---
title: "Christopher Robin"
year: 2018
kind: "film"
canonical: "https://film.one/film/christopher-robin"
fi1m_id: "christopher-robin"
imdb_id: "tt4575576"
tmdb_id: 420814
wikidata_id: "Q24301991"
fi1m_score: 62
critics_score: 54
critics_reviews: 23
published: "2026-10-05T14:51:45.736801+00:00"
updated: "2026-10-05T14:52:02.579045+00:00"
region: "ES"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Christopher Robin (2018)

Directed by Marc Forster · 1h 44m · ICAA APTA · Adventure, Comedy, Family, Fantasy

## Identity

Christopher Robin

- **Canonical:** https://film.one/film/christopher-robin
- **Type:** Film
- **Fi1m ID:** christopher-robin
- **IMDb ID:** tt4575576
- **TMDB ID:** 420814
- **Wikidata ID:** Q24301991
- **Same entity:** https://www.imdb.com/title/tt4575576/, https://www.themoviedb.org/movie/420814, https://www.wikidata.org/wiki/Q24301991

**Fi1m score: 62** · Critics 54 from 23 reviews

*In a sentence:* Pooh is still good company, even when everyone insists on learning something from him

> Jim Cummings gives Pooh the warmth this melancholy family film needs. Marc Forster is less sure what to do with the grown-ups, whose familiar troubles keep interrupting the pleasure of the reunion.

## Synopsis

Christopher Robin (Ewan McGregor) is grown up and struggling to give his family the attention he gives his work. Evelyn Robin (Hayley Atwell) and Madeline Robin (Bronte Carmichael) share his adult life, far from the childhood games of the Hundred Acre Wood. When Winnie the Pooh (voiced by Jim Cummings) reappears, Christopher has an old friend to accommodate alongside his responsibilities. Pooh still belongs to a world of stuffed-animal companions, including Eeyore (voiced by Brad Garrett), and patient conversation. Christopher wants to keep his adult life in order, but the bear’s return brings his abandoned childhood back into it.

## Review

Marc Forster’s *Christopher Robin* is a gentle, uneven family film whose appeal depends heavily on already caring about Pooh. Its strongest idea is to let the reunion feel a little sad: Christopher has grown up, and the animals still offer the comfort of a life he no longer leads. There is something recognisable in that, especially for adults who have allowed work to occupy more space than they intended. The story surrounding it is considerably less interesting.

Jim Cummings gives Winnie the Pooh a patient, slightly puzzled warmth without making him sound as though he is dispensing advice professionally. The worn fur helps; this bear looks as if he has been held and carried about. We were unexpectedly moved by that careworn appearance and the tenderness of the voice. The animation allows the animals to seem vulnerable without demanding pity. Brad Garrett’s Eeyore is also welcome, his gloomy observations providing some relief from the encouragement to enjoy life.

Ewan McGregor is most persuasive when Christopher smiles at Pooh, allowing affection to replace the strain of being responsible. That small change tells us more than the film’s explanations of what he has lost. The screenplay by Allison Schroeder, Alex Ross Perry and Tom McCarthy gives him a familiar problem, then spends too long making sure we understand it. Work competes with family, childhood seems more inviting, and the lesson becomes clear well before the film has finished teaching it.

Matthias Königswieser’s cinematography sets the honey-coloured Hundred Acre Wood against the greyness of adult life, and the contrast is immediately readable. It also becomes a little insistent: the images leave Christopher scarcely any reason to prefer being grown up. Jennifer Williams’s production design makes the adult surroundings feel solid and orderly, but they are not particularly inviting places to spend time. The care taken with the film’s appearance is evident, especially in the weathered animals, whose worn surfaces make their return feel personal.

The workplace passages are where the film loses us. Their concerns are familiar enough to need little explanation, yet Matt Chessé’s editing cannot make them feel brief, and the busier plotting offers little compensation. The music by Geoff Zanelli and Jon Brion supplies warmth, though we found the voices quite capable of doing that work unaided. Pooh’s patient wordplay is enjoyable in small exchanges; when the film leans on it to explain how to live, the sweetness becomes wearing.

Marc Forster deserves some credit for allowing so much weariness into a family fantasy. The melancholy is not merely there to make the cheerful passages seem brighter, and the animals’ fragility makes the sadness more convincing. Yet the film is much less convincing about what an adult can do with that feeling. Its view of childhood risks making ordinary responsibility seem like a betrayal, which is a peculiar burden to place on a comforting bear.

