Goodbye Christopher Robin

A sweet, gentle drama, Goodbye Christopher Robin details the relationship between author A.A. Milne (Domhnall Gleeson) and his young son and the conflict that eventually emerges from Milne’s decision to exploit the boy for his own purposes. It’s a low-key premise that’s employed to equally subdued effect by director Simon Curtis, as the filmmaker, working from Frank Cottrell Boyce and Simon Vaughan’s script, delivers a slow-moving tale that certainly takes its time in capturing the viewer’s attention (ie the movie seems, initially, to be actively lulling one to sleep). There’s little doubt, then, that Goodbye Christopher Robin improves considerably as it progresses, with the growing emphasis on Winnie the Pooh’s creation and development signaling a turning point for the film (ie such sequences are legitimately compelling and fascinating). The better-than-expected midsection likewise benefits from Gleeson’s strong work as the somewhat cantankerous protagonist, while it’s clear, as well, that the film benefits from the increasingly touching relationship between Milne and his son. (Margot Robbie’s needlessly cruel character, wife to Milne, seems somewhat shoehorned-in and unnecessary, though.) And while the movie isn’t quite able to morph into the full-on tearjerker it wants to be, Goodbye Christopher Robin is nevertheless (and ultimately) an engaging father/son drama that benefits heavily from Curtis’ steady direction and an overall atmosphere of comfort and solace (ie the experience of watching the film is akin to being wrapped up in a cozy blanket, to a certain extent).

*** out of ****