The storytelling is economical and brisk. In some ways, Waters approaches it more as a pre-teen horror movie.
The Spiderwick Chronicles (2008)
Tomatometer
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Reviews Counted:30
Fresh:21
Rotten:9
Average Rating:6.4/10
Consensus: The Spiderwick Chronicles is an entertaining children's adventure, with heart and imagination to spare.
Rated: PG [See Full Rating] for scary creature action and violence, peril and some thematic elements.
Runtime: 1 hr 37 mins
Genre: Science-Fiction/Fantasy
Theatrical Release:Feb 14, 2008 Wide
Box Office: $71,148,699
Synopsis: Based on the bestselling series of children's fantasy novels of the same name by Holly Black and Tony DiTerlizzi, THE SPIDERWICK CHRONICLES follows the adventures of the Grace family, newly... Based on the bestselling series of children's fantasy novels of the same name by Holly Black and Tony DiTerlizzi, THE SPIDERWICK CHRONICLES follows the adventures of the Grace family, newly transplanted from New York City to an inherited home in the remote New England woods. Angry with his mother (Mary-Louise Parker) about the move, the sulky Jared (Freddie Highmore) begin to explore the strange old house, and discovers a magical tome written by his great, great uncle Arthur Spiderwick (David Strathairn). Soon Jared and his twin brother, Simon (also played by Highmore with the aid of seamless special effects), are drawn into a realm of goblins, boggarts, and ogres--a reality that coexists with the human world. By the time the boys' older sister, Mallory (Sarah Bolger), is in on their secret, the siblings are steeped in a conflict with the evil shape-shifting ogre Mulgarath (Nick Nolte), who will stop at nothing to get Spiderwick's book. Directed by Mark Waters (THE HOUSE OF YES, MEAN GIRLS) and scripted in part by lauded filmmaker John Sayles (THE SECRET OF ROAN INISH), SPIDERWICK succeeds as an engaging kid-oriented movie that also offers up genuine thrills and chills for adults. Highmore and Bolger impressively mask their British and Irish accents, respectively, and display a convincing brother/sister bond, while Martin Short and Seth Rogen provide comic relief as the voices of unlikely CGI allies. Intentionally smaller in scope than other like-minded literary adaptations such as THE CHRONICLES OF NARNIA and THE GOLDEN COMPASS, SPIDERWICK is rooted in a beautifully earthy, antique aesthetic that provides the perfect setting for its likable protagonists and bizarre-yet-naturalistic creatures. [More]
Starring: Freddie Highmore, Mary-Louise Parker, Nick Nolte, Joan Plowright
Starring: Freddie Highmore, Mary-Louise Parker, Nick Nolte, Joan Plowright, David Strathairn, Seth Rogen, Martin Short
Director: Mark Waters
Director: Mark Waters
Screenwriter: Karey Kirkpatrick, David Berenbaum, John Sayles
Producer: Mark Canton, Larry Franco, Ellen Goldsmith-Vein, Karey Kirkpatrick
Composer: James Horner
Studio: Paramount Pictures
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Reviews for The Spiderwick Chronicles
I found it to be more irritating than scary, more tedious than exciting.
A pleasing melange under the direction of Mark Waters, who, after Freaky Friday and Mean Girls, is becoming the go-to auteur of traumatized youth.
Meticulously rendered CGI creatures spike this dark adventure, shot marvelously by Caleb Deschanel.
A well-crafted family thriller that is truly scary and doesn't wimp out.
The movie, based on the best-selling series by Tony DiTerlizzi and Holly Black, tells parallel tales of fathers who abandon their children, but it glosses over the trauma of those sagas in favor of special-effects-laden escapism.
The Spiderwick Chronicles exemplifies a problem with many of today's fantasy-adventure movies: the sense that narrative values, such as the artful building of suspense, can be slighted because the computer-generated special effects are so good.
The film is graced with a mostly superb cast, superior special effects, a sparkling musical score by James Horner and a fantasy-filled plot with a bit of moralizing, but, fortunately, only a bit.
The director does a nice job of juggling and blending the movie's tricky tones and storylines, which could have gone badly wrong at any juncture.
The characters lack shadings -- Nolte's ogre is loud but uninteresting -- and the tone of the fantasy world isn't witty, like Harry Potter's, or satirical, like Lemony Snicket's. It's all just silly.
Happily, Highmore has no trouble grasping the task at hand. As both the thoughtful Simon and the brash Jared, he transports himself into this literal faerie tale with such convincing enthusiasm, he turns us into believers, too.
I kept wishing for another scene with Mulgarath in the form of Nolte, because, well, you can never have enough Nolte, and because his particular brand of kinetic insanity would have been just what the movie needed to shake up its clockwork smoothness.
It has plentiful whimsy, a big enough heart and Joan Plowright in one fine scene, burbling magnificently. It treats its archetypes with all due seriousness: Good must engage evil in a final stand. And fatherless children must try to save the world.
It's got thrills but is not allegorically deep or daunting like the Harry Potter or Narnia flicks. It skews young.
Part of what keeps this from being just another children's fantasy is director Mark Waters' sensitivity to the way the enchanted elements deepen the emotional journey.
It isn't quite the world of the books. But it's a perfectly magical and exciting one in its own right.
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