Christopher Robin

Christopher Robin
The second Winnie the Pooh live action film in the last 10 months, the first being Goodbye Christopher Robin, director Marc Forster‘s Christopher Robin full movie is genuinely fun and charming.

Starring Ewan McGregor as Christopher, this Disney release does not purport itself to be strictly biographical. It’s a fantasy story about a real life person, and anyone with knowledge of the real way to watch Christopher Robin online free will notice multiple inconsistencies, mostly a lack of utter disdain and hate. The real Christopher came to hate his father’s appropriation of the “fun time” stories of Winnie the Pooh.

Here, Christopher is a man who was once an idealistic boy. He works at Winslow’s Suitcases under a greedy worm of a boss, Giles Winslow (Mark Gatiss). And you thought Harry potter in Harry Potter and the Cursed Child was disappointing.

Christopher has seen his father die at a young age and has fought in the war (World War II). All things that cause little boys to grow up far too soon. Long forgotten is the bear he used to play with in the Hundred Acre Woods and the going away tea party he had with those other furry creatures before going off to boarding school, which the film opens with.

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Forster made an interesting and gamey stylistic choice of rendering Pooh and co, not as the familiar image of the 90s cartoons, but as the original stuffed animals. Their appearances are the most true to life portions of the film. They also give this iteration a unique style, keeping it from an obvious money grab, at in appearances.

In the intervening time between this tea party, Christopher also has a family: a wife named Evelyn (Hayley Atwell) and his daughter Madeline (Bronte Carmichael, who is close in appearance to the real Christopher Robin Milne).

The three’s dynamic is testy. Christopher and Evelyn are apart because of his job. Also, he’s the most awkward father in the world (he reads British history books to his daughter as bedtime stories). Still, McGregor is curiously genuine in these scenes. He falls into the comedy and post-war British sensibilities well, in a bleak world that seems eerily similar to ours.

The other cunning trick to watch Christopher Robin is keeping Jim Cummings as the voice of Winnie the Pooh and Tigger. Few actors could have picked up the nuance and detailed delivery that he brings. It made Cummings’s inclusion a necessity. He’s joined by Brad Garrett as Eeyore, Nick Mohammed as Piglet, Peter Capaldi as Rabbit, Sophie Okonedo as Kanga, Sara Sheen as Roo, and Toby Jones as Owl, respectively. They constitute the most talented bench of lightly utilized actors this year.

Ultimately, there are a few conflicts in the film: Christopher’s relationship to his family, the task of him number crunching to save jobs in the Winslow Suitcase company, and the disappearance of Pooh’s friends, which causes Pooh to seek Christopher for help. In fact, if you squinted hard enough, you’d swear that you were watching Mary Poppins. That is, a father who’s forgotten how to have fun, stuck dealing with money, with a strained relationship with his child. Oh, and then there’s the pure savior come to rescue the day. In Mary Poppins it’s a nanny. Here, it’s a bear. And that bear is as usual, charming and sweet. He’s childlike in his beliefs and resolute in his friendships.

Throughout, Christopher Robin full movie is filled with funny and wonderfully touching moments from Pooh, who delivers some nuggets, like “People say nothing is impossible, but I do nothing every day” or “Doing nothing often leads to the very best kind of something.” These aphorisms give the film a pureness, even when other parts run stiff. Because in essence, to watch Christopher Robin online is a buddy thing. It’s the buddy who went off to college and came back completely changed. It’s the moment when your relationship must be reassembled and reimagined, made deeper by the unflinching love and belief Pooh has in Christopher. And along the way, you’ll cry, you’ll reminiscence, and you’ll see again what it meant to be a kid, but mostly, it’ll be a time to remember a silly old bear.

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People always wish they could stay children forever. How blessed it would be if mom woke us up every morning with a glass of warm milk, our friends played with us and together we won over the world, slayed a dragon, kissed a princess and returned to papa’s arms every night as he read us a chapter of our favourite book. It’s idyllic but too much to ask for.

