'X-Men: Apocalypse' Review

Wednesday evening I attended an early screening of X-Men: Apocalypse and I'm just now publishing my review for a few reasons: first off, it will likely get the most attention today, secondly yesterday I was focused on a barrage of reviews for Alice in Wonderland, X-Men: First Class, and X-Men Days of Future Past - The Rogue Cut, and last but not least I had more time to reflect on the film to give a fairer review. Anyways, I've been looking forward to this film ever since watching the post credits scene of X-Men: Days of Future Past and so I've had about two years for my anticipation to build. Naturally this would mean my expectations were pretty high. Keep that in mind as you're reading my review because if you have tempered expectations this movie will probably be awesome in your eyes. 

'X-Men: Apocalypse' Review

When the early screening of X-Men: Apocalypse I attended Wednesday night ended, I found myself a bit underwhelmed. Therefore, I think it was for the best that I waited to review this film and let my opinion of it settle in. By no means is X-Men: Apocalypse a "bad movie", rather along the lines of underwhelming. X-Men: Apocalypse just wasn't able to measure up to it's predecessors in the young X-Men Trilogy (I'm not sure if there's an actual name for these or not but I'm referring to X-Men: First Class and X-Men Days of Future Past). 

Bryan Singer returns to helm his sequel to Days of Future Past, the first time he's directed two consecutive X-Men flicks since X-Men and X2, and X-Men: Apocalypse picks up a decade after Days of Future Past allowing Singer to tackle the 80's, something reflected in the believable hair, costume, and production design. 

There's actually a brief Star Wars reference where the characters discuss trilogies and Singer effectively takes a jab at X-Men: The Last Stand. Too bad the joke held true for this installment in comparison to First Class and Days of Future Past. It's a hilarious moment that Star Wars fans will definitely appreciate that takes full advantage of the 80's setting. 

Singer sizes down the scale of the film as there's no time travel elements to be found, but the stakes have never been higher for the X-Men as global destruction is certainly possible thanks to Apocalypse. The screenplay penned by Simon Kinberg finds itself muddled as there are just too many characters and storylines to properly service. The film tasked itself with not only continuing the saga of a younger Professor X, Magneto, Mystique, Quicksilver, and Beast, but also introducing a new baddie in Apocalypse, his subservient horseman, and younger versions of Cyclops, Jean Grey, and Nightcrawler. I can confidently say that Kinberg pulls most of it off. 

I say "most" as I found the creative team did a wonderful job depicting Cyclops, Jean Grey, and Nightcrawler and even continuing the ongoing arc from all the way back to First Class, but failed to give many of the characters the time and attention they deserved. For example, two of Apocalypse's horseman had no more than five lines of dialogue, with Storm having scarcely more than that to say. 

The Horsemen were basically around to give the X-Men someone to fight other than just Apocalypse and as fan service, not to say I didn't find the horseman cool just that some were underused. The makeup, costuming, and visual effects have never been better in the X-Men films as is to be expected with today's marvelous technology and modern filmmaking. However, there were a few spots here and there were some of the CGI looked a little fake. 

The film doesn't disappoint with it's action though, as there's one sequence featuring Magneto that's just heart wrenching, two showstopper sequences from Quicksilver that actually managed to top his incredible sequence in Days of Future Past, the action packed third act finale, and of course a cameo appearance from a fan favorite mutant in a gruesome sequence that will probably make any comic book fan a little giddy. If you've seen the final trailer you probably know who I'm referring to. 

So you're probably wondering if there's more to the movie than just spectacle to which I'll say there's a terrific cast amassed, whoever cast the new young mutants deserves a pat on the back. James McAvoy's back as a more seasoned Charles Xavier that I feel can finally adopt the monicker Professor X. 

Michael Fassbender gets a fresh arc for Magneto where he gets to really show off his dramatic acting chops and emotional gravitas that ties up his character arc in a satisfying manner (I wouldn't be surprised if he comes back in a future X-Men film though). 

Jennifer Lawrence's performance is quite bland as Mystique. It's difficult to tell if she really wants to be a part of this franchise anymore given her voiced complaints about Mystique's makeup and the franchise in general but it seems like she mailed this performance in due to contractual obligations. She's only in the Mystique guise when she's forced to be and just serves as an inspiration to the other mutants. Lawrence isn't terrible but her performance is certainly lacking compared to her previous turns as Mystique. 

