Directing: B
Acting: B+
Writing: B-
Cinematography: B
Editing: B+
Special Effects
: A-

I wonder what the crossover audience is between one movie and the other that clearly inspired it, from 27 years before? How many people watching Christopher Robin had the experience I had, where it consistently reminded me of Spielberg's 1991 blockbuster Hook? In that movie, the question was, "What if Peter Pan grew up?" In this one, it was "What happened when Christopher Robin grew up?"

What happens is arguably a mixed bag, but I opened up to it, and allowed myself to be charmed. Christopher Robin is getting very mixed reviews, and if you look at it with even a moderately critical eye, it's easy to see why. But here is a movie in which paying attention to such things misses the point. Audience scores are far higher than critical reviews, and if we're being totally honest, that's a far better barometer of what the likelihood is that you'll enjoy it.

Do you love Winnie the Pooh? The old books, the old Disney cartoons? Christopher Robin won't equal them, and I don't think any Pooh fan will say that it does. But pretty much any Pooh fan will still be endeared by it.

I certainly was. Granted, I am also a Ewan McGregor fan, and he plays the grown up Christopher Robin. Directed by Mike Forster, who also gave us 2004's Finding Neverland -- another Peter Pan connection -- Christopher Robin has an odd through line of wistfulness, bordering on melancholy, even as it has a clear message of appreciating the simple pleasures of childhood.

The broad beats of the story are very familiar. Christopher Robin works for a luggage company in post-World War II London and is so consumed by his workaholism that he neglects his wife Evelyn (Hayley Atwell) and his daughter Madeline (Bronte Carmichael). It's slightly anachronistic that this child of the forties should be a young girl, being groomed by her father to emphasize the value of career. The choice not to make her a little boy feels less organic than focused grouped to appeal to 21st century audiences. Christopher's workplace is also surprisingly racially integrated, but, I suppose, so what? This is clearly a fantasy, after all.

And: it works. It did for me, anyway, in spite of the fact that in this stage of Christopher Robin's life, he's not the only person who can see and hear his walking and talking stuffed animals. Wherever Pooh and his friends go, which includes two different trips into the hustle and bustle of London, their personalities are not just a product of Christopher's imagination. Everyone can see and hear them, and they are at one point taught to "play nap time" just to keep people from freaking out.

In any case, a lot of Christopher Robin is . . . odd. What truly rises above it all is the cuddly, pure of heart personality of Winnie the Pooh (voiced by Jim Cummings, who also voices Tigger, in both cases having also done so for the cartoons since the late eighties). Pooh gets occasionally confused, but never hurt or angry. He takes nothing personally. He goes with the flow, and is thus a font of simple wisdom. He finds joy in a red balloon.

He reappears in Christopher Robin's life after thirty years, literally out of thin air outside his London flat, evidently just to snap him out of the distracted state of being a grown-up. When he converses with Christopher, even in this complex adult world, he is only capable of processing it in the simplest terms, often to hilarious effect. I laughed pretty hard several times. The same can be said of Tigger and Piglet (Nick Mohammed) and especially Eeyore (Brad Garrett, fantastic), and the rest of the gang. But Pooh is the heart of this movie, as is to be expected.

There is something slightly jarring about this being a live action film rather than animation, the stuffed animals all CGI effects as opposed to drawings. They look very much like real stuffed animals, in ways the cartoons and drawings we're all used to never quite did. But still they move and talk, and have unique personalities with which we've long been familiar.

The lesson, as always, is the importance of play, and how gloomy life becomes when deprived of it. None of this is new. But I was taken by the fish-out-of-water story of Pooh and his stuffed buddies navigating the big city with a little girl eager to please her father. The script remains the weakest link in Christopher Robin, which is unfortunate given that's the most important part, but here the performances make up for a lot. The charms offered by these stuffed animal characters are plentiful enough to render the wildly overdone plot inessential. Spending a couple of hours just hanging out with these guys is enough.

Hey Pooh, I think I'm tripping.

Hey Pooh, I think I'm tripping.

Overall: B