not being what one would expect reading the stories or being familiar with the timeless characters, his dark and troubled personal life being the anti-thesis of the innocent and charming world created in his Winnie the Pooh stories. That was actually what was so fascinating about 'Goodbye Christopher Robin'.

'Goodbye Christopher Robin' in biographical terms fascinates and illuminates. But the film fares even better judging it as a film on its own merits, on this front it is a lovely very good film that is neither the potentially cutesy cookie-cutter film one might think it would be reading the title or the overly dark and joyless one that one would fear upon looking up what the film is about. It's more layered than either.

The film looks great for starters. The beautiful cinematography, with its vibrant hues, really brings the film to life in a way that reminds one of how a story book would. The settings and costumes are both sumptuous and vivid, making the viewer feel like they've been transported in time to that period and being part of it. Carter Burwell's string-heavy score is luscious and stirring in its elegance. Both combined creates a really nostalgic quality that could have been at odds at the dark portrayal of Milne's and his family's personal life but it's an effective contrast.

When it comes to the writing, 'Goodbye Christopher Robin' is very intelligently and thoughtfully written and, considering that it has a subject matter where it is so easy to go heavy-handed and be too much of one tone, has evidence of sensitivity and nuance with touches of bitter irony in how such a happy childhood depicted in the stories was very much a miserable one in real life. The nods and references to Milne's work are clever and affectionate, enough to make one's eyes well up with aching nostalgia. The story is cohesive and never feels like it's jumping around too much or lacking momentum, it also has a lot of heart and affecting poignancy in how Christopher tries to get his father to loosen up and the interaction with his nanny (along with Christopher the warmest and most sympathetic character in 'Goodbye Christopher Robin').

Direction lets the story to breathe but doesn't fail in giving it momentum. The performances are near-uniformly strong. The central character in fact is Christopher Robin himself, and while Alex Lawther does very well with teenage Christopher the star here is Will Tilston, who gives a touching and far more layered performance than one would think he was capable of. Instead of being overly-cute, he evokes tears of both playful joy and vulnerable sadness and the film particularly comes alive with the father/son relationship.

As Milne, Domhnall Gleeson is excellent, whether one feels empathy for him is another story but he portrays Milne with an appropriately straight back and reserve and he is every inch the troubled figure. The levity of the story comes in the nanny character played by Kelly McDonald, the warmth and charm of her portrayal is much needed and her common sense invaluable.

By all means, 'Goodbye Christopher Robin' is not without short-comings. The biggest one being the one-dimensional and without-redeeming-qualities character writing for Daphne which consequently makes Margot Robbie portray her far too firmly and coldly, even in the subject matter these approaches didn't gel.

Short-coming number two is not buying and being put off somewhat by Milne and Daphne's far too casual, uncaring even, attitude for Christopher's welfare. This is something that makes one endear to them even less.

Overall, lovely, moving film. 8/10 Bethany Cox

Straightforward Biopic Largely Saved By Final Act

[zkonedog · 6/10 · 18 February 2018]

Whenever I'm judging a biopic film, I always see if it passes my test of having that "spark" for why it needed to be made into a live-action portrayal of the events (or maybe should have just been a documentary). For the first 2/3 of "Goodbye Christopher Robin", it didn't (or just barely) passed that test. Fortunately, the final act really redeems it by adding in some emotion that truly felt real.

For a basic plot summary, this film tells the story of how author A.A. Milne (Domhnall Gleeson) conceived his Winnie The Pooh books by watching the playtime of his son Christopher Robin (Will Tilston). The movie extends that lens, however, by continuing past the publication of the books and focusing on the struggles of an adolescent Christopher (Alex Lawther) and how much he resented being "the real Christopher Robin".

Like I said above, the first 2/3 of "Goodbye Christopher Robin" were "just okay", and that is at best. At times it felt a bit emotionless and plodding, and I wondered if perhaps this story wasn't quite exciting enough to be worthy of a live-action biopic. Perhaps a well-constructed documentary would do on the subject? It just didn't seem to offer one single really interesting thing that wasn't either already shown in the trailer or couldn't be guessed by common sense for how reality transpires.