As adults, we wake up to the sound of the alarm with cold messages from our bosses. We take the morning commute to work, break our backs at the office desk, get screamed at, pushed over and return home to the harsh eyes of a disappointed spouse who scolds us about the late hours. Such is the life of Christopher Robin now, a few years after he left the Hundred Acre Woods and his fluffy friends behind.

Director Marc Forster’s Christopher Robin serves as a reminder to the life we have left behind, for even the happiest children with the warmest friends have to grow up some time. Christopher Robin’s days of going on adventures with Winnie the Pooh and their friends are behind him. He promises he will never forget them but is unable to keep his word under the weight of school books and later, office files. Pooh, Piglet, Tigger, Eeyore and others fade away from his memory and from existence over time and so does his spirit of adventure and the big smile that was always plastered on his face.

His daughter spends her days staring at the brick walls of their London home as he fails to give her a childhood that he had enjoyed, out in the woods and with the best of friends. Watch Christopher Robin free online – he is not happy in his life and this is the time when he needs his friends the most. Of course, they come around to help him out.

With the magic of nostalgia and honey, Pooh comes back to Christopher’s life but to him, he is not an old friend he is happy to see but a problem that needs solving. Adulthood is no place for talking to your stuffed animals.

Things you need to know before watching Christopher Robin

From what we remember of Pooh and his friends, there was always an idea that they live in a world that may or may not be real. Perhaps Christopher was imagining it, perhaps they were indeed alive. Until they go out into the real world, there is no way to know. In the new film, the animals take over London. Others can see them, hear them and feel them staring, thus abolishing the ‘it’s all in his head’ idea completely and also taking away a little bit from the story’s charm.

However, the new CGI characters are so adorable, you will forgive them for magically coming to life. Pooh and his friends, with their dirty matted fur and perfectly animated movement, look like any of your kids’ stuffed animals who have learnt how to talk. The CGI is seemless and the characters are revamped so spectacularly well that I’ll just go ahead and say it: they are even cuter than the originals. Eeyore has the same sullen expression on his furry blue face, Tigger’s excitement makes you anxious and Piglet’s pink muffler has never looked more real. Even Pooh gets honey all over his wet fur and walks like penguins in his red crop top. Every time you watch Christopher Robin touching his tummy or picking up a soaking wet Eeyore or giving Piglet a hug, you can’t contain it in your heart how much you want to do it too.

Eeyore, the gloomy fat donkey, rakes in the most laughs with his dull and depressing lines in the movie. “This is a disaster, why wasn’t I invited?,” he says in the most lifeless of voices and reminds us so much of Alan Rickman’s Marvin the Paranoid Android from Hitchhiker’s Guide To The Galaxy. Pooh is still a ‘bear of very little brains’ as he gets his head stuck in honey jars, topples kitchen shelves and longs for red balloons. But he is also a ‘bear of very big heart’ as he reminds Christopher of the simple pleasures of live.

The film’s more human characters are impressive as well. It could have been tough to watch Ewan McGregor talk to stuffed bears after you have seen him float down a public toilet or flush his veins with smack but he pulls it off well enough. He convinces us as the burdened employee of an exploitative employer, a father who is failing his daughter and a man who was once a boy, happy and carefree. He sits on a log, besides what would have been a stuffed bear or a ball on a stump, talking to it about losing friends and how he lost track of what is important in life. The realisation of it in his eyes and the guilt in his voice remind you of yourself if you too have made the same mistakes.

Where the film could have done better was way it ended. The rushed ending seemed like a half-hearted attempt to tie it all up quickly before the film hit the 90 minute mark. Marc Forster knew that the heart of the film was at trying to make everyone remember the beauty of childhood and the lonely lives we lead as adults. He builds it up with patience and love but drops the ball at the end, preaching us about it rather than letting it show.

