 The key to appreciating Zemeckis' faithfully adapted, animated revival of A CHRISTMAS CAROL is to remember the basis of Dickens' original novel: it's a ghost story. It's not a yuletide comedy, despite what some of the lighter toned trailers and film clips, or Jim Carrey's presence, may imply. It's not a feel good romp through Dickensian London where stomachs of the poor are as empty as Ebenezer's heart. A CHRISTMAS CAROL was and is a cautionary tale, a cruel lesson taught to a cruel man who must redeem himself or forever haunt this world as a doomed slave to his own corruption. The night terrors Scrooge must confront are of his own making, but face them he (and the audience) must — don't blame Zemeckis, he's only the messenger of this new medium, not the author of its invention. A word to the wise: have a chat with kids who are anticipation a funny family frolic in 3D animation because there's more to the film than that.
Don't let the ghosts' dark side scare you away, either, because the animation is a technical marvel to behold, even if at times the splendor leans too far toward spectacle and away from storytelling. FilmEdge saw the film in an IMAX 3D screening, and the 3D effect is masterfully, enjoyably presented in nearly every frame. Don't be surprised if Scrooge's late night walk through the hazy winter nights of London runs a chill up your back, or you have the delightful urge to catch a snowflake on your tongue — so atmospheric and often magical is the animation. Rarely is the 3D exploiting for gimmicky effect, and very often the chimney pipe vistas and snow dusted cobblestone streets make one yearn for a pause button to appreciate their delicate yet bold beauty. Technically speaking, the IMAX 3D screening attended for this review was crystal clear in visual presentation — no headaches, the oversize glasses fit comfortably over my own specs — accompanied by a rich, dynamic surround sound mix which enhances the 3D images and expands the chilly winter environments, urging audiences deeper into the film.
On the other hand, the film relies several times too often on the novelty of flying over, around, above and through 19th century London. A Scrooge-hearted cynic would argue such roller coaster cinematography is regularly injected into the story to keep the kids enthralled between quite dramatic scenes of doubt and remorse. Yet such flights of fear and fancy are indeed what Dickens' ghosts embarked upon with reluctant Scrooge in hand, their dizzying visions adding to the fantasy and dreamlike visions he is shown. I'm all for spectacle, and this film rightly earns that achievement numerous times, but Scrooge's shrunken pinball ride atop and under London streets, for instance, amounts to little but a sidebar joy ride in storytelling terms. Such thrill rides are impressive at first, but ultimately a well in which Zemeckis too often dips without advancing and elevating the dramatic device.
Fortunately this is counteracted easily by several fine performances by the lead actors, with Carrey's quadruple duty as Scrooge and the three Christmas Ghosts yielding impressive, enjoyable results. No mere voice over performances, Zemeckis had all his cast enact their roles on a high-tech motion capture soundstage, which directly translates the broadest gestures and slightest expressions from actor directly to animation. In this guise, Carrey delivers a remarkably mature yet humor-filled performance as the greed-hollowed Ebenezer, a crooked, consumed wraith of a man who is dead but for his money counting pulse. All the ghosts and Scrooge resemble Carrey's features and physicality as an actor, yet carry their own distinctions through the story which truly sells Scrooge's plight faced with these specters. A CHRISTMAS CAROL rides entirely on Carrey's back and he carries the burden deftly and quite successfully.
 Kudos as well for Gary Oldman's Bob Cratchit, a diminutive accounting clerk beaten down spiritually by his heartless boss whose fragile optimism and moments of parental dread ring true as the plot unfolds. When Cratchit tears up while attempting to keep a brave face to his family, lumps in throats will ensue and rightly so. Hoskins as Fezziwig and Old Joe has much less dramatic meat to chew, but his boisterous holiday glee definitely lightens the emotional load. Colin Firth deftly skates the fine line between frustration and family loyalty as Scrooge's unflappable nephew, Fred. It's a touchy role in Dickens' story, made all the more daunting a task through the medium of animation, but Firth brings home the optimism which shines through after the darkest hours of Christmas Eve night. If there is one disappointment in the cast, it may be Robin Wright-Penn's work as Belle. She's th lost and forsaken love of Ebenezer who gave up love for avarice, a minor yet key role in telling Scrooge's fall and redemption. Belle is the last heartbreaking loss the old miser ever felt, yet as a character she falls too flat to inspire the required sense of regret needed to underscore his inhumanity. I can't decide if Wright-Penn of screenwriter Zemeckis bears the larger fault in this weak point, but either way Belle fails to rise above plot function: if audience fail to fall a little in love with her when Scrooge does the same, we feel no loss when she leaves him to feed his heartless greed.
As noted from the start, A CHRISTMAS CAROL is a dark ghost story and Zemeckis delivers just that with imagination that should be seen and appreciated this season. But the true heart of Dickens' cautionary tale beats only upon Scrooge's emotionally charged redemption in the finale, and the filmmakers may have fallen just short of this ultimate goal. As subtly and broadly Carrey was allowed to express Ebenezer's fearful awe and outright terror at the Ghosts' visions, his spiritual awakening on Christmas morning seems oddly muted by comparison. Scrooge's rebirth is less a triumph and more survival of a trial. We want to feel not only uplifted but overjoyed that this mean miser has finally seen the light because his renewal of faith and humanity is ours. Scrooge greets the new holiday morning with delight and relief, but the dial tops out at eight when it should be cranked to eleven, because that's where Dickens' story goes! Indeed, Zemeckis sets up this finale by playing the bulk of the tale as darkly as intended to contrast the bright new dawn, but he needed to let Carrey go for broke to top the story's emotional chart. This ultimate ode to joy is present, but please, sir, a little more volume would have done nicely.
A technical treat for this holiday film season, filled with strong performances and enjoyable characters and scenes, A CHRISTMAS CAROL is indeed a 3D animated wonder for the eyes, but slightly less wonderful to feel than it should be to keep the Christmas spirit burning bright in our hearts.
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(3 1/2 stars)
