Answer:
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It is not very long, not very loud and not in 3-D. It has no attention-grabbing celebrity voice work, and the only pop-cultural allusions it makes are to other stories and films about Pooh and his friends. Which is not to say that the movie is obnoxiously self-referential, but rather that it is comfortable with itself and confident in its ability to amuse and beguile young viewers.
The partial Americanization of Winnie the Pooh, starting in the 1960s, was one of Walt Disney’s most brazen and successful acts of appropriation. Public-domain fairy tale princesses like Snow White and Cinderella may have been easier to conquer than A. A. Milne’s beloved bear of very little brain, and the first “Pooh” featurettes—collected in “The Many Adventures of Winnie the Pooh”—triumphed by respecting both the look and the sensibility of the literary source. Disney’s animated landscapes evoked E. H. Shepard’s lovely illustrations with such care that the book seemed to be coming to life on screen.
The new Winnie the Pooh, directed by Stephen J. Anderson and Don Hall, makes similarly witty use of typography, sending its characters scrambling over lines of type, which serve as obstacles, means of rescue and invitations to surreal jokes that are both sophisticated and accessible to newly literate members of the audience. Like Milne’s books, the movie is partly an initiation into the delightful errancies of language, which fashions sense and nonsense out of the same materials.
The story partly turns on the difficulties of English spelling and reading comprehension. Christopher Robin leaves a note that is wildly misconstrued by his stuffed-animal companions, who conjure monsters out of the fog of their own confusion.
They also are in search of Eeyore’s tail, and Pooh himself, true to form, is on a perpetual quest for honey. Much silliness ensues, a few lessons are broached, and the characters now and then burst into song. These tunes are passable, but the real musical treats come early and late, via the vocals of Zooey Deschanel. The vocal performances are lively without being showy—Craig Ferguson is a particularly fine Owl—and the film as a whole is decidedly modest, seeking not to reboot or update the Hundred Acre Wood, but rather to brighten it up a bit and get it back to how it used to be.
So it is good to see Pooh again, along with Rabbit, Owl and Eeyore (my own Milnean avatar)—and to discover a new path back into the old, classic story. Winnie the Pooh may not be a movie that grown-ups seek out on their own, but it may make some of them jealous of the 4-year-olds who are making the noble bear’s acquaintance for the first time.
Explanation: plz brain list