But then, in quite a turnaround, the film really focuses in on the struggles of Christopher Robin post-Pooh, and that's where things really pick up steam (especially when Lawther's performances as Robin begin). This is where the film breaks from being just a "straight Pooh origin story" (of which it is passable at best) to being a deeper examination of emotional themes between individuals. These are the scenes in the film where I really felt like I cared about the people on screen, instead of just being told a story I basically already knew.

In terms of acting, things often feel a bit stilted at certain points. Both Gleeson and Robbie (playing Christopher's mother) are great actors, but they perhaps seem a bit odd for their respective roles here. Robbie's character shined much as as a "young mother" and declined as the film went on, whereas I felt Gleeson's performance actually stepped up a notch as he portrayed an older father. In a lot of ways, though, the cinematography steals the show here, what with all the wonderful shots of the English countryside as well the noir, if you will, of London of that time period.

Like most children, I went through a Winnie the Pooh phase, and that's obviously why a film like this appeals to so many viewers. This one will never be an out-and-out classic, but it can still be enjoyed, especially by those who prefer a more straightforward approach to biopics. The last portions of the film really make up for the paint-by-numbers approach in the early goings, too.

Not perfect, but well worth a watch. Just don't expect Disney flavours!

[kitellis-98121 · 8/10 · 12 July 2018]

While not entirely perfect, this film is one that I will definitely watch again.

It had strange resonances for me personally, as my grandmother was a famous and celebrated author, who used me as inspiration for several of her children's books, and also as a subject for one of her academic books for adults.

During my early childhood, I spent many happy days playing imaginative games with my grandmother - always followed around by a photographer - and those games became the basis for her stories, with the photographs of me used to illustrate them. At the time I was quite happy about this, as it made me feel special, but I am now very well aware that I was being exploited.

Like Christopher Robin, I was never asked permission to be in her books, nor was I ever paid (although I inherited a modest amount of money when she died, so I suppose that could be considered payment of sorts).

Unlike Christopher Robin, I never resented the books I was in, and I never felt that my childhood memories had been stolen or commercialised. But my situation was never as drastic as his, and my grandmother's celebrity didn't even come close to that of A.A. Milne. However, there are enough parallels to have given me a few shivers while watching this movie.

Others have commented on its excellence, so I won't belabour that point, except to say that I agree. As a film it is beautifully crafted and (for me anyway) endlessly re-watchable.

I disagree with the negative comments about the stilted acting. If anything I felt they needed to be more stilted to be properly true to the period. I do agree that Margo Robbie's accent was uneven, but performance-wise I felt she did very well in what was perhaps the hardest role to perform convincingly.

As others have mentioned, the best performances came from the two boys playing Christopher Robin, although I also particularly liked Stephen Campbell Moore's understated warmth, and - for the first time in her career- I actually found myself liking Kelly Macdonald, an actress who has irritated me in every other film in which I've seen her. Here she exudes warmth and tenderness, and in a well-pitched and technically difficult performance manages to display undercurrents of disapproval and sympathy to the audience without over-egging the pudding.

The cinematography by Ben Smithard also bears special mention, bringing to the screen a subtle yet richly evocative atmosphere of nostalgia and childhood innocence without sacrificing realism or becoming overly stylised.

In fact, one of this film's many technical merits is the fine balance it achieves between all its various flavours and ingredients; each one subtle and understated, yet combining to create a rich and satisfying whole.

As an overall viewing experience it has much to recommend it, and very little about which to complain.

