It’s early November and I’ve just been to see what is, for me, the first Christmas-themed movie of the year. Perhaps it’s more of a reflection on me than the season in question, but it still feels much too soon. However, I buckle myself in and watch Disney’s latest release, The Nutcracker and the Four Realms. The first thing to say about the film is that it’s undeniably opulent. The screen virtually pulsates with light and colour and general sparkliness. Overall, however, it puts me in mind of a gigantic glittering Christmas bauble, delightful to look at – but completely empty at its core.
This is the story of Clara Stahlbaum (McKenzie Foy), a teenage girl still mourning the recent death of her mother and feeling somewhat aggrieved when her gloomy father (Matthew MacFadyen) expects her to attend the huge Christmas ball they go to every year and look as though she’s enjoying herself. Before they leave for the ball, Mr Stahlbaum hands out presents to Clara and her siblings, gifts that have been left for them by their mother, who, it turns out, was an inventor. Clara is bequeathed some kind of a jewelled egg with a lock on it – but alas, there’s no key. However, if anyone knows how to unlock the egg’s secret, it’s the mysterious toymaker, Mr Drosselmeyer (Morgan Freeman), who’s hosting the ball tonight.
At the party, there’s a hunt for the various gifts that Mr Drosselmeyer has created for the visiting children. In search of her own present, Clara follows a length of ribbon out into the garden, through a maze and into a mysterious alternate world, where lie the Four Realms of the title. She soon discovers that her late Mother once ruled as Queen here. Now, with the help of Nutcracker Soldier, Philip (Jaden Fowara-Knight), ‘Princess Clara’ has to resolve a quarrel that has plunged the different realms in to war.
There’s a ridiculously starry cast involved in these shenanigans – Keira Knightly as Sugarplum, Helen Mirren as Mother Ginger and Richard E Grant as er… Shiver. Lots of other big names make fleeting appearances too, albeit for no good reason. The special effects are, of course, beautifully realised, but there’s little contrast between the magical world and the one that Clara has recently vacated. Furthermore, there’s no disguising the fact that this is just sumptuous fluff that doesn’t manage to field one single, original idea, repeatedly falling back on over-used fridge magnet messages – ‘the power is within you, Clara… you just need to learn to love yourself…’ and so on and so forth. Ad infinitum.
Look, I fully appreciate that this film isn’t aimed at somebody like me and, if I were an eight-year-old child, it’s quite possible I’d emerge from this feeling that I’d been thoroughly entertained. As it stands, I find TNATFR as tedious as its overworked title. There is a nice ballet sequence to accompany the end credits but, since members of the audience decide to chatter all the way through it, that’s a little squandered too.
A treat for young children only. Accompanying adults (and even discerning teens) might prefer to seek out something more original for their festive entertainment.