Very very predictable, including the post credit scene !!!

Better Late Then Never

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Aha! We've all seen Disney's animated feature and Tim Burton's live-action feature, but you can't truly say that you've seen a movie version of "Alice in Wonderland" until you've seen Jan Švankmajer's "Něco z Alenky". The animals are of course stop-motion (including a carriage that has a literal skeleton crew). Wonderland is not an enchanted forest, but what appears to be a derelict apartment building. Basically, it's a much darker interpretation of the story than we're used to. After all, Lewis Carroll's original story had nothing to do with cuteness.Whatever the case, I've liked every Švankmajer work that I've seen, both his shorts and his feature films. Their sheer surrealism serves to remind us of a very important fact: animation is simply another type of filmmaking. It doesn't have to be "family-friendly". And believe you me, what you have in these movies is more like what you find in a Terry Gilliam movie! I recommend starting with Švankmajer's shorts before watching one of his features. Even so, you're sure to like either one. Another feature is "Little Otik", based on a Czech folk tale.

If we remember that Lewis Carroll(Charles Dodgson)was a pedophile, it adds another dimension to his book and to this movie. He was obsessed with little girls. He borrowed them from their mothers who probably did not know that he was taking photographs of them nearly nude. If literary Alice's childhood featured sexual abuse, it would explain s great deal about her nightmares. Victorian children were severely repressed, required to be seen but not heard. Alice in the movie is in effect a life-size doll who goes from being normal size to tiny and then to very large. But becoming larger does not bestow on Alice any power to control the bizarre events in her dream. Except for demolishing poor Bill the lizard (phallic symbol), she is helpless until the very end when she wakes up before the Red Queen can cut off her head. In the book at the very end Alice says defiantly to the royal court, "You're nothing but a pack of cards!"

I love this movie. It is just pure awesome. The animation is astounding, the atmosphere is amazing, and there is a single boring second. Yes, this is an art film. But not the kind of black and white, 3 hour borefest made up of people with berets atop their head and cigars in their mouths, talking about life. No, this movie is really good entertainment. I saw it when I was little, and I loved it. I re watched it, and I loved it even more. Of course, I wouldn't suggest showing it to especially young children, unless they really like film and are prepared for a dark movie. For instance, I watched many controversial horror films, (Psycho, The Excorsist) at a young age and was not frightened. So, if you do have a child who is not easily frightened, then by all means let him/her watch it. I cannot recommend this movie more, and I suggest you go out and see it immediately.

This was my 2nd excursion into the world of Svankmajer; after being thoroughly swept away by Faust, this was the next stop. The lack of human presence is comforting in itself, the actions do seem to take place in a land of fantasy, because retreating from reality is paramount… But the intermittent and frequent appearance of Alice's mouth reminds us that this is just a narrative, fantasy is a story, take it or leave it. Fantasy cannot be taken too seriously. We try to mesh dreams with the real world, but we stumble upon our own ambivalence, and I feel this was represented by her shifting between the small doll and the big real girl. There are certain doors you cannot access when assuming a certain form. The message seems to be one of an amorphous, atemporal world… there is a degree of overlap between physical entities, death is mocked, physical integrity is mocked as well; we fall apart, our entrails seep out, yet we are revitalized by our own bodily debris. This seems to be comparable to Alice's feeding on her internal world to nourish all aspects of her experience. Heads are cut off on a whim; yet, as the scene where the different animals' and Alice's heads are shown in an alternating manner on the same body, we are faced with the idea that, when boundaries are lost, we realize that every representation of self and others that we engender is colored by our own lens. Our defensive structure is what sets the stage… Alice is both martyr and executioner. As she finds more and more keys, deeper niches in her mind are unlocked, and the pieces become ever more integrated. It would appear that, when returning to the real world, the overtly random aggression shown in her mind has been transposed into her waking life, and she voices that she will cut off the rabbit's head for being late, thus turning into her persecutor as a form of domesticating her murderous lust. Yet, it is still her mouth voicing over this thought… reality mustn't be taken too seriously either, for it is also a narrative, our narrative, and we have painted the world as we have along our own storytelling lines. In this sense, dream and reality are the same… The childish concept of deathlessness is a fragile saving grace that speaks beyond the conscious experience of adults, and perhaps it's a world we can only hope to return to once innocence is newly instilled by death.