Goodbye Christopher Robin

[jboothmillard · 6/10 · 17 June 2019]

This film was made the year before the Disney live-action film Christopher Robin, a fictional story about the famous child who grew up, and what happened next, I think I saw film critic Mark Kermode talking about this film on a review show, I was always going to watch this one first, directed by Simon Curtis (My Week with Marilyn). Basically Alan Alexander Milne, nicknamed "Blue" (Domhnall Gleeson) by his friends and family, has resumed life with his wife Daphne (Margot Robbie). He returned from the First World War, fighting in the Battle of the Somme, but he is still suffering shell shock of occasional flashbacks to his battle experiences. Daphne gives birth to their child; she was hoping to have a girl and is disappointed to have a boy instead. They name their boy Christopher Robin Milne, but generally call him "Billy Moon", and they hire a nanny, Olive (Kelly Macdonald), whom Billy calls "Nou". Blue is having difficulty returning to writing, wanting to write a compelling exposition against war, he relocates the family to a house in the country surrounded by woodland. Daphne resents the move and returns to London for an extended period. During that time, Olive goes to care for her dying mother and the cook also leaves to take time off, Blue and Billy (Will Tilston) are left to look after themselves. Blue is reluctant at first to take Billy along on walks in the woods, but this becomes more frequent, and during which, they make up stories of adventures involving the plush toy animals the parents bought for Billy. Blue is inspired by Billy's imagination and treating the toy animals as real characters, so he invites his illustrator friend Ernest (Stephen Campbell Moore) to join them at the house, and together to create a story book. Daphne returns to home after Blue sends her a poem, "Vespers", that she has published in Vanity Fair, and Olive also returns following the death of her mother. The first book by Blue, credited as A. A. Milne, is published, it is about a young boy named Christopher Robin, and adventures with his animal friends, including his best friend, a teddy bear named Winnie-the-Pooh. Further stories about Pooh bear and his friends of the Hundred Acre Wood follow, becoming a great success. Daphne manages their newfound celebrity, while Billy, as Christopher Robin, makes frequent public appearances which he finds confusing and frustrating. Billy learns that Olive has a lover named Alfred (Shaun Dingwall), he tells his parents, Daphne feels betrayed and angrily confronts her. Olive becomes angry with Blue and Daphne, resigns, and admonishes them for what they have been putting Billy through. Blue decides to stop writing about the boy and his imaginary friends. Blue ends Billy's publicity activities and enrols him at a boarding school, however, "Christopher Robin" (Alex Lawther) is bullied at the school and emerges bitter toward his father. When the Second World War breaks out, Billy is initially declared unfit for drafting, but he demands his well-connected father, despite his wartime experiences, convince the army to accept him regardless. Billy leaves for service, turning his back on his father and disowning the books and the money from them. Later, Blue and Daphne receive a distressing letter, Billy has been reported missing and is presumed dead, they also tell this to Olive. However, Billy has survived and arrives at the country house unannounced, leading to an awkward and tearful reunion with his parents and Olive. Blue and Billy reconcile, and are seen walking together through the woods, showing Billy as both a young child and young man. Also starring Phoebe Waller-Bridge as Mary Brown, Geraldine Somerville as Lady O and Richard McCabe as Rupert. Gleeson does very well as the first troubled man suffering writer's block who lightens up because of his child, Robbie does a very good English accent and is alright being brittle, Macdonald gets good moments as the nanny, and dimple-cheeked Tilston steals his scenes as the adorable child who achieved international fame. This is no Disney tale, there are the fun elements, seeing the child playing with his cuddly toys and the father bonding with him as he creates the famous books, but there are also the dark elements, including trauma from war and the price of fame, but overall it is an affectionate, charming and worthwhile biographical drama. Good!

it's not my fault

[ferguson-6 · 5/10 · 19 October 2017]

Greetings again from the darkness. Are you ready for a family- oriented movie based on the origins of the universally beloved children's character "Winnie the Pooh"? Well, despite the PG rating, this is not one for the kids – no matter how much they adore the cuddly, honey-loving bear. When you realize it was directed by Simon Curtis (WOMAN IN GOLD) and co-written by Frank Cottrell Boyce (MILLIONS), filmmakers known for their crowd-pleasing projects, the final version could be considered borderline deceitful.

