Decent Films Mail > Mailbag #4

Re: The Dark Crystal, Labyrinth

I admit I’m completely baffled. I understand why you didn’t think much of The Dark Crystal and Labyrinth, but I have no idea why you troubled yourself to review them. I did see The Dark Crystal and thought your review was actually kinder than it deserved. I admit I never saw Labyrinth, but no one whose opinion I respected ever suggested that I should.

I understand perfectly why you would review an older movie that audiences should take the time to find and see, but these two movies don’t seem to qualify. Of course it is your perfect right to review whatever movies you see fit, but I was greatly surprised that you saw fit to review those two and am genuinely curious as to why.

Many factors go into what movies wind up getting reviewed and what movies don’t. In the case of The Dark Crystal and Labyrinth, the precipitating factor was new DVD editions for both films, making them candidates for my weekly “DVD Picks” column in the National Catholic Register — and, being family-themed films that still have a significant nostalgic appeal for many viewers, they are of some interest to my readership.

The Dark Crystal in particular continues to have admirers, though I’m not especially one of them. Labyrinth also has devoted fans — a number of whom have written to take exception with my review. In general, though, readers seem generally to agree more than not on these reviews.

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Review: The Dark Crystal (1982)

C | **½ | -2| Teens & Up*

Imaginatively ambitious and often visually engaging, The Dark Crystal resolutely remains a distant, uninvolving experience. The filmmakers’ attention seems occupied by the technical challenges of bringing this fictional world to life; characters and emotions, even by the archetypal standards of high fantasy, never come to life, and the overarching mythology seems too self-consciously contrived rather than taking on a mythic reality of its own.

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Review: Labyrinth (1986)

C | **½ | -1| Kids & Up*

Despite some imaginative visuals, such as the Escher-inspired omnidirectional castle at the finale, Labyrinth suffers from a distinct lack of charm, with poorly thought-out characters, limp plotting and a limp climax. Although positioned as a coming-of-age tale, Labyrinth indulges rather than challenges Sarah’s heroic-princess fantasies, with a made-to-order adversary whose whole world, for no very obvious reason, seems to revolve around Sarah.

Continue reading this review >

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