Nicholas Hoult sadly is given very little to do as Hank McCoy, but if you want to get the most out of his performance I'd recommend watching both X-Men: First Class and X-Men: Days of Future Past - The Rogue Cut. He gets some awesome fight scenes as Beast in the third act and I can't praise the makeup work for his look as Beast enough. 

Evan Peters' Quicksilver is given significantly more to do as a result of the positive response to his turn in Days of Future Past. Quicksilver has a more emotional arc once he learns of his parentage, but that doesn't stop the speedster from having fun along the way. 

Newcomers, Sophie Turner, Tye Sheridan, and Kodi Smit-McPhee are all delightful as Jean Grey, Cyclops, and Nightcrawler. I particularly took a shine to Smit-McPhee's Nightcrawler and he's definitely my favorite character in this franchise after seeing him steal just about every scene he's apart of. 

The film also brings back Rose Byrne's Moira Mactaggert and Alex Till's Havok from First Class who I don't feel were vital to the film's story but had some great moments nonetheless. 

Oscar Isaac gets to go full baddie as Apocalypse, and I've got to say he was terrifying so I was satisfied with his portrayal. One little nitpick regarding Apocalypse was that his motive wasn't convincing and Apocalypse was evil for the sake of being evil and wanting power, etc. 

Under Apocalypse's control we find the four horseman, Magneto, Storm, Archangel, and Psylocke. Alexandra Shipp is serviceable as Storm but I don't think she's the definitive version like Turner's Jean Grey, Sheridan's Cyclops, and McPhee's Nightcrawler. Storm was cool in the action sequences she partook in but she didn't get enough development in my opinion. It's not like Berry's Storm was that developed either though. Ben Hardy's Angel/Archangel and Olivia Munn's Psylocke have virtually nothing to do as they're purely around for spectacle in the third act finale. 

When it comes down to it, there's enjoyment to be had and the film is fairly good. but just didn't meet my expectations. I can say that it excites me to think of the possibility of a 90's followup featuring the same cast but it's a shame that X-Men: Apocalypse just ultimately serves to setup that potential sequel rather than stand on it's own. Longtime fans of the X-Men movies should have a good time as it's shameless entertainment, but just be aware that the film ultimately feels like hollow spectacle and is missing the heart and care given to First Class and Days of Future Past.

Film Assessment: C+

Alternate Cut Review: 'X-Men Days of Future Past - The Rogue Cut'

Today, I'm introducing a new type of review called an Alternate Cut Review. The name is simple and pretty self-explanatory but the premise behind it is that I will review the director's cut of a film (Not always called the director's cut but that's basically what these are). The format for the reviews will be similar to my triple-R reviews where I include a link to my initial review, which will likely be the theatrical cut, and then write a review of the alternate cut of the film and even compare them to a degree. I figured this would be appropriate time to start with X-Men: Apocalypse releasing this weekend. I was originally going to do a Triple-R review over X-Men: Days of Future Past but decided that this would be more interesting. For one, it gave me a chance to finally sit down and watch The Rogue Cut, something I'd been meaning to do and it also is a new review format I hope to continue. Also my Triple-R reviews are intended for me to re-review films that I don't feel I did justice to in my older reviews as it's clear that my reviews have gotten much more analytical and more involved in comparison to when I began the blog. I've decided not to completely re-review these movies entirely by just scrapping the old review. I feel that leaving them on my blog shows the progress I've made and I don't want to delete my work since I'm still proud of them regardless. My next planned Alternate Cut Review will likely be Batman v Superman: Dawn of Justice's Ultimate Edition when it's released on Blu-Ray. This will be a great opportunity to revisit it sooner as my opinion of it has slightly diminished and I feel that the score I gave it was a tad too high based on the preemptive excitement after seeing it for the first time. 

'X-Men Days of Future Past - The Rogue Cut' Review

Nominated for: Best Visual Effects.

Theatrical Cut Review- X-Men: Days of Future Past Review

"The Rogue Cut" Review- X-Men: Days of Future Past marks Bryan Singer's return to the franchise, his last installment being X2 and effectively wiping out what can widely be regarded as everyone's least favorite X-Men films, X-Men: The Last Stand and X-Men Origins: Wolverine, from the X-Men timeline. 

Singer brought it upon himself to not only adapt a beloved comic arc but also unite the cast from his X-Men Trilogy (He didn't make the third but you know what I mean) and X-Men: First Class through the means of time travel. Time travel, when ill-used, can be confusing but Simon Kinberg's screenplay clears up all confusion thanks to limiting the time travel capabilities and some proper explanation through clever expository dialogue. The time travel also provides some meaningful opportunities for some really awesome paralleled editing between the future and past timelines that is amplified a bit in The Rogue Cut, a very welcome change. 