It's 1941 when we first see A.A. Milne and wife Daphne receiving an unwanted telegram whilst tending the English garden. We then flashback to 1916 when Mr. Milne was serving on the front lines of WWI, and returned with a severe case of shell-shock (described as PTSD today). His episodes can be set off by bees, balloons, and bulbs. This affliction also has him in a deep state of writer's block accompanied by a need to write an important anti-war manuscript.

Domnhall Gleeson plays the famous writer and Margot Robbie his wife. The 1920 birth of their son Christopher Robin makes it clear that lousy parenting exists in every era. Neither father nor mother have much use for their offspring, so they enlist the help of a Nanny Olive, played by Kelly Macdonald. Does it sound like a wonderful family flick so far? Well things do pick up when C.R. is shown as an 8 year old played by screen wonder Will Tilston. His bright eyes and dimples so deep we wonder if they are CGI, bring joy to the viewers, even if the parents remain icy and self-centered.

The film's middle segment allows father and son to bond on long walks through the 100 acre wood, and we are witness to how the toys become the familiar icons of children's stories: Winnie the Pooh, Eeyore, Piglet, Kanga, Roo, and of course, Tigger. The picturesque English countryside makes a beautiful setting for the adorable and energetic C.R., known at home as Billy Moon (nicknames abound in the Milne household).

Unfortunately, the father-son segment leads to even more atrocious parenting. After the book is first published in 1926, young Christopher Robin becomes little more than a marketing piece for the family business. The walks in the woods are replaced by radio interviews and publicity appearances. No matter how Nou (the nickname for Nanny Olive) tries to bring normalcy to the boy's life, the parents remain oblivious to what is happening.

Alex Lawther appears as the 18 year old Christopher Robin. He's committed to serving his duty in WWII after surviving boarding school bullying and hazing. Equally important to him is escaping the shadow of the celebrity childhood, and finding his own identity – one that is not associated globally with a fuzzy bear. The innocence of childhood stolen by selfish parents is painful to watch, whether 90 years ago with the Milne's, or today with any number of examples.

The 3 reasons to watch this film are: the photography is beautiful (cinematographer Ben Smithard), those other-worldly dimples of a smiling boy, and the near-guarantee that you will feel better about yourself as a parent (if not, you need immediate counseling, and so does your kid). In this case, being a well-made movie is not enough. The film is a bleak downer with the few exceptions teasing us with the infamous whimsy of the classic stories. Sometimes pulling the curtain back reveals a side of human nature akin to war itself. We are left with the impression that the audience and readers are to blame – being held accountable – for the misery suffered by the real Christopher Robin. Crowd-pleaser? More like the blame game.

Little Boy Reels At The Foot Of The Bed

[writers_reign · 7/10 · 30 September 2017]

I am arguably one of a handful of people who have never read a single word of A.A. Milne. I've been an avid reader all my life yet somehow Milne eluded me. I recall a family gathering when I would have been around ten and noticing a cousin with a copy of 'The House At Pooh Corner'. I assumed it was a one-off ephemeral as a butterfly ... I was, hover, conversant with lines like 'if I open my fingers a little bit more I can see nanny's dressing-gown on the door ...' and 'They're changing guards at Buckingham Palace ...' but made absolutely no connection with Winnie The Pooh. So I came to Goodbye Christopher Robin in more or less ignorance. My first impression was of lyrical photography, next it struck me as Merchant/Ivory lite and I think both impressions hold up. As a study of a dysfunctional family it was also up to snuff; traumatised father, hedonistic bitch of a mother, small boy in the middle. It was all rather well done and I did learn that Milne senior had been a successful journalist and playwright long before, like Algy, he met a bear.

Watch it and forget the facts

[michaeldale-96039 · 7/10 · 24 January 2018]

There are any number of reasons to watch this film: performances, cinematography, direction, nostalgia, humour, human relationships, whimsy, sorrow etc., but to get to the heart of this wonderful movie you have to ignore the fact that historically it is 80% factually incorrect. Script writer should have read around his subject to a greater degree, there is a dramatic enough story in the truth that should not have warranted a fantasy approach.

A strong second half

[Gordon-11 · 8 January 2018]

This film tells the story of how the author A.A. Milne came up with his wildly popular childnre's book, and the way this book changed his life.

