Watch Alice in Wonderland For Free

Very best movie i ever watch

Plenty to Like, Plenty to Dislike

Story: It's very simple but honestly that is fine.

This movie feels like it was made purely to piss off people who want good shows

Carroll's two Alice books are among the greatest works ever written in the English language. Their perfection is only accessible to the intellectually enlightened, and not always to them. Miller probably considers himself one of these elected ones, but I wonder. His version is interesting, praise-worthy for making you, me and a few others think, but I honestly suspect he hasn't got the full story.This (mostly) first Carroll book is about how an intelligent, growing child begins to encounter the reality of the nasty and irrational adult world. Starting, like the Count of Monte Cristo, with a birth trauma, which is not a dream but more of a nightmare, the child is ejected into this unpleasant place, via its passage through amniotic fluid. It gives itself the prize of the thimble of life. Its staccato physical growth, both embryonic and post-birth, is accurately reflected --- the caterpillar is a perfect personification of metamorphosis --- as are its subsequent meetings with the enigmas of adult laws, punishments and regulations, the bullying, uglification and derision of mankind; the peremptoriness of authority, and its penchant for hypocritical and homiletic moralising. The book also probes time and space, but not as deeply as its wonderful sequel, Looking-Glass, which actually impresses me even more The final conclusion, in Carroll's original, is that human society is merely nothing but a house of cards, as any mature intellect will recognise, sooner or later. Jonathan leaves this out, and he shouldn't have. But I'll give him eight stars, anyway. Ms Maxwell-Muller was known to me.Miller doesn't seem to have fully cottoned on to my indubitably correct understanding of the work, and dithers about, in the persona of Ms Mallik, supposing it all to be a dream. It isn't a dream, except in the sense, as we are recently informed, that life as we know it is merely the figment of some alien person's imagination. Namely, the red king's. It's his dream, not ours. Carroll fully realised that our universe is an early numerical simulation with unimproved Wilson fermion discretization, but he was not able, in his time, to investigate potentially-observable consequences.There are the usual comments by the usual nitwits about the "budget" spent on this effort. Good work has totally nothing whatever to do with "budget". The only "budget" needed by genius is a pencil and paper, set in motion by a brain. It seems incredible that there actually are people reviewing this film who have never read the book.

Just the perfect thing for a warm, woozy, Sunday afternoon. This is Carroll's Alice done to perfection; and, from beginning to end, I was enthralled. Anne-Marie M.'s playing of Alice is spot on: She's a terrible beauty and Sphinx if ever there was one, but instead of posing riddles, she disdains answering them and explores Wonderland as if it was a cipher and she's another encrypting algorithm. Miller's approach to conveying Alice's experiences in Wonderland are refreshing, relieving, when compared to so many "kiddy" pantomime versions and effects-heavy versions. The camera magic is reminiscent of Rivette's nod to Carroll, CELINE AND JULIE GO BOATING..., and the conclusion, Alice's waking, is startling and rupturing, a bit like the ending of Assayas' IRMA VEP to this viewer. I was reminded, too, of Peake's GORMENGHAST crossed with De Broca's KING OF HEARTS what with Alice exploring a Victorian estate gone barking mad, bad, and dangerous to know ascending to the heights of delirium with Peter Cook's Hatter entering a courtroom as of swinging on a clock's pendulum.This is a moving picture Alice to watch again and again.

Those in search of the usual quirky world of Wonderland--that of singing turtles and fluffy pinafores--will leave this film feeling intensely disappointed. Miller's Wonderland is a recipe of adult Victoriana and social themes, charming like an Edward Gory picture book; in other words, in the most Gothic sense. Yet, with all it's moody obscurity, it reveals itself to be unique in its presentation of adult themes within Carroll's story. Like other Victorian and Edwardian pet works of the time--Barrie's "Peter Pan" and Wilde's "Picture of Dorian Grey"--"Alice in Wonderland" revolved around themes of childhood, "growing up" and human mortality. Regarding those matters, I felt Miller truly captured the wistful, romantic mood that dominated the art of Carroll's time.However, Miller's version of "Alice in Wonderland" is not entirely somber; as Alice lounges lazily in a field, luxuriating in a hazy midsummer day--the buzzing of insects heard distinctly around her, you get a strong sense of the Trancendentalism described in works on the natural world, by writers like Thoreau and Emerson. In a story that Miller could've easily lead down the path of anticipated whimsy (one that's surely had its share of travelers, all attempting to capture the eccentric magic of Wonderland,) viewers instead find a rare time capsule of sentiment and social attitudes. Not simply a period costume drama riding on beautiful gowns and luscious filming locations, "Alice..." encapsulates the general feeling of an era.

As Alicja (1982) later did, this film opts not to have its actors in animal costumes. They do wear costumes, though, the queen dresses like one, the mad hatter and so on.The cinematography is very nice, a deep-focus black and white, like Citizen Kane.One of the odder things about it is how disengaged Alice seems. I would not blame this on the young actress (and whatever happened to her, by the way?), but rather her direction. She is usually expressionless. She is in scenes, but often set apart, either by her being shown in the foreground, and the rest well behind her. Sometimes she's in a scene, but the camera puts her in completely separate shots than everyone else. Sometimes, she is not only apart from others, but behind a window, and looking away from the window. And when she is in scenes with other characters, again she is often looking away from them. Most of her dialog is done in voice-over. Sometimes when she has a conversation, she is speaking in voice- over while the other character actually speaks.Also odd is how characters will be talking, then simply stop for a while and the camera lingers on them. Eventually they will start to talk again, but the silences feel uncomfortable, even though the characters don't seem to find them so.These odd factors do lend the movie a sort of dream quality, or perhaps an opium dream quality.