Even then, the journey to the end was quite sweet in itself. Like Pooh on a train, even we took note of all the things that passed us by and that made the travel so much better.

Christopher Robin, Piglet, Tigger, Roo, Owl, Kanga, Eeyore, and Winnie-the-Pooh – these wonderful characters contribute to director Marc Forster’s charming film with the simple title “Christopher Robin.” Based on A.A. Milne’s 1926 and 1928 books, the live-action story with simple, appealing animation quickly establishes Christopher’s WWII experience, marriage to Evelyn, daughter Madeline, and job as an efficiency manager at Winslow Luggage.

Christopher leaves and essentially forgets Hundred Acre Wood, consumed by his job to the point that he neglects Evelyn and Madeline, even sending them off without him on a promised vacation weekend. Enter Winnie-the-Pooh, aka Edward Bear and Pooh Bear in Milne’s original creations. “Winnie” came from Milne’s son Robin’s toy bear named for a London Zoo’s Canadian black bear from a man connected to Winnipeg, Manitoba. “Pooh” came from a swan.

Christopher’s daunting problem involves finding a way to drastically reduce company costs. Reentering Mr. Robin’s life, Pooh becomes the catalyst for a very different kind of adventure, one that will reassert the real values and priorities in life. After all, Christopher has succumbed to the Woozels, slinking little monsters that get everyone else to do their work for them.

As you watch Christopher Robin full movie online free, Ewan McGregor beautifully interacts with and surrenders to The Pooh with his understated, surprising, wise pronouncements such as, “Nothing leads to the very best of something.” Hayley Atwell as Evelyn and Bronte Carmichael as Madeline hit every note without overdoing the emotion. As critical, long-time vocal talent Jim Cummings is the essential, perfect voice of the calm, insightful Pooh and of the bubbly, wildly energetic Tigger. Not colorful or splashy, the cinematography keeps the magical world front and center.

Familiar messages pepper the proceedings. Christopher tells Pooh, “You’re different and people don’t like things that are different.” But, above all, this story invites all of us to relax, to enjoy life and not get lost in our jobs to the exclusion of what really matters. It’s well worth the reminder, especially when it comes in such an enchanting way. Suitable for all ages, you can watch Christopher Robin online or at the cinemas.

Given the company’s current business model, it makes perfect sense that Disney would finally get around to releasing a film with the explicit message “constantly dwelling in nostalgia is good, and caring about adult things is bad”. I don’t even think I’m being ungenerous to watch Christopher Robin free in summing it up that way; at least that’s a theme that gives it some kind of personal identity beyond “emotionally distant father learns to reconnect with his childhood sense of whimsy, becomes better father”, a story that has been told enough times that it would tire me to list precursors. The one that Christopher Robin most obviously evokes is Hook, so let’s just go with that one.

For this is just exactly that: what if watch online Christopher Robin, the guileless boychild who once traipsed through the magical Hundred Acre Wood with Winnie the Pooh and Piglet and Eeyore and the rest, what if he, like grew up? This question has a pretty straightforward answer: he would grow to intensely resent his father for commercialising his childhood, he would find Disney to be a lot of crass vultures destroying the soul of the books, and at the age of 54, he would write a memoir wiping his hands of the whole Pooh business, asserting his own identity far away from the private hell that had been his late childhood and adolescence, evincing not the slightest lingering affection for the toys, the books, or any of that. Since this would not have been a movie Disney wanted to make, they’ve made the sensible choice that this will not be the story of Christopher Robin Milne, a real-life human being, but of just Christopher Robin (“Robin” being his surname, which makes the spectacle of all the enchanted animals calling him “Christopher Robin” feel less charming than martial and unpleasantly officious), who is clearly older by a few years: when we see him circa 1948, he is played by 46-year-old Ewan McGregor (every aspect of the character as written suggests he’s younger than that), working as an efficiency expert at Winslow Luggages, where has to help the charmless, turtle-faced Giles Winslow (Mark Gatiss), a useless boss’s son, find ways of reducing costs by individual percentage points. This takes up so much of his time that he’s basically become a ghost to his wife, Evelyn (Hayley Atwell, wholly wasted in a role that could easily have been played by large rock with a wig on it), and his young daughter Madeline (Bronte Carmichael), who has been raised to be, literally, incapable of having fun.

