Robert Zemeckis | 88 mins | TV | 2.35:1 | USA / English | PG / PG
You surely know the story of A Christmas Carol — if you don’t instantly, it’s the one with Scrooge and the ghosts of Christmas Past, Present, and Future — so what matters is which particular adaptation this is and if it’s any good.
Well, this is the one made by Robert Zemeckis back when he was obsessed with motion-captured computer animation, following the financial (though, I would argue, not artistic) success of The Polar Express and Beowulf. Fortunately A Christmas Carol seemed to kill off this diversion in his career (he’s since returned to making passably-received live-action films), because it’s the worst of that trilogy.
The theoretical star of the show is Jim Carrey, who leads as Scrooge — here performed as “Jim Carrey playing an old man” — but also portrays all the ghosts, meaning he’s the only actor on screen for much of the film. Except he’s never on screen at all, of course, because CGI. Elsewise, Gary Oldman is entirely lost within the CG of Bob Cratchit, as well as, bizarrely, playing his son, Tiny Tim. The less said about this the better. Colin Firth is also here, his character designed to actually look like him — which, frankly, is even worse. There are also small supporting roles for the likes of Bob Hoskins, Robin Wright Penn, Cary Elwes, and Lesley Manville, but no one emerges from this movie with any credit.
In the early days of motion-captured movies many critics were inordinately concerned with the “uncanny valley”, the effect whereby an animated human being looks almost real but there’s something undefinable that’s off about them. Robert Zemeckis attracted such criticism for The Polar Express, mainly focusing on the characters’ dead eyes. No such worries here, though: the animation looks far too cheap to come anywhere near bothering uncanny valley territory. There’s an array of ludicrously mismatched character designs, which put hyper-real humans alongside cartoonish ones, all of them with blank simplistically-textured features. Rather than a movie, it looks like one very long video game cutscene.
I don’t necessarily like getting distracted by technical merits of special effects over story, etc, but A Christmas Carol’s style — or lack thereof — is so damn distracting. Beside which, as I said at the start, this is a very familiar and oft-told tale, making the method of this particular telling all the more pertinent. At times it well conveys the free-flowing lunacy of a nightmare, at least, but who enjoys a nightmare?