‘Guillermo del Toro’s Pinocchio’ Review: The Fantasy Master’s Distinctive Stop-Motion Take on the Old Story Carves Out Its Own Way

In 2009, it was considered almost shocking when Pixar’s Up addressed the subject of death in its now-classic opening sequence, a bittersweet mini-movie of love and loss.

Jules Bass, whose work as a producer and director of stop-motion and animated television specials such as Rudolph the Red-Nosed Reindeer, Santa Claus Is Comin’ to Town and The Year Without A Santa Claus has become an integral part of the holiday season for generations, died today in Rye, New York, of age-related illnesses. He was 87.

It’s been too long since a show like “Masters of Horror” allowed twisted auteurs a platform to explore the themes and images that haunt them. Enter Guillermo del Toro, the Oscar-winning director who has gifted his fans with Netflix’s “Guillermo del Toro’s Cabinet of Curiosities,” even writing two episodes and introducing each of them like a modern Rod Serling.

disastrously received rendition) as a “family movie” that “does not shy away from dark themes of death and war,” per Insider.

Guillermo Del Toro has opened up about the special connection he had with his mom over Pinocchio.

“All good things require patience,” Gepetto (David Bradley) lovingly tells his young son, Carlo (Gregory Mann). The exact same words must have been uttered by Guillermo del Toro to himself countless times over the fourteen years he spent working on his dream project, a stop-motion adaptation of Carlo Collodi’s 1886 classic tale, “The Adventures of Pinocchio.” The Mexican auteur, a well-known lover and supporter of animation, first fell in love with the tale of the wooden puppet who wished to be a real boy when he was a boy himself, going to the local cinema with his mother in Guadalajara (“Animation is a medium, not a genre.

at the world premiere of his animated film Pinocchio just one day after she died.Guadalupe Gómez passed away on Friday (October 14) shortly before the opening of Pinocchio at BFI London Film Festival yesterday (October 15).According to Variety, del Toro, the visionary director behind films including Pan’s Labyrinth and The Shape Of Water, became emotional as he revealed the news to the audience.“I just want to say, my mother just passed away, and this was very special for her and me,” del Toro said. “This is not only the first time you’ll see the movie, it’s the first time she’ll see the movie with us.

There was a very special guest at the Pinocchio red carpet premiere – a tiny statue of Pinocchio!

Rafaela Sales Ross Guest Contributor After a 14-year uphill battle, Mexican auteur Guillermo del Toro was finally able to share his dream project with an audience as “Pinocchio” (officially titled “Guillermo del Toro’s Pinocchio”) had its world premiere at the BFI London Film Festival. Taking the stage before the premiere, del Toro spoke of his connection to the story: “I saw the film as a kid and it’s a film that bonded me with my mom for an entire life. It affected me because Pinocchio saw the world the way I saw it. I was a little bit enraged that people demand obedience from Pinocchio so I wanted to make a film about disobedience as a virtue, and to say that you shouldn’t change to be loved.”

An enthusiastic rendition of Happy Birthday rang through the auditorium at the world premiere of Guillermo del Toro’s Pinocchio as the London audience was informed Gregory Mann, the film’s lead voice actor, had just turned 13. 

As you might expect from the billing, Guillermo del Toro’s Pinocchio — which had its world premiere at the BFI London Film Festival today — is a very different beast to the 1940 Disney animation, and just as cavalier with the picaresque elements of Carlo Collodi’s 1883 novel. The factor that unifies all three is that the main character — a wooden puppet blessed with life — longs to be a real, human boy, but it’s no spoiler to reveal that del Toro, champion of monsters and misfits, doesn’t see the appeal of that. 

The Critics Choice Association revealed the list of honorees for its 2nd annual Celebration of Latino Cinema & Television taking place on November 13.

Left-leaning outlets have ignored the latest development in the debunked story about Border Patrol agents supposedly whipping Haitian migrants, despite previously parroting the claim.  According to a Sept 24, 2021 email obtained by the Heritage Foundation, Homeland Security Secretary Alejandro Mayorkas was told that the photographer who captured a clash between Border Patrol agents and Haitian migrants in Del Rio had said that the incident was being misconstrued. But hours before, Mayorkas attended a White House press conference where he failed to challenge the false narrative, pushed by other members of the Biden administration, including the president himself.

One of Netflix’s most anticipated projects in recent months ois Guillermo del Toro’s edgy new take on “Pinocchio”.

EXCLUSIVE: Guillermo del Toro will add a further string to his bow this season as part of the songwriting team behind the music of Pinocchio. Del Toro directs his warm and wild stop-motion animated adaptation of the classic story from Carlo Collodi with Mark Gustafson (Fantastic Mr. Fox). It is a project the Oscar-winning filmmaker has nurtured for years, and he also co-wrote the screenplay with Patrick McHale. The film makes its world premiere at the London Film Festival on Saturday.

fellow filmmaker and best director winner Martin Scorsese who was ripped in The Critic for “lazily” making mob movies and other projects that are “routinely an hour too long.”Putting it rather bluntly, del Toro Tweeted “If God offered to shorten my life to lengthen Scorsese’s- I’d take the deal.” “This man understands Cinema. Defends Cinema. Embodies Cinema.

Near the beginning of Sean Egan’s recently-published piece in the U.K. publication The Critic, are the following assertions: “new Scorsese films are routinely an hour too long…his directorial talent has never been as great as occasional masterpieces like Goodfellas (1990) tricked us into believing it was.”

Zack Sharf Guillermo del Toro does not have time for anyone’s Martin Scorsese slander. The “Pan’s Labyrinth” and “The Shape of Water” Oscar winner took to social media to defend Scorsese against an “offensive, cruel and ill-intentioned” essay published by The Critic that slammed Scorsese as an “uneven talent” whose “self-indulgence” has “debased his talent.” “I very, very seldom post anything contradictory here,” del Toro posted, “but the amount of misconceptions, sloppy inaccuracies and hostile adjectives not backed by an actual rationale is offensive, cruel and ill-intentioned. This article baited them traffic, but at what cost?” “To be clear: If God offered to shorten my life to lengthen Scorsese’s – I’d take the deal,” he continued. “This man understands Cinema. Defends Cinema. Embodies Cinema. He has always fought for the art of it and against the industry of it. He has never been tamed and has a firm place in history.”