The Rogue Cut doesn't change the story so much as add to it in some meaningful ways. The most significant change is the addition of Rogue in the future portion of the film, an addition I prefer as it provides more plot in the future timeline rather than just waiting around for Logan to change the timeline and the Sentinels to arrive. This allows for a rescue that provides a more meaningful death to a certain character than his end in the theatrical cut and a chance for McKellen's Magneto to shine some more with an awesome sequence cutting between him and Fassbender's Magneto in the past that's appropriately intense and carries plenty of dramatic gravitas. 

There's also a subplot picked up from X-Men: First Class focusing on the relationship between Mystique and Beast that remained untouched and practically ignored in the theatrical cut that really amplifies Mystique's character arc, providing further explanation to her actions. Other than that, the changes from the theatrical release seem fairly minuscule with a few scenes roped in and slight differentiations in dialogue and some cases where and when the said dialogue is delivered. To be fair, I haven't watched the theatrical version in about two years, but still feel confident I was able to derive where The Rogue Cut diverged. 

As for the film itself, Singer's direction is subtle yet brilliant. Singer manages to effectively craft multiple environments for multiple points in time and stay true to all of them based on what's presented. Singer takes the screenplay and runs through events smoothly with engaging action visual effects spectacle, some nicely choreographed fight scenes, and integral character drama. The franchise's visual aesthetic is seemingly at it's peak with this installment where the costuming, visual effects, production design, and cinematography are top notch. In particular, I felt the collaboration of makeup, costuming, and visual effects make all the mutants look remarkable, especially Mystique and Beast. 

In regards to action, the film delivers with a number of entertaining action sequences including the fights against the Sentinels in the bleak dystopian future, any fight scene with Mystique where she utilizes tactile efficiency disposing of her enemies, and the third act finale where Magneto lifts an entire ball park stadium and drops it on the White House Lawn controlling the 70's sentinels amidst the chaos, talk about spectacle! The standout sequence that will be revered for many years to come though is without a doubt the Quicksilver sequence. 

Watching him speed about mischievously to "Time in a Bottle" with all the surrounding action in slow motion was just glorious! 

What elevates X-Men: Days of Future Past above most superhero fare (Not all, just a majority) is it's deluxe treatment for it's main characters and the excellent performances amassed by combining two casts into one full length epic crossover of sorts. 

Hugh Jackman rightfully earns top billing for his turn as Wolverine, at this point it's nearly impossible to imagine anyone else in the role. Jackman gets to be a bit more levelheaded than seen previously as he has to be the voice of reason to convince the 70's mutants that their future is in peril. 

James McAvoy gets a more interesting arc as a disillusioned Charles Xavier this time around. Micheal Fassbender is much more villainous and unpredictable with even more motive behind his actions as malevolent Magneto. These two keep up the great work they started in X-Men: First Class further building on that strained relationship and in one sequence it totally pays off as the two verbally hash it out in an intense scene onboard a private jet, each with some valid arguments at their disposal. 

Jennifer Lawrence gives her best turn yet as the lovely but dangerous Mystique. The war for Mystique's soul continues to rage on between Magneto's militaristic view and Xavier's serene sentiment but Mystique manages to carve out her own stake in the matter, somewhere in the middle ground, allowing for some terrific moments between all three actors as they attempt to convince each other that their way is best. 

Nicholas Hoult gets more screen time than his limited portrayal in X-Men: First Class and brings a conflicted Hank McCoy to the fray. McCoy struggles to determine whether his mutation is a blessing or a curse, repressing both his and Charles with a formula that keeps him human and helps Xavier's legs function, and I felt that his scenes focusing on his mutation elicited some memorable moments from Hoult.

Rounding out the 70's characters is Evan Peters' mischievous speed demon, Quicksilver. Like I said earlier, Peters steals just about every scene he's in and his action sequence is incredible. A huge surprise as I lacked confidence in his portrayal in my initial viewing due to his wacko costume, needless to say never judge a book by it's cover.

For our antagonist in the past and in a manner of speaking the future, we have Peter Dinklage's Bolivar Trask, a scientist whose ill feelings towards mutants aren't quite fleshed out enough to agree with. Dinklage is fine in the manner used but had potential to be a great villain.