As we’ve seen, though, in an opening that re-enacts the end of both A.A. Milne’s 1928 The House at Pooh Corner and Disney’s 1977 The Many Adventures of Winnie the Pooh, Christopher used to have many good friends whom he played with in the woods outside his family’s cottage in Sussex. Animal friends, specifically: nervous Piglet (Nick Mohammed), miserable Eeyore (Brad Garrett), adrenaline junkie Tigger (Jim Cummings), wide-eyed Roo (Sara Sheen) and his patient mother Kanga (Sophie Okonedo), intellectually smug Owl (Toby Jones), the personality-denuded Rabbit (Peter Capaldi), and most of all Winnie the Pooh (Cummings), a bear of very little brains and very healthy appetite for honey. As it so happens, a honey-related accident is responsible for those creatures coming back into his life, and teaching him – sit down and prepare yourself, this part is going to be shocking – teaching him how to be a better dad and husband, and to have more fun in his life. Because this is a family movie in the 21st Century, this requires a third-act chase scene. Also, we’ll learn eventually, these weren’t just Christopher’s fanciful creations based on his toys and the local fauna: they actively exist as ageless sapient beings with lives and identities untethered to Christopher, and are able to interact with other human beings in the world. At the same time, they still look like well-worn plush toys (except for Owl and Rabbit, who look like real animals – dismayingly so, in Rabbit’s case), with plastic buttons for eyes and everything, and the whole thing is just full of ontological questions that the film doesn’t care about even slightly.

The animals are photorealistic CGI effects, and I will say this on behalf of Christopher Robin: though I was fully expecting to find them terrifying little nightmare blobs, and this is certainly true of Pooh, Tigger, and Eeyore initially, it’s something I eventually got used to. It helps that the scenes of the animals interacting with McGregor are unerringly the most interesting in the film. McGregor really gets into these scenes, and unlike far too many people in movies with substantial numbers of computer-generated cast members, he believably interacts with them for the most part (that Star Wars training finally pays off!). Only once, almost all the way to the end, does the actor put his hand on “Pooh’s” “shoulder”, where you can visibly seem him making calculations about how low he can go and how much he should curl his fingers.

Every non-animal scene, though? Eh. Atwell, as mentioned, is given absolutely nothing to do in a role that kind even rise up the level of “concerned wife” boilerplate, and generally speaking, everything involving the Robins’ home life is the most soul-sucking kind of paint-by-numbers emotionalism, not just because anyone over the age of 10 should be able to see the end coming from within the first ten minutes (it somehow produced five credited writers to produce this story and screenplay, despite it being the most obvious shit in the world. It’s a weird collection too, including Oscar-winner Tom McCarthy and psychologically introspective micro-indie director Alex Ross Perry). And the film spends a lot of time on the domestic drama: undoubtedly, McGregor looking disconcerted is cheaper than animating a half-dozen CGI animals, but the film’s miscalculation of how interesting it is to look at McGregor pouring over expense reports vs. staring gosmacked at an unnervingly well-textured CGI teddy bear is pretty fundamental to how snoozy the overall thing is.

