Peter Debruge from Variety wasn't so kind towards The Nutcracker and the Four Realms, commenting that the film's title and unusual directorial situation make it seem like "a world-building scheme for some future Disneyland theme-park attraction," which comes at the expense of the plot and characters.
There's plenty to groan about in The Nutcracker and the Four Realms as far as life lessons go, but there's such a manic energy and undercurrent of unapologetic weirdness to the proceedings that it's a delight nevertheless.
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In Ehrlich's opinion, this will not be a movie that kids are still thinking hours after seeing it, let alone decades in the future. On the negative end of the spectrum, Indiewire's David Ehrlich gave The Nutcracker and the Four Realms a measly D+ grade, calling it "eye-popping dreck" that doesn't offer "even the faintest trace of humanity under its $130 million husk of gorgeous sets and garish special effects. The Nutcracker and the Four Realms is unlikely to become a Christmas classic, but this fairy tale has a certain bizarre charm that may appeal to some. He also noted that it's obvious that the reshoots changed what The Nutcracker and the Four Realms was originally intended to be. “That’s something that we really want to represent to girls as they’re growing up - that they have what it takes inside themselves to solve problems and be their best, and so I hope that that’s one of the messages that people take away.Starting off, CinemaBlend's Dirk Libbey gave The Nutcracker and the Four Realms three out of five stars in his review, saying that while all of the individual pieces of the Nutcracker story are in this movie and has elements in common with The Wizard of Oz and Labyrinth as a fairy tale brought to life, there's nothing particularly exceptional about the movie, particularly in the visual effects area. “We want strong, layered female characters of all ages,” Goldstein explains. Goldstein calls Clara’s feminist sketch one of the “beacons” that guided the project “from the time that the script was being written, all the way to the time the movie is being delivered.” Her active role is part of a new wave of Disney princesses who double as heroes of their own stories.
“We got more specific, and we really were figuring out some of the action beats in the third act and making sure that they really were related to Clara’s character,” Goldstein says.Īction sequences were key, as many center on Foy, who performs multiple stunts throughout the movie surrounded by fantastical CGI characters. But no storyline or character received more extra attention than Foy’s Clara, who appears in nearly every frame of the film. “We had a really committed group that wanted to get it right, and so we were lucky that they were very supportive.”įrom big names like Knightley and Helen Mirren to up-and-coming talent like Foy and the Nutcracker himself, Jayden Fowora-Knight, everyone agreed to extend their time.
“It’s certainly something you think about because it’s not uncommon it does happen all the time,” Goldstein says of the reshoots. And while Goldstein says the team hadn’t planned on extra production dates, such measures are seen as a viable option in service to a final product of grand scale. Reshoots have become more common for blockbusters such as Rogue One: A Star Wars Story and Justice League. “That’s why we went back and were really careful and took our time doing those reshoots.” “We wanted it to be absolutely beautiful and as perfect as possible,” Goldstein says.
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Goldstein says additional photography was necessary to “figure out how to create those new twists and turns.” One of the major creative licenses the filmmakers took involved dividing Clara (Foy), the ballet’s protagonist, and Marie (Anna Madeley), the book’s protagonist, into a mother-daughter duo for the film. The filmmakers were determined to strike a balance between the differing versions of the Nutcracker narrative, which required inserting key changes that fit neither the novel nor the ballet yet referenced both.
And two: Build it into a full-length film, when the actual story is not as fleshed out as the film.” “One was tell everybody the story that they feel connected to - that authentic experience that you feel you’re getting from The Nutcracker, the story that you’ve known all along. “It’s a really, really beloved title, so when you have to deliver on that promise, we had two things that we had to do in order to accomplish that,” Goldstein tells The Hollywood Reporter.
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