Meanwhile in the future many of the core cast members from the X-Men Trilogy are brought back including Patrick Stewart's Professor X, Ian McKellen's Magneto, Halle Berry's Storm, Ellen Page's Kitty Pryde, Shawn Ashmore's Iceman, Daniel Cudmore's Colossus, and Anna Paquin's Rogue (In The Rogue Cut that is).

In the future, many new mutants are to be found in the form of Omar Sy's Bishop, Chinese actress Bingbing Fan's Blink, Adan Canto's Sunspot, and Booboo Stewart's Warpath. All the mutants mentioned in the future have their moments to shine fighting the sentinels. And there's a few surprise cameos which I won't spoil for those who have yet to watch X-Men: Days of Future Past.

In conclusion, X-Men: Days of Future Past is the complete X-Men movie package with incredible cast members present from both the X-Men trilogy and X-Men: First Class  memorable epic action sequences, a refined visual aesthetic, and a satisfying story that ties it all together and essentially erases the worst X-Men films from existence.

If you have yet to add X-Men: Days of Future Past to your Blu-Ray collection, I advise that The Rogue Cut is the way to go, since it includes both "The Rogue Cut" and the Theatrical Cut, so even if you don't take a liking to the lengthy The Rogue Cut you still have the more condensed version to watch. X-Men: Days of Future Past remains to be my favorite X-Men film (This includes Deadpool), and I think that The Rogue Cut actually improves on the theatrical cut in some areas, making for a more complete viewing experience that draws little more on it's predecessor, X-Men: First Class.

Film Assessment: A+

Throwback Thursday Review: 'X-Men: First Class'

This week will be quite ambitious as I am going to be churning out at least three reviews today. A Throwback Thursday Review for the 2010 Tim Burton adaptation of Alice in Wonderland, a Throwback Thursday Review for X-Men: First Class and a special review that will be unveiled once it's posted. All three reviews will correlate to the dual release of X-Men: Apocalypse and Alice Through the Looking Glass this weekend. I expect to review both X-Men: Apocalypse and Alice Through The Looking Glass within the next few days or so (The X-Men: Apocalypse review will come first). Next week's Throwback Thursday Review will be over the latest 2014 Teenage Mutant Ninja Turtles to coincide with the sequel's release. 

 'X-Men: First Class' Review

X-Men: First Class served as an attempt to effectively reboot and revitalize the X-Men franchise after the awful one-two punch of X-Men: The Last Stand and X-Men Origins: Wolverine. X-Men: First Class reboots the franchise in essence by casting younger versions of Professor X, Magneto, Mystique, and Beast going back to the roots of the X-Men in the 1960's, and I think it succeeded in doing so considering that there's another X-Men film to be released this weekend with many of the same cast members.

Matthew Vaughn managed to take the film's setting and integrate that playful tone to the core of the film whilst maintaining some highly emotional, more grounded moments sprinkled throughout. Where the previous X-Men films took themselves a little too seriously, Vaughn and his cowriters found a nice balance of drama and comedic relief in the screenplay providing an effective tone. X-Men: First Class relishes in it's 60's setting with seemingly authentic costume and production design. The film also has a very diverse score composed by Henry Jackman. The score has a wide array of selections, be it dramatic or hip and groovy, my personal favorite being the Magneto theme that is just chilling.

The film hits the nail on the head in regards to it's aesthetic portrayal of various mutants and their abilities thanks to the incredible hair and makeup, costuming, and visual effects work.

I'll admit I didn't really take to the look of Beast here as the CGI made him look like Terk from Disney's animated Tarzan. Another nitpick was that it was a tad bothersome watching the film while aware that the makeup for the mutants only improves in future installments (Mystique in particular).

I enjoyed the action sequences showcasing the mutant abilities, especially the third act fight involving the historic event of the Cuban Missile Crisis. The one element that elevates the film to it's highest marks is the brilliant cast of newcomers assembled for the project.

James McAvoy portrays a very different Charles Xavier than the version Patrick Stewart has audiences accustomed to seeing as this time around we treated to a groovy nuanced Xavier who has a long way to go till he can adopt the Professor X namesake.

Michael Fassbender is incredible as Erik Lensherr bringing new emotional depth and intensity not previously seen in Magneto. Fassbender like McAvoy doesn't merely try to imitate Ian McKellen's turn as the magnetic radical but rather breathes new essence into the character.