Existing Pooh admirers have the clearest reason to spend 104 minutes here. Younger viewers may be less patient with all the grown-up worries, and the comedy rarely gets the freedom that might help them through. Choose it for a quiet, faintly sad reunion, with some patience for the office scenes.

*Fi1m score 62, published 5 October 2026.*

## What the critics say

The reviews are divided, with praise clustering around Pooh and his companions rather than the story built around them. Jim Cummings’s gentle voice performance, Eeyore’s dry humour and the stuffed animals’ careworn animation draw approval even from several detractors. Supporters find a comforting family film with an affecting sadness about childhood and adult responsibilities. The characters’ warmth and vulnerability are the clearest points of agreement across otherwise sharply differing responses.

Reservations centre on a familiar, contrived plot, uneven tone and workplace scenes that some find tedious. The spread is wide: what supporters describe as melancholy, detractors find bleak or joyless. /Film praises the honest treatment of adulthood’s competing demands, while Vulture argues that the film treats growing up as abandonment. Even Pooh divides opinion: The Hollywood Reporter finds that his initially amusing exchanges become aggravating through repetition. The consensus is mixed, with affection for the characters insufficient to settle doubts about the film.

## Straight answers

**Is Christopher Robin worth watching?**

*Christopher Robin* is worth considering for existing Pooh admirers who fancy a quiet, melancholy reunion; we score it 62 out of 100. Jim Cummings gives the bear warmth and tenderness, but the familiar work-versus-family lessons take too long, and younger viewers may have less patience with the office scenes.

**How long is Christopher Robin, and what is it rated?**

*Christopher Robin* runs 1h 44m and is rated APTA by the ICAA in Spain. It is an adventure and comedy film.

**Where can I watch Christopher Robin in Spain?**

*Christopher Robin* is streaming on Disney+ in Spain, and it is also available to rent from Amazon Prime Video and Apple TV from €3.99. Availability is checked daily; the links above go straight to each service.

**How does Christopher Robin compare to My Neighbor Totoro?**

*Christopher Robin* is more concerned with adult weariness than [*My Neighbor Totoro*](https://film.one/film/my-neighbor-totoro), which we recommend more warmly for its humour and attention to children. Both bring family worries into contact with fantastical creatures, but *Totoro* lets those creatures need little explanation, while *Christopher Robin* too often asks Pooh to teach lessons about enjoying life.

**What should I watch after Christopher Robin?**

After *Christopher Robin*, try [*My Neighbour Totoro*](https://film.one/film/my-neighbor-totoro) (1988, Fi1m 89): A gentler encounter between family worries and creatures who need little explanation. Then [*Ernest & Celestine*](https://film.one/film/ernest-and-celestine) (2012, Fi1m 84): An unlikely friendship, softly drawn, with more curiosity about its animal companions; and [*Paddington 2*](https://film.one/film/paddington-2) (2017, Fi1m 91): Another courteous bear among busy adults, with firmer plotting and livelier comic timing.

### Reviews we read (23)

- **Little White Lies**, Ella Kemp (4/4/3): Kemp finds the film big-hearted and energetic, though its overstuffed plot and low-stakes antics can feel messy. She praises the tender voice performance of Jim Cummings as Pooh and the vulnerability of the other characters. [Read](https://lwlies.com/reviews/christopher-robin)
- **Total Film**, Matt Maytum (4/5): The critic calls the film a bittersweet delight and a comforting, nostalgic family film. Pooh is singled out as its standout, while the lovingly crafted simplicity and cast also earn praise. [Read](https://www.gamesradar.com/christopher-robin-review/)
- **Sight and Sound**, Nick Pinkerton (70/100, inferred): Pinkerton finds the film mellow, melancholy and diverting, while noting its familiar premise. He praises the animated characters’ charm and the wordplay, especially the lines delivered by Pooh and Eeyore. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/christopher-robin-review-now-we-are-middle-aged)
- **The AV Club**, Ignatiy Vishnevetsky (B-): The review finds the film wistful but ultimately held back by a familiar, formulaic story. It praises the emotional effect of seeing Pooh and the other well-worn stuffed animals return to the Hundred Acre Wood. [Read](https://www.avclub.com/disney-goes-back-to-the-hundred-acre-wood-in-the-wistfu-1828015409)
- **The New Yorker**, Richard Brody (70/100, inferred): Brody finds the film’s predictable story elevated by its abrasive, eccentric qualities. He especially praises Eeyore’s cynical asides, which add comedy and deepen the film’s vision of childhood. [Read](https://www.newyorker.com/culture/the-front-row/christopher-robin-reviewed-disneys-pleasantly-abrasive-new-spin-on-winnie-the-pooh)
- **Film Comment**, Michael Sragow (64/100, inferred): The accessible excerpt does not reveal the critic’s overall verdict. It frames the film around the collision between Milne’s world and adult realities. [Read](https://www.filmcomment.com/deep-focus-christopher-robin/)
- **Screen Daily**, Wendy Ide (64/100, inferred): The page identifies this as a review, but the critic’s verdict is inaccessible. The visible text does not reveal what the critic singles out for praise or complaint. [Read](https://www.screendaily.com/reviews/christopher-robin-review/5131414.article)
- **The New York Times** (64/100, inferred): The URL identifies this as a review of the matching film. The blocked page provides no readable text to establish the critic’s verdict or what they praise or criticize. [Read](https://www.nytimes.com/2018/08/02/movies/christopher-robin-review-ewan-mcgregor.html)
- **Evening Standard**, Matthew Norman (3/5): Norman finds the film gently sweet and charming, though it falls short of its early melancholic promise. He particularly praises the affecting glimpses into Christopher’s loss of innocence and the expressive voice performances. [Read](https://www.standard.co.uk/culture/film/christopher-robin-review-the-bear-with-very-little-brain-but-lots-of-heart-a3913816.html)
- **Time Out**, Tomris Laffly (3/5): The review says the film will please undemanding children, though some of its magic has faded. It singles out the cuddly Winnie the Pooh adventure as sweet but less enchanting than *Paddington 2*. [Read](https://www.timeout.com/movies/christopher-robin)
- **Slant Magazine**, Niles Schwartz (2/4): Schwartz finds the film rueful and joyless rather than playful, and says it betrays its theme by checking off studio expectations. He praises the honeyed visual palette that contrasts the pastoral Hundred Acre Wood with the grayness of adulthood. [Read](https://www.slantmagazine.com/film/christopher-robin/)
- **Radio Times**, Trevor Johnston (★★): The review finds the film scrappy and lacking genuine feeling. It faults the story for not providing enough magic. [Read](https://www.radiotimes.com/movies/christopher-robin-a-scrappy-affair-with-very-little-genuine-feeling/)
- **Empire**, Helen O'Hara (30/100, inferred): O'Hara finds the film overfamiliar and tonally uneven, despite its appealing central character. She praises Jim Cummings's gentle, charming performance as Pooh, which the rest of the film fails to match. [Read](https://www.empireonline.com/movies/reviews/christopher-robin-review/)
- **The Hollywood Reporter**, Todd McCarthy (30/100, inferred): McCarthy finds the film increasingly aggravating and tedious, despite its polished production. He particularly criticizes Pooh’s excessive screen time, which turns initially amusing exchanges into a grating slog. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/christopher-robin-review-1131286/)
- **Variety**, Peter Debruge (30/100, inferred): Debruge finds the film disappointing and emotionally thin, though not an outright disaster. He praises the nostalgic tone and the expressive animation of Pooh and his friends, while faulting the contrived story and tedious workplace scenes. [Read](https://variety.com/2018/film/reviews/christopher-robin-review-winnie-the-pooh-disney-1202893858-1202893858/)
- **Vulture**, Emily Yoshida (30/100, inferred): Yoshida finds the film a deeply bleak, guilt-inducing story that treats growing up as abandonment. She praises the uncanny, lovingly weathered look of the stuffed animals, while criticizing the film’s insistence that Christopher should return to childhood rather than pass its joys to his daughter. [Read](https://www.vulture.com/2018/08/christopher-robin-review.html)
- **The Guardian**, Mike McCahill (25/100, inferred): The critic finds the film dull, overbearing, and ultimately unpersuasive. He objects particularly to its relentless platitudes and homilies, and says it loses focus toward the end. [Read](https://www.theguardian.com/film/2018/aug/17/christopher-robin-review-marc-forster-ewan-mcgregor-hayley-atwell)
- **/Film**, Karen Han (8/10): Han finds the film charming and emotionally affecting, despite tonal unevenness. She especially praises Pooh’s melancholy warmth and the film’s honest treatment of adulthood’s competing demands. [Read](https://www.slashfilm.com/560033/christopher-robin-review-a-captivating-blend-of-whimsy-and-melancholy/)
- **Den of Geek**, David Crow (3 out of 5): Crow finds the film uneven but ultimately heartwarming, despite its overly gray and adult approach. He especially praises the warmth and gentle charm of Pooh and the other stuffed-animal characters. [Read](https://www.denofgeek.com/movies/christopher-robin-review/)
- **HeyUGuys** (70/100, inferred): The critic finds the film curious but ultimately recommends it as a melancholy, nostalgic treat. Eeyore’s voice performance and beautifully careworn design are singled out for praise. [Read](https://www.heyuguys.com/christopher-robin-review/)
- **Paste**, Tim Grierson (5.0): Grierson finds the film mostly simplistic, cloying, and uninspired. He singles out Ewan McGregor’s warm smile with Pooh as the film’s best feature. [Read](https://www.pastemagazine.com/movies/christopher-robin/christopher-robin)
- **Consequence**, Blake Goble (30/100, inferred): Goble finds the film bland and tonally muddled, with little heart despite its nostalgic premise. He praises Brad Garrett’s Eeyore and Jim Cummings’s warm voice work as occasional highlights. [Read](https://consequence.net/2018/08/film-review-christopher-robin/)
- **The Wrap** (10/100, inferred): The review finds the film slow, charmless, and a major disappointment for both children and adults. It praises the lovingly animated Pooh characters, but says their ability to speak to everyone undermines the story. [Read](https://www.thewrap.com/christopher-robin-film-review-ewan-mcgregor-winnie-the-pooh/)

## Details

- **Director:** Marc Forster
- **Director:** Marc Forster
- **Screenplay:** Alex Ross Perry, Allison Schroeder, Tom McCarthy
- **Story:** Mark Steven Johnson, Greg Brooker
- **Cinematography:** Matthias Königswieser
- **Editor:** Matt Chessé
- **Music:** Geoff Zanelli, Jon Brion
- **Production design:** Jennifer Williams
- **Costume design:** Jenny Beavan
- **Producer:** Brigham Taylor, Kristin Burr
- **Cast:** Ewan McGregor as Christopher Robin; Hayley Atwell as Evelyn Robin; Bronte Carmichael as Madeline Robin; Jim Cummings as Winnie the Pooh / Tigger (voice); Brad Garrett as Eeyore (voice); Nick Mohammed as Piglet (voice); Peter Capaldi as Rabbit (voice); Sophie Okonedo as Kanga (voice)
- **Runtime:** 1h 44m
- **Certificate (ICAA):** APTA
- **Release (Spain):** 28 September 2018
- **Genres:** Adventure, Comedy, Family, Fantasy
- **Budget:** $75 million
- **Box office:** $198 million
- **Trailer:** https://www.youtube.com/watch?v=kHnqoHj1ipk

## Where to watch in Spain

- Disney+: streaming, uhd
- Amazon Prime Video: rent €3.99, uhd
- Apple TV: rent €3.99, hd
- Amazon Prime Video: buy €9.99, sd
- Apple TV: buy €9.99, sd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Many Adventures of Winnie the Pooh* (1977): The bear’s unhurried conversations have more room, with fewer grown-up lessons attached.
- *My Neighbour Totoro* (1988), Fi1m 89: A gentler encounter between family worries and creatures who need little explanation. — [Fi1m page](https://film.one/film/my-neighbor-totoro.md)
- *Ernest & Celestine* (2012), Fi1m 84: An unlikely friendship, softly drawn, with more curiosity about its animal companions. — [Fi1m page](https://film.one/film/ernest-and-celestine.md)
- *Paddington 2* (2017), Fi1m 91: Another courteous bear among busy adults, with firmer plotting and livelier comic timing. — [Fi1m page](https://film.one/film/paddington-2.md)
- *Harvey* (1950): For adults, another gentle companion whose company makes practical people rather uneasy.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/christopher-robin