Once upon a time we used to tell stories; now we just tell stories about how we used to tell stories. At least, that’s how it feels to watch a consistently milquetoast, comfortably middlebrow bit of true-life fluff like “Goodbye Christopher Robin,” which does for Winnie the Pooh what “Finding Neverland” did for Peter Pan (which is to say that it takes a formative and utterly unique work of literature and reverse engineers it into a passable biopic that has no hope of changing the world or anyone in it).
It’s a shame, because A.A. Milne’s personal and professional lives are both fertile dramatic territory, and the film’s script — by Frank Cottrell Boyce and Simon Vaughan — makes sure to point out all of the interesting movies that could have been mined from this material as they pass by and fade out of sight. Instead, we’re...
It’s a shame, because A.A. Milne’s personal and professional lives are both fertile dramatic territory, and the film’s script — by Frank Cottrell Boyce and Simon Vaughan — makes sure to point out all of the interesting movies that could have been mined from this material as they pass by and fade out of sight. Instead, we’re...
- 9/22/2017
- by David Ehrlich
- Indiewire
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