The first half of the film is very slow, and in fact it really makes me rather bored. How he gets the idea of Winnie the Pooh really does not need that long to be told. The second half is engaging and captivating, as it tells the unimaginable impact of the books. The final scenes about Christopher Robin as a teenager is simply heartbreaking. These scenes highlights the strong emotional bonds among the characters, and their effect on the viewers. The adolescent Christopher Robin saves the film for me.

Goodbye Christopher Robin

[JoBloTheMovieCritic · 7/10 · 20 July 2019]

7/10 - sweet father-son story that has its duller moments, wouldn't need to see it more than once

Touching story reminding us what life is all about...

[txbecks · 9/10 · 24 October 2017]

Goodbye Christopher Robin touched me personally and helped me to remember what life is really about. It touches on the trauma that can affect those closest to us. It shows how hard and long those times can affect our lives and those around us. The casting and acting was spot on for me. I could relate to the characters and could relate to their situation.

It reminded me in some ways of "Finding Mr Banks", but touched me more deeply. There are movies you go to watch to escape the real world. This was a movie that helped me to remember what is important in this world and feel better for it.

It was touching, heart breaking and had times that all parents can relate to. In the end it showed me how important it is to spend time with your children.

It is a movie I will be adding to my collection.

Tearjerker and very heart-warming

[joanacatbagan · 7/10 · 4 February 2019]

Goodbye Christopher Robin" from 2017 is a beautiful film. It closely follows the true events of A.A Milne, as he develops the story of Winnie The Pooh for his son C.R Milne. The English countryside scenery was beautiful, all the actors were good and beautiful, the father-son relationship was beautiful, there moments were the best scenes from the movie. In totality, this films is very heartwarming, yet heartbreaking. Worth a watch!

Goodbye Christopher Robin: Grown Men Will Cry!

[brankovranjkovic · 9/10 · 1 October 2017]

Based on fact, a biography set in 3 distinct time periods, World War1 jumps to the 1930's and then World War2.

The beginning examines the horrors of war, A. A. Milne fought in World War 1, when returning home we see how he's traumatised and still suffering from shell-shock, demonstrated by disturbing flashbacks triggered when a car backfires or a balloon bursting.

The film follows the origin of the classic book 'Winnie the Pooh', how it was created, how it was inspired by the author's son and toys. Portrays how we might imagine middle class England was at that time. There is an obviously frosty, distant relationship between AA Milne and his son, you'll probably be surprised how gloomy the family's home-life really was.

A.A Milne was already a successful journalist and playwright, but his war experiences motivates him to write an anti-war book, he moves the family to the country to concentrate on this. They take on a nanny (Olive) who builds a close relationship with their son.

Unfortunately the author suffers with writers block and this results in his wife selfishly moving back to London until he can get his head in order and write again. The wife is a very un-likable irritating character, there was nothing redeeming about her personality!

With the wife away the film becomes so much more interesting when the father starts to pay attention to his son and a friendship develops, this unlocks A. A. Milne's imagination. The book is written at a time when the population needed uplifting, and the book does that splendidly. The book and his son quickly become a worldwide success, although the sudden fame has a negative effect.

The older version of the son is sent to boarding school and is constantly bullied until the students are conscripted to World War2. Unfortunately the son fails the army physical / medical although his burning ambition is to go to war, so he asks his father to pull strings to get him in and he does. We see the son in military uniform leaving on the train but soon a telegram 'missing in action-presumed dead' is unfolded.

This is where many of the audience pulled out their tissues.

I would not recommend this film for children, the very emotional WW2 scenes makes this probably not suitable for a young audience.

Goodbye Christopher Robin nostalgically hikes through the Hundred-Acre Woods at a pedestrian pace.

