“Pinocchio Unstrung” follows Pinocchio, who launches a violent crusade to carve himself into a real boy like his brother James after being influenced by a sinister cricket and created by Geppetto.
Writer-director Rhys Frake-Waterfield wastes no time unveiling the titular character; in under 10 minutes, Pinocchio is already shown in his entirety. For fans of The Twisted Childhood Universe — and even the remaining skeptics — this is an immediate crowd-pleaser. Instead of relying on CGI or cheap masks, the puppet is brought to life through practical animatronics. This not only includes the movement of its arms and legs, but also its facial expressions.
It’s clear that Frake-Waterfield was confident (deservedly so) in the special effects work from Todd Masters and his company, MastersFX, putting Pinocchio on full display in a variety of settings and positions. Capturing the character in-camera adds authenticity when interacting with physical elements. The cinematography is equally elevated, with director of photography Vince Knight bringing contrast to the visuals. While many scenes take place in dark environments, varied light sources reflect off Pinocchio and cast shadows.
Not every character is as realistic, however. Wood Mother (voiced by Emma Tate), specifically, doesn’t have the same amount of detail in her movements, primarily because her mouth doesn’t completely sync with the words. Cricket (voiced by Robert Englund) is entirely digital, giving the miniature, flying character more versatility in his actions. While the CGI is noticeable, it also allows the mannerisms to match Englund’s iconic voice. On top of this is the fact that these characters aren’t particularly integral to the story, outside of delivering exposition dumps to propel the plot forward.
“And remember, if you want to be truly real, take what they have, piece by piece, to make yourself whole.”
Previous franchise entries have been criticized for being “too serious.” And it’s true, with “Winnie-the-Pooh: Blood and Honey” and “Peter Pan’s Neverland Nightmare” being practically devoid of the humor that should be inherent to the concept. Frake-Waterfield shifts the tone here, with almost every kill leaning darkly comedic. This includes absurd setups and constant one-liners… and also Pinocchio treating his nose as a shark fin. Andrew Scott Bell’s score emphasizes the lighthearted attitude, keeping the movie easygoing until it’s not.
As for the carnage itself? The increased budget once again shows, with plenty of blood shed and many body parts torn off. While the situations themselves are obviously exaggerated, the violent outcomes feel believable within this world. The body horror plays into the comedy while still maintaining that “gross” feeling that horror fans desire.
It has been challenging to always take The Twisted Childhood Universe seriously, but it may be time to start doing so. “Pinocchio Unstrung” makes valiant attempts at tackling real themes like self-identity and conformity. Obviously, this grows overshadowed by the slapstick horror, but the ideas loop back around in the conclusion. While you may have previously rooted for Winnie-the-Pooh because it was “fun,” there are actual reasons to sympathize with Pinocchio here. This comes from the effort put into legitimate character development.
Cameron Bell (James) stars, delivering lots of F-bombs but also plenty of heart. Acting alongside him are Richard Brake (Geppetto), Jack Art Gray (Dudley) and Jessica Balmer (Mia). Brake has a memorable bout, quickly shifting between kindhearted and completely sinister. You can’t forget about the voice performances from Jude Evan Lloyd (Pinocchio), Englund and Tate. Lloyd makes Pinocchio sound like your everyday kid, maintaining a sort of clueless persona through all of the shenanigans. Englund is mainly present for quips and Freddy Krueger-esque lines, bringing a touch of nostalgia that slasher enthusiasts will appreciate.
Many may refuse to believe it, but “Pinocchio Unstrung” is good — very good, in fact. It’s lean and mean, but also commits to comedy more than any prior entry in The Twisted Childhood Universe.
Rating: 4 out of 5
