Coraline

While there’s certainly no denying the strength of its sporadically eye-popping visuals, Coraline, based on a children’s book by Neil Gaiman, boasts an unapologetically thin storyline that grows increasingly problematic as the movie progresses. The storyline follows the title protagonist (Dakota Fanning) as she discovers a portal from her dreary world into a mirror universe that’s fun and fancy free, although Coraline inevitably learns that such an existence doesn’t come without a price. Filmmaker Henry Selick has infused Coraline with an exceedingly quirky sensibility that effectively lures the viewer into the proceedings, as the writer/director does a superb job of employing stop-motion animation as a means of creatively bringing Gaiman’s creation to life. The dazzling visuals can only carry the movie so far, however, and there reaches a point at which the off-kilter environment becomes oppressive, with the relentless emphasis on oddball elements and characters ultimately proving oppressive. There’s subsequently no getting around the feeling that the film exists solely as an excuse for a series of admittedly impressive set-pieces, which, though thrilling for animation buffs, undoubtedly, invariably winds up testing the patience of the average viewer. Coraline‘s various problems are exacerbated by its 3D presentation, as the darkened, thoroughly uncomfortable glasses ensure that the viewer is consistently aware that they’re watching a movie – thus making it virtually impossible to wholeheartedly embrace the undeniably disjointed narrative. The end result is an artistically accomplished effort that’s simply too clinical in its presentation, which effectively ensures that the film’s mainstream appeal remains non-existent for the bulk of its running time.

** out of ****