Feed your head else­where

Alice in Won­der­land, fan­tasy, rated PG, Re­gal Sta­dium 14, 1 chile

Pasatiempo - - Moving Images - Robert Ben­ziker For The New Mex­i­can

Tim Bur­ton is one of those direc­tors whose very name calls to mind a spe­cific aes­thetic. He cre­ated this rep­u­ta­tion in the 1980s and ’90s with darkly hu­mor­ous, highly imag­i­na­tive, macabre ma­te­rial such as Beetle­juice and Ed­ward Scis­sorhands. But some­where along the way, Bur­ton grew unimag­i­na­tive in the use of his imagination. In re­cent years, he’s be­come the go-to di­rec­tor for tired prop­er­ties that re­quire a bit of Gothic weird­ness for new-gen­er­a­tion up­dates: Char­lie and the Chocolate Fac­tory, Planet of the Apes, Sweeney Todd: The De­mon Bar­ber of Fleet Street, and now Alice in Won­der­land.

De­spite the ti­tle’s sim­i­lar­ity to many film adap­ta­tions of Lewis Car­roll’s work (and there have been many of them), this movie isn’t an adap­ta­tion so much as a se­quel — sort of. If you think of the 1991 Steven Spiel­berg film Hook, in which an older Peter goes back to Nev­er­land, then you have an idea of what to ex­pect.

The film opens with Alice (Mia Wasikowska), now blos­somed into wom­an­hood, re­ceiv­ing a mar­riage pro­posal from a stuffy young aris­to­crat (Leo Bill). On the same day, she also sees a white rab­bit (voiced by Michael Sheen) with a stop­watch. Faced with the prospect of get­ting hitched to the dud, she crawls down a rab­bit hole and re-en­ters

Jumped, fell, or was flushed? Mia Wasikowska

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