![]() Pinocchio sets up more of a history for the character than the animated film does, giving us an idea of who this man is and why we’ve found him in this place, but then it does nothing with this information. Tom Hanks is fantastic as Geppetto he’s endearing and always watchable, and it would have been nice to be able to watch more of him. One wonders if there are scenes on the cutting room floor. Without going into spoiler territory, the finale of this new Pinocchio seems to present the ending of characters arcs that never got properly started, and that’s a shame because the ideas inside them, primarily as they pertain to the relationship between the wooden boy and his father, could have been special if they’d been given more time. While Pinocchio still learns the value of honesty and bravery, that doesn’t feel like it’s supposed to be the point here, and what the point is feels like it gets lost. The change is significant as it largely impacts the themes in the story. Tom Hanks is great, as usual, but Pinocchio could use more of him. Here Pinocchio does try a bit harder to listen, but circumstances are set against him in a way that results in the same ultimate fate. In the animated film, the living puppet gets into trouble because he specifically chooses to reject what his conscience tells him. The biggest change is that Pinocchio is actually a much more sympathetic protagonist this time around than he was in 1940. The new pieces probably aren’t going to become overnight classics, but they’re good songs that don’t feel out of place alongside songs that are over 80-years-old, and they give us an excuse to hear Tom Hanks sing.
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