Not that the Pooh & Friends scenes are necessarily great: the pacing is much too slow, taking its cues from the bear’s very methodical way of thinking and speaking, and crawling by accordingly. This is not least of the many ways in which Marc Forster’s direction undermines the movie (he also has a pretty obvious love for close-ups that makes the movie seem smaller and more cluttered, and also necessitates a lot of gross, choppy editing by Matt Chesse that absolutely massacres the flow of conversations), and even when it is at its sweetest and cutest, to watch Christopher Robin free online is still frankly more boring than it is either of those things. It’s a drab, wan, washed-out thing – very literally, given the shockingly lifeless cinematography by Matthias Koenigswieser, which represents the hectic, anodyne world of London as a range of bland, desaturated greys, and showcases the vitality of the Sussex countryside by shifting to a range of bland, desaturated browns. There has always been something soft and muted in Disney’s Pooh material but this goes beyond “muted” into “sepulchral”, and while it is very, very far from being the worst or most insipid thing Disney has down with these characters, it puts up a good fight to be the most dull.

It’s been more than 50 years since Disney released the first featurette based on the characters created by A.A. Milne, and seven since they last appeared in theaters in the slim, enchanting and largely overlooked Winnie the Pooh. Over the years, the Hundred Acre Wood gang has appeared in five TV series, nine direct-to-video movies, and 19 video games—and we’re just scratching the surface.

While I have not seen the entire opus (though anyone who has ever lived with a toddler will feel like they have) it is safe to say that there has never been a more morose or less lively a rendering than Christopher Robin. A better title for this entry, the first of the Disney Poohs to be live action (although neither word in that phrase is an apt descriptor), would be Winnie the Pooh and the Unfilled Zoloft Prescription.

Cut from the same conceptual cloth as 1991’s epic Steven Spielberg misfire Hook and filtered through the kind of period piece signifiers rampant in American Girl Doll movies, the film is meant to tell the story of the titular character’s midlife crisis. The ennui suffered by Christopher (Ewan McGregor)—an efficiency manager at a luggage company (huh?) who ignores his wife and daughter in favor of his work—permeates every frame of the film and infects the other characters as well.

Pooh (voiced by Jim Cummings, who also plays Tigger) seems the most susceptible. Indeed, where his past scrapes typically involved getting his head stuck in a honey pot, in this film, his troubles seem far more existential.

At one point we encounter Pooh stumbling around a misty Hundred Acre Wood wondering where his friends are and saying aloud to no one in particular, “I have reached the end of my thoughts.” You half expect him to wander into Tony Soprano’s backyard and start feeding the ducks in the pool. It says everything you need to know about the mood of these proceedings that, when Christopher discovers the donkey Eeyore (voiced by Brad Garrett), the Hundred Acre Wood’s resident pope of mope floating down a stream towards certain doom, things actually liven up.

The film never figures out its internal logic, like why the tree that was always connected to a country cottage in Sussex suddenly allows the gang to be transported to downtown London, or for that matter, what animates the stuffed animals in the first place. In the past, it always seemed to be the power of friendship and imagination, but both are in short supply here.

When Pooh first approaches his old friend, Christopher treats the intrusion like an unwanted Facebook friend request. They spend much of their time back on their old stomping ground sniping at each other like reality show contestants. (At one point, Christopher berates Pooh for not knowing how to properly use a compass.)

As for originality, the denouement features the same type of chaotic chase scene you see near the end of 90 percent of modern kids’ movies. I cringed when Piglet slammed into a car window, which to my mind would be one of the greatest fears of a character I have known all of my life. The film relies on this kind of destructive humor (when Pooh enters the Robins’ kitchen, he accidentally smashes all their china) and it runs directly counter to the spirit of these characters, whether you are a devotee of the Milne or past Disney versions.

McGregor endures this all in the same “good soldier” mode we recognize from the Star Wars prequels. (The voice performances are more fun, including Cummings, who has been voicing Pooh since the late ’90s.) McGregor can’t seem to find the center of a character that is more concept than person. Try as he might, the actor is never able to muster enough of his trademark sense of wonder to lift up what amounts to a profoundly joyless exercise in brand extension.

Genre: Adventure, Animation, Comedy
Actors: Bronte Carmichael, Ewan McGregor, Hayley Atwell
Director: Marc Forster
Year: 2018
Runtime: 104 minutes
Rating: 7.8/10 (14,325 votes)
Rated: PG