DIRECTED BY: Daniel Barnz
FEATURING: Elle Fanning, Felicity Huffman, Patricia Clarkson
PLOT: Adorable, precocious and angst-ridden Phoebe (Fanning) has a psychological
disorder that makes her spit on her classmates and occasionally talk to the Red Queen, among other misbehaviors; she uses her role in the school’s production of “Alice in Wonderland” as self-therapy.
WHY IT WON’T MAKE THE LIST: A few very brief and inorganic Alice in Wonderland hallucinations do not a weird movie make. (In the film’s defense, it’s not trying to be weird, at all).
COMMENTS: Phoebe in Wonderland is definitely an actor’s movie. While the plot introduces us to some interesting, quirky characters—enigmatic drama-school weirdo and free-spirit Miss Dodger; conflicted mom Hilary, who loves her child dearly while resenting the fact that caring for her has overtaken her life; and of course Phoebe, who desperately wants to be a normal but can’t control her need to ritualistically hop on each stair in a correct order that exists only in her mind—it resolves itself in a disappointing Lifetime-network-feel-good-tearjerker-of-the-week fashion, with only the briefest of detours into Wonderland. Fortunately, Dakota’s little sis Elle turns out to be every bit the actor her older sibling is, and carries the film on her tiny shoulders, with the adult veterans doing their part to keep up with her. She evokes a heartbreaking pathos in her desire and inability to be the good little girl her parents can be proud of and her peers accept. The visions of Wonderland she sometimes sees aren’t magically staged, and in fact make little literal sense: whatever Phoebe’s psychological issues might be, she’s no schizophrenic. Only once does the intrusion of Alice’s world inside Phoebe’s mind work or make much plot sense: when she sees the rabbit hole yawning in front of her (it’s also the best looking of the fantasy sequences, which are mostly pedestrian and effects-free). With that single exception, the script should have kept itself firmly on this side of the looking glass.
We go to independent films hoping to see something different than the twenty formula Hollywood movies that are permitted to dominate the United States’ 38,000 movie screens each week. It’s disappointing to find that, when an independent film does manage to break the major studio stranglehold and get a small release, it turns out to be pretty much the kind of fare Hollywood would have released anyway, if they’d had extra room for another April drama. Phoebe in Wonderland is just as good as any product released to the cineplexes, perhaps even a cut above in the acting department, but we have to wonder: don’t we deserve at least one screen per metropolitan area dedicated to showing something off the beaten path?
WHAT THE CRITICS SAY: