Guillermo del Toro's Pinocchio (2022)

Campbell considers the film among Guillermo del Toro’s finest, praising its heartfelt reworking of the story. He especially singles out the tactile, handmade stop-motion craft and production design.

Motamayor praises the film as a life-affirming, rebellious reimagining and del Toro’s best movie in a decade. He especially highlights the expressive stop-motion performances and the animation’s remarkable craftsmanship.

The critic considers the film a soaring success, with its stop-motion craft raising the bar. They especially praise the lively animation and its expressive interplay of lighting, camerawork and puppetry.

Kermode gives the film an enthusiastic verdict, praising its peculiar magical strangeness. He especially singles out the tactile stop-motion and the film’s distinctive sensibility for making the fable sing.

The critic finds the film striking and inventive, though its late fascist training-camp section drags. He praises the painstaking craft and the film’s wild visual inventions.

The review presents the film as a wondrous, charming adaptation with darkness. It praises the intricate design and the sense that the film is a genuine passion project.

Thompson finds this a worthy, distinctive take on Pinocchio despite some musical and finale missteps. He especially praises its richly designed stop-motion world and del Toro’s visual style.

Godfrey finds the film a distinctive, soulful and philosophically rich adaptation, though its songs feel misplaced and its emotional impact is uneven. He especially praises the jagged, imaginative stop-motion designs and the touching ending.

Richards calls it the best adaptation of Collodi’s fairy tale in 70 years. He praises its stop-motion blend of magic and the macabre.

Lodge finds the film an eccentric, imaginative adaptation that makes the familiar story feel distinctive and worthwhile. He particularly praises its macabre stop-motion textures and vivid visual design.

Abele finds the film inventive and heart-conscious, though its second half becomes overly frantic and blunts its emotional force. He praises its Old World stop-motion detail and its thoughtful treatment of imperfect fathers, mortality and family.

The review presents the film as impressively distinctive. It singles out its stop-motion animation as a notable feature.

Felperin finds the film imperfect but often beautiful, with its inventive reworking of the story outweighing its indulgences. She especially praises the exquisitely crafted stop-motion animation and its deliberately stuttery movement, while faulting the editing and pacing.

Lane finds the film overstuffed but ultimately compelling, with its angular stop-motion giving the retelling a distinctive punch. He singles out Pinocchio mimicking the Crucifixion as an astonishing moment of wonder.

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The critic calls the film a soulful, life-affirming pleasure and a stop-motion masterpiece. They especially praise the natural-looking animation and its sympathetic, rebellious take on Pinocchio.

The review strongly praises the film as an affecting, visually distinctive adaptation with real substance. It singles out the stop-motion craftsmanship and emotional finale as especially effective.

The critic calls it an instant classic and praises del Toro’s fully realised vision. The stop-motion animation is singled out as visually stunning, while the original songs are the main weakness.

Chacón calls the film an artistic triumph and a fresh, moving retelling. She especially praises its stop-motion beauty and its thoughtful treatment of mortality.

Welsh finds the film unruly and occasionally messy, but ultimately wild, tender, and deeply moving. He especially praises the tactile stop-motion animation and its intimate visual details.

The headline presents the film as a heartrending reimagining and a classic in the making. It singles out the reimagining’s emotional impact for praise.

The critic praises the film as a challenging, joyful retelling that embraces dark themes rather than smoothing them over. She singles out Gregory Mann’s energetic, endearing voice performance as Pinocchio.

Bonaime calls it the best adaptation since Disney’s 1940 version, despite some new ideas that do not fully work. He especially praises the stop-motion animation and the fuller exploration of Geppetto and Pinocchio’s relationship.

Worthington finds this version assured, personal, and a welcome renewal of the fable. He singles out its dark-fantasy sensibility and fascist-era setting as especially effective.

Kaye finds the film a visually beautiful, heartfelt achievement that stands proudly alongside Disney’s classic. He especially praises the stop-motion animation and sumptuous imagery, while noting that the film sometimes drags and its songs feel unnecessary.

The critic calls it a grown-up fairy tale and says it was worth the long wait. They particularly praise the gorgeous stop-motion animation and hand-painted backdrops.

Paddock finds the film a fantastical, heartfelt reimagining, though its breakneck pace and broad humour diminish some of the original’s poignancy. She praises its early-20th-century setting and its celebration of rebellious, non-conformist humanity.

Miles finds the adaptation a dark, emotional, and distinctive success, though Pinocchio’s passive nature and the episodic structure sometimes weaken it. She especially praises its richly textured stop-motion animation and bittersweet finale.

The critic finds the film imaginative and inclusive, though its plot can feel thin and slow. She praises the animation and its rethinking of what makes someone a real boy.

Wise finds the film strangely unmoving despite its heartfelt themes, leaving it short on charm and wonder. He praises the stop-motion animation, while criticizing the film’s excess of visual flourishes and lack of emotional impact.