McAvoy and Fassbender hold everything together thanks to their electric chemistry as we see the humble beginnings of the friendship and rivalry between Professor X and Magneto. I'm personally not bothered by either's differentiation from what has come before. Both actors managed to make the role their own and it would make logical sense that both characters would be divergent from their future selves with shades of their inevitable conflicting ideologies beginning to take form.

Jennifer Lawrence also brings a very different Mystique to the table. Lawrence' Mystique has yet to become Magneto's stone cold assassin and actually finds her soul in a war between Xavier and Lensherr as each has their own ideas of what's best for her. Lawrence, like McAvoy and Fassbender, doesn't hinge on what Rebecca Romijn had done before and actually brings a touch of earthly humanity to Mystique not previously seen.

Nicholas Hoult gets to tackle another younger version of a familiar mutant as Hank McCoy. Given that Kelsey Grammar had only taken up the role once, Hoult isn't given much performance history to potentially emulate even if he wanted to and as I've said about the previous three actors differentiates the role just enough to put his stamp on it while providing room for his character to eventually become the Beast we've seen before. Hoult isn't given too much of a sizable role, yet manages to standout thanks to his self-conscious character arc and terrific performance.

Rose Byrne is essentially just around to be a love interest for Charles but she does it quite convincingly and not in the obnoxious damsel in distress demeanor that can be seen in other superhero films.

A host of other mutants appear that were pretty cool like Lucas Till's Havock, Caleb Landry Jones' Banshee, and Jason Flemyng's Azazel. Each are supporting players with relatively reduced roles in comparison to our leads but each are given some moments to shine in the limelight or dark light in Azazel's case.

Kevin Bacon balances charm and menace as Sebastian Shaw, a nice antagonist for the X-Men and Lensherr in particular. January Jones is essentially Shaw's Mystique as hench woman and lover Emma Frost, who's basically there as eye candy, but welcome nonetheless. Quite the impressive cast I must say.

In conclusion, Vaughn managed to kick the X-Men franchise back into first gear with a groovy 60's aesthetic, a rich narrative, fantastic performances, and a balanced tone. One thing's for sure, X-Men: First Class is a downright good time!

Film Assessment: A-

Throwback Thursday Review: 'Alice in Wonderland' (2010)

This week will be quite ambitious as I am going to be churning out at least three reviews today. A Throwback Thursday Review for the 2010 Tim Burton adaptation of Alice in Wonderland, a Throwback Thursday Review for X-Men: First Class and a special review that will be unveiled once it's posted. All three reviews will correlate to the dual release of X-Men: Apocalypse and Alice Through the Looking Glass this weekend. I expect to review both X-Men: Apocalypse and Alice Through The Looking Glass within the next few days or so (The X-Men: Apocalypse review will come first). Next week's Throwback Thursday Review will be over the latest 2014 Teenage Mutant Ninja Turtles to coincide with the sequel's release. 

'Alice in Wonderland' (2010) Review

Nominated For: Best Visual Effects, Best Costume Design, and Best Art Direction.
Won: Best Costume Design, and Best Art Direction.

There's a lot that can be said about Alice in Wonderland (all adaptations), but I think one word that sums it up best is "odd". Therefore, it's only apt that Tim Burton's take on Wonderland fits the bill. One key thing to note about the film is that it falls along the lines of a sequel rather than a straight adaptation of what's come before. 

Alice in Wonderland was the beginning of Disney's push to venture into the live action fairytale genre by adapting their classic animated films, which has since become an annual endeavor from the Mouse-House. Despite the financial success (It grossed over a billion dollars worldwide), the film wasn't too well regarded by audiences or critics. Sadly, I have to agree that I fall into the camp that didn't quite take a shine to the film and in all honesty, I was never a big fan of the animated version either. 

Tim Burton is known for his strange films, that's just his niche as a filmmaker, and this is certainly no exception. One of Burton's strengths is his unique visual style that is applied to the expansive worlds he explores and Alice in Wonderland's visuals are marvelous. The work that went into the extensive hair and makeup, involved costume design, intricate art direction and brilliant visual effects should be commended and it's no shock the film was nominated and won in a few categories at that year's Academy Awards (These can be seen above bolded in the subheading). 

I think it's clear Burton's vision was perfectly realized and is quite appropriate for the Wonderland mythos. Rather than read me gush over the fantastic technical elements, which I'm sure is to be found in any review of Alice in Wonderland, I'm going to decipher what went wrong. 

