This is a charming family fantasy musical with a hugely talented lead actor and I've no doubt children everywhere will be in raptures watching it. But it is all a little lacklustre and the dark edge of Roald Dahl's famous character is nowhere to be seen here. Timothée Chalet portrays him as a thoroughly likeable and naïve young adventurer who arrives in 19th century Paris with the ambition to open a chocolate shop using his late mother's recipes. The Willy Wonka from the book and even the Gene Wilder film, Willy Wonka and the Chocolate Factory (1971) has that scary side of the character that children are meant to fear. This film has the stereotypical cartoonish baddies (Olivia Colman and Tom Davis) who trap the young Willy in their sweatshop laundry at the behest of the nasty chocolate kings who dominate the market and don't want any cocky new competition. So Willy has to escape and expose all these baddies so he can finally realise his dreams. There's an orphan story running alongside the main plot and Chalet handles the average songs with aplomb. But it's Hugh Grant as the original Oompah Loompah who steals the show. There's a host of British talent here and Sally Hawkins cameos as Wonka's mother in a high production and pleasant enough film that is ok. Director Paul King hasn't really captured that magic he managed to bottle in Paddington (2014) and it's sequel.
I thought Willy Wonka is meant to be a mischievous, slightly malicious individual who endures children as an occupational hazard.
You’d never guess it in this confection, it’s all very pretty , with some very nice songs, but I think that was my problem with it: too nice!
Thankfully Olivia Colman is rotten as Mrs.Scrubbit and Hugh Grant steals the film as a vengeful Oompa-Loompa.
I don’t think Roald Dahl would be too impressed, not enough dark chocolate!
My wife and I thought Wonka was brilliant fun and we found it very funny. Watch out for all the UK comedians who make appearances.
A prequel film about the story of Willy Wonka’s rise to power doesn’t sound like the most enticing of films. But if there’s anybody who could make this whimsical tale work, it’d be director Paul King. Having previously showcased a lavish wholesomeness with his Paddington films, King’s work has this air of feeling clever yet charming and sweet in a palatable manner for the family. He delivers that same level of magic with Wonka, even if it’s not as robust a tale as the Paddington movies (nothing can top Paddington 2).
Introduced in song and a brightly wondrous vision of a Dickens-style Europe, Willy Wonka (Timothée Chalamet) is a young man with big dreams. Having traveled the world and researched the most magical of chocolates, he’s ready to show his inventions and candy. The problem is that he’s not given the warmest welcome. His first day finds him spending nearly all his money and falling into the trap of a hotel managed by the swindling duo of Bleacher (Tom Davis) and Mrs. Scrubitt (Olivia Colman). No matter. Wonka figures he’ll sell enough chocolate to escape their financial clutches. That dream turns out to be tough when the entire town is under the control of the chocolate boss, Arthur Slugworth (Paterson Joseph). With little to no funds and a grand conspiracy against his magical candies, the blossoming businessman will have to cleverly maneuver his way to success, perhaps with the aid of the chipper orphan Noodle (Calah Lane).
This type of film mostly works because Paul King does his own thing with the Willy Wonka story. Even though he clearly evokes the same styles as the 1971 film, there’s rarely a moment where it feels like this is a pale prequel. In truth, it feels closer in that wholesome tone to the Paddington films, where good-natured people seem to make the world brighter and always succeed over the cackling villains. That sense of wonder comes through beautifully with the imaginative depiction of this European city and some songs to match. The good news is that songs don’t feel like retreads of past iterations. The bad news is that they probably won’t be anywhere near as memorable with their good-but-not-great lyrics.
The entire cast also feels like they work in their own right rather than attempting to line up with the Willy Wonka story. I particularly dug how Slugworth was more a vicious, corrupt official than a quietly conspiring villain. Chalamet also does a solid job portraying Wonka with more inspiration and chipperness than a knowing cynicism for the world. The only part of the film that doesn’t seem to work as well as it should is the late addition of Hugh Grant as a CGI-created Oompa Loompa by the name of Lofty. His addition is strange, as the film is doing just fine without his dry and wry commentary being tossed on top. At least Grant does have some charm, even if he’s coated in orange and shrunk down for this role.
The visual splendor of Wonka is enough to warrant this latest retread of the Roald Dahl classic novel. The performances are smile-worthy all around, and the production design is a colorful dose of allure that matches the sweet tone of the entire story. It’s no substitute for Mel Stuart’s unforgettable musical of 1971 or Tim Burton’s genuine weirdness of the 2005 adaptation. But it works well enough with the material to be as tasty as the candy, sugary enough to forget the empty calories.