[TheMovieDiorama · 6/10 · 30 March 2019]

A. A. Milne is widely regarded as one of the greatest authors of all time. His imaginative books involving Winnie-the-Pooh are often vital pieces of literature in many childhoods (including mine). But, as with many fictitious creations, we as readers often wonder how an individual could conceive such fantastical adventures. For Milne, it was a journey that had a surprising amount of melancholy, and director Curtis fully embellishes his misguided intentions to portray various aspects of his life in this dramatic biopic. In doing so, he has crafted a somewhat bloated drama that felt both overly melodramatic and thematically confused. After surviving World War I, Milne and his wife give birth to their son who harnesses a vivid imagination that acts as a catalyst for Milne's writing.

Curtis tackles so much of Milne's life and his timeless creation. His suffering of PTSD which acts as a hindrance for his writing ability. His wife's immediate need for success and empowerment. The difficult bond with his son as he struggles to connect with him. However, the prominent theme within the second half that prevails over the rest, is the idea of exploitation. Milne's literary creation being a window into his son's imagination, enabling him to be accessible to the world. During a time of national mourning and healing, Christopher Robin was there to lift everyone's spirits again. A timely release that ensured international success, but at the cost of Milne's relationship with his son. This inevitable exploitation manifested into resentment as he grew up. Milne unknowingly sacrificed his son's love for the betterment of his country, and there is an underlying sense of profound patriotism within that.

Unfortunately though, Curtis still attempts to balance the remaining aspects and relationships but is unable to do so effectively. Due to the PG rating and limited runtime, these numerous plot points had little to no development and lacked the emotional power that Curtis desired. Ultimately a shame considering how perfect Gleeson was as Milne. Robbie was fine, although succumbs to the cliché prestigious British accent that is all too common in period dramas. The storytelling felt occasionally heavy-handed, introducing Christopher's teddy bears far too quickly and coincidentally. Again, stemming down from the limited runtime issue.

Having said that, the film is enjoyable. There were several moments, particularly when Milne is exploring the woods with his son, that brought a smile to my face. And that's exactly what this drama does, it makes you reach for the inner-child within you. It may lack focus and emotional power, but excels when relishing in the childish warmth that Winnie-the-Pooh was perfect at evoking.

I swear that old bear whispered "Boy, welcome home."

[Brandon_Walker_Robinson · 8/10 · 18 October 2017]

Goodbye Christopher Robin certainly tugged at heartstrings, unfolding a somewhat cold narrative, sprinkled with its share of warm joyous moments of family banter and the creation of something we have all adored for the entirety of our lives. Although only rated PG, it was thematically mature in speaking to the audience as much as the characters spoke to themselves. Its power grew strongest when it beckoned the nostalgia of my childhood, telling a story as astonishingly real as I imagined Winnie the Pooh himself to be—whether it was from the books I read to the show I watched (plus the recent animated film), or my late father playing the Kenny Loggins song on guitar to my delight.

The plot may have moved somewhat slowly, but the flow of the film certainly did not. The pace of the scenes moved very fast, keeping strong engagement throughout. I'll say that it helped I am very familiar with the content material (as we all are), which kind of made it funny when you see the "origin" of a toy animal's name comes from, almost feeling contrived because we already know it... but even if this was a fictional tale with an unfamiliar background you couldn't help but be emotionally riveted. It was well acted all the way around, and we have a breakout performance by the adorable young Will Tilston.

As I said before, this film is not completely sunshine and rainbows. It does play on the idea of "in the darkness comes the light," to shine optimism on our main characters who have dealt with internal conflicts and the pains of the world wars, and to also let viewers leave not too distressed over what could have easily been told as a tale of tragedy. I think most of the right buttons were pressed for myself as I watched it, but I can't say that this is totally a children's movie where they will be riveted with joy and delight (not to mention I don't know how much influence Pooh has on children today compared to that of, say, Dora). Director Simon Curtis did this cool thing when Milne's books were being created that sometimes showed moments between young Christopher Robin and his stuffed bear literally jump off the page. Again, anything that could hearken back to my days 25 years ago were great brownie points for me.