Alice in Wonderland proves to be another case of "style over substance." Meaning, the creative team clearly focused on the aesthetics rather than the story. The narrative becomes very unfocused when forced to incorporate larger roles for supporting characters and the film makes it's message clear and then immediately deviates from it. There's a scene in which Alice outright says that she will be her own person and choose her own destiny, then she immediately proceeds to do as instructed by those around her? The characters were all poorly written with a lack of consistency in their actions throughout the film like the example I just provided. 

Also, for some reason, almost every character is written as a complete imbecile. Almost none of the characters actually think for themselves. For example, the Red Queen is deceived to not recognizing Alice because she consumed a growth hormone cake-thing and is about a foot taller yet looks the same? She even has a line of dialogue earlier in the film when looking at a drawing of Alice and says that she'd recognize that mess of hair anywhere. Then a few scenes later, she's in the same room as Alice, yet has no idea. To put it bluntly, they made the Red Queen a moron. 

It's difficult to be engaged in the film when I didn't care about any of the characters, since they're pretty much one-note caricatures, or any of the proceedings for that matter as I became a bit bored by the lackluster plot. And it only gets worse as the screenplay written by Linda Woolverton shoves pure gibberish into the character's dialogue that makes literally no sense, even in the context of the film (This is coming from the writer of The Lion King, Beauty and the Beast (1991), and Mulan?!?). All the negative elements I just discussed derive from the flimsy poorly written script. 

The film actually managed to assemble quite the all-star cast amassing many prestigious British talents, and some fan favorite actors, yet the performances fell flat in my opinion. Mia Wasikowska plays a nineteen year old Alice and manages to do a great job capturing Alice's innocent confusion and feels like an authentic version of the animated character. Unfortunately, Wasikowska has one-note limited emotional range so she doesn't get to really show her true acting prowess, it's yet to be seen if she has any and if it's a result of poor direction or lack of opportunity. 

Johnny Depp dives into his most deranged role yet as the Mad Hatter. Depp embodies the luny wack-job persona and so I can say he did well in that department, but he also implemented an inconsistent Scottish accent that irked me. This was bothersome because in some moments he dropped it altogether. Watching the film aware of Depp's talent made the performance seem like he wasn't putting his best foot forward but rather an unhinged version of Jack Sparrow. 

Anne Hathaway plays the White Queen and has this strange mannerism with her hands that will drive you insane as she waves them about daintily. 

Helena Bonham Carter is supposed to be the piece's villain as the Red Queen, yet never felt menacing. This was probably due to the creative decision to give the Red Queen an enlarged bobblehead, it's very difficult to take her seriously as it looks like she will fall over if she becomes unbalanced. Carter screams her way through the performance, so I can say that it was true to the animation but not quite villainous in my eyes. 

Among the other antagonists, Crispin Glover makes for a typical henchman as the Knave while Christopher Lee lends his British Baritone as the malicious Jabberwocky, a brilliant casting decision. Lee's moments as the demented dragon illicit the only feelings of true suspense throughout the entire film to which I must say "Bravo!" 

Matt Lucas, Michael Sheen, Stephen Fry, Alan Rickman, Barbara Windsor, Paul Whitehouse, and Timothy Spall all lend their great talents to memorable characters from the animated classic including Tweedle-Dee/Dum, the White Rabbit, Cheshire Cat, the Blue Caterpillar, Dormouse, the March Hare, and Bayard respectively. The assortment of CGI characters were all fairly serviceable, although they were cast to the side in favor of focus on the human characters. Once I took a step back, I did come to the realization many of these actors were probably involved for a paycheck and not concerned with delivering a memorable performance. 

Another mixed element for me was Danny Elfman's score. Elfman's composition is quite epic, yet feels mismatched with the events unfolding in the film. The score on it's own is an grandiose and surely worth listening to, however it actually detracts from the events unfolding onscreen as the score vastly over exaggerates the sense of adventure, with a quick tempo juxtaposing the slow, drugged pace of events in the film. I suspect that had Elfman gone for a more fantastical score rather than adventurous, it would have gelled together quite nicely. And this is no knock on Danny Elfman, whom I believe to be a wonderful composer that composed one of my favorite superhero film scores (the Sam Raimi Spider-Man Trilogy), but rather an assertment that his skills would be better utilized elsewhere. 

Alice in Wonderland lacks consistency in all areas aside from visuals and world building and is probably not worth your time unless you're into Burton's previous work or happen to be an Alice in Wonderland fanatic. 

Film Assessment: F