There were only three things I did not much care for about this film. The first is the color timing. Skin tones were muddled in a red-pink hue as the entire palette had desaturated any oranges, and the only green that would appear was on the grass in the woods. Even Margot Robbie's irises lost their vivacity with every closeup of her, occurred was quite often (EDIT: after watching the trailer I see my projector may have been uncalibrated, though it still wasn't my favorite timing). The second was the way PTSD was portrayed, although this is only speaking second-hand. The certain triggers, actions, and overall attachment to the story did not really latch onto the same track as the rest of the film, even if it was authentic. Finally, the timeline jumps would be obtrusive when we have to reestablish where we are at and where we are headed. I want to say it only happened twice, but both times threw me out for a good bit.

There are enough quips in this film to provide moments of laughter, and long-drawn sequences where I notice that I was smiling the entire time. However you may be evoked throughout, by the time the credits roll the only time you couldn't hear others' waterworks was when they were overshadowed by your own. Fantastic film, and if you get a chance you owe it to yourself to see it.

Childhood Erodes When Anonymity Does

[thirtyfivestories · 6/10 · 15 November 2017]

The Great War has left Britain in a fog, stuttering to find appropriate entertainment. Alan Milne has emerged from the trenches to the stage, and mistakes spotlights for turret fire. While introducing his first post-war production, mythical bees hover around his battered creative sphere.

Comedy plays became outdated with his brothers' carcasses. Alan is dead set on chronicling the atrocities that ransacked Europe, but his schedule is full of dinner parties requiring top notch smiles. The urban bustle does not just affect his writing, but also his connection to the newborn that has practically been handed to a surrogate mother.

Billy Moon is the little boy's name in the Milne's house, but Christopher Robin is the name that appears on the birth certificate and in millions of hardbacks. Billy's nanny, Olive, has becomes the child's compass in an ever evolving media circus that goes unnoticed by the man who stirred it up.

Alan has turned writing break play dates into research as he plagiarizes his son's blossoming creativity. His pursuits of an anti-war manifesto shifts to fiscally minded child book authorship. The exploits of this extracurricular bonding are resounded in a revealing exchange:

Billy asks his father, "Are you writing a book? I thought we were just having fun?" Alan answers, "We're writing a book and we're having fun."

Roping his son into this deceptive co-authorship will create a damaging identity crisis for the boy as he grows in an age where another Great War is brewing. The Christopher Robin and the blush toys offer a touchstone of comfort for aching families across the globe, but the cost for this phenomena is a childhood robbery.

Not bouncy or fun

[Prismark10 · 5/10 · 9 September 2018]

Goodbye Christopher Robin is a sad bittersweet story behind the creation of Winnie the Pooh.

Writer Alan Milne (Domhnall Gleeson) returned home after World War One suffering from shell shock and anti war sentiments. He wants peace and quiet for an environment where he could write. He decides to move to the country.

As his self absorbed wife Daphne (Margot Robbie) goes to enjoy the London high life, nanny Olive (Kelly Macdonald) goes to visit her ill mother. Milne is left to look after his son Billy Moon. As they walk in the countryside Milne creates stories based on his sons toys to entertain him.

The Pooh books are a big hit but the publicity has a negative effect on Christopher Robin as he reaches adolescence that causes a rift with his parents.

As a child I read the Winnie the Pooh books and I was aware that Christopher Robin was a real person who was still alive. The fact that he never appeared on television to discuss the books or his life was a clue that he wished to remain distant from the creations that bought him fame.

The film was a strange mixture. A damaged war veteran, a selfish wife, a cute kid and the initial creation of the creatures Winnie, Tigger, Eeyore and Piglet that enchanted generations kids. It is not a children's films but as it finds its groove, a magical spark, it moves to another level where we see the negative impact of the publicity on young Billy Moon.

The film itself is all chocolate box nostalgic. Everyone is well dressed and presented, no poverty to see here.

Christopher Robin's parents do not come across well in this drama, especially the mother. The film never reallys gels and the film comes across as contrived to give it some kind of satisfactory ending which seems far removed from the truth. It should had mentioned that Alan Milne modified his anti war views and served in the Home Guard during World War Two.