A SOULESS REMAKE THAT’S
AS WOODEN AS PINOCCHIO
On February 23rd, 1940, Walt Disney Studios released Pinocchio, their second animated feature film that was based off of 1883 Italian children’s novel “The Adventures of Pinocchio” by Carlo Collodi. Directed by Ben Sharpsteen and Hamilton Luske (as well as sequence directors Bill Roberts, Norman Ferguson, Jack Kinney, Wilfred Jackson, and T. Hee), the film’s plot centered around a wooden puppet named Pinocchio, who was magically brought to life by the Blue Fairy after hearing of a wish from the woodcarver Geppetto who wanted his creation to become a real boy. The movie follows the various adventures that Pinocchio goes on, with his steadfast talking cricket conscience named Jimmy Cricket to keep on the moral path of what is right and what is wrong. Despite the feature receiving critical acclaim during its theatrical release from critics and moviegoers, Pinocchio was considered a box office failure, which was mainly due to the events occurring in World War II by cutting off the European and Asian markets overseas. The movie would eventually turn a profit when it was re-issued again in 1945 as well as becoming the first animated feature to win an Academy Award…. Winning Best Original Score and Best Original Song for “When You Wish Upon a Star”. Today, Disney’s Pinocchio is widely considered as one of the great animated films of the era, with the film itself (as well as its story and characters) still remain ever-present in pop-culture, including in various Disney parks around the world and other forms of children’s entertainment. Even the song “When You Wish Upon a Star” has been adopted and has become a staple part of the Disney brand name. In addition, Pinocchio was added to the US’s National Film Registry for being deemed a “culturally, historically, or aesthetically significant”. Now, almost 82 years after the release of the beloved animated classic, Walt Disney Studios and director Robert Zemeckis release the latest live-action remake from Disney’s illustrious cartoon history with the 2022 movie titled Pinocchio. Does this update reimagining of the enchanted tale worth a glance or is it a lifeless construct that lacks heart and entertainment?
In a small Italian village in 1895, woodcarver and tinkerer Geppetto (Tom Hanks) is mourning the loss of his wife and son, pouring his heart into the creation of a wooden puppet of which he names him Pinocchio. Wishing on a star for the puppet to come to life, Geppetto is visited by the Blue Fairy (Cynthia Erivo), who grants the widowed man’s request by giving life to Pinocchio (Ben Ainsworth), while also giving vagrant newcomer Jimmy Cricket (Joseph Gordon-Levitt), a job as Pinocchio “temporary conscience”. Hoping to enrich the puppet’s life as a real boy, Geppetto sends Pinocchio off to school, but the path to education gets interrupted by scheming con-artists, with the cunning Honest John (Keegan-Michael Key) tempting the child with promises of fame and fortune on the stage, while Stromboli (Giuseppe Battiston) forces the young lad to perform in his traveling puppet show. Concerned for the boy’s well-being, Jimmy accompanies Pinocchio on his journey, who teaches the talking wooden puppet the moral reasonings of what is right and what is wrong as the pair go off an adventure together that tests what it means to be “brave, truthful, and unselfish” in the face of charismatic predators and monstrous challenges that lay on the horizon.
THE GOOD / THE BAD
As I’ve stated many times before in my reviews, I’ve always been a fan of Disney and of their cartoon motion picture films. Growing up in the 90s, I grew up watching all the big animated films from the infamous “Disney Renaissance” era, including The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King. Of course, the classic movies such as Cinderella, Sleeping Beauty, 101 Dalmatians, and Snow White and the Seven Dwarfs were some of my favorites, which showcased the early days of what Disney (as a company) were able to achieve in cartoon storytelling. Naturally, 1940’s Pinocchio fits into this category, with the feature being the second animated film from Disney and has been receiving praise for generations since its theatrical release. To be quite honest, I really didn’t get a chance to actually see the movie until I was a bit older…. probably around the age of 9 or 10. I did see segments and snippets of the movie prior to this, with the various VHS “Disney singalong” compilations that featured the songs “Hi-Diddle-Dee Dee (An Actor’s Life for Me)”, and “I’ve Got No Strings”. To this day, I just think Pinocchio is just okay. Of course, I love the animation, voice acting, characters, style, and the film’s ending, but there’s just something about it that I don’t particular care as much as other Disney animated features of yesteryear. Maybe because of the episodic nature of the movie, with one misadventure after the other occurring the narrative (with a bit of a mismatch follow to it), the darker tones in the film (the scene with the Lampwick and the other kids turning into donkeys scared me) and then the ending confrontation with the towering Monstro was kind of heavy for a kid’s movie. In the end, despite my personal preferences towards this movie, there is no denying the fact that Disney’s 1940 Pinocchio still holds its footing (and foundation) within the cinematic tapestry of cartoon animation, showcasing the early day talents of animation that mixes songs, storytelling, and characters within a tale of undergoing life with a moral compass as well as “always let your conscience be your guide”.
This brings me back around to talking about Pinocchio, a 2022 fantasy adventure remake from Disney to their 1940 animated feature. Given the fact that Disney has run through most of their iconic and big memorable animated tales to reinvent for a live-action treatment, it was almost a forgone conclusion that the “House of Mouse” would eventually turn towards their second cartoon feature in their animated cannon motion pictures. So, when it was announced, I was kind of interested to see how Disney would handle the material. Granted, as mentioned above, I wasn’t super excited as I was with Beauty and the Beast or Cinderella, but the idea of reimagining the story of Pinocchio would be something worth scene, especially with the usage of modern filmmaking technology and how the narrative itself would be ripe for the cinematic picking. In fact, I was quite interested a bit more when the film’s cast was announced, which included Tom Hanks, Cynthia Erivo, Joseph Gordon-Levitt, and Keegan-Michael Key. After that, I didn’t hear much about the upcoming live-action project until the film’s movie trailer debuted online a few months ago. From the trailer alone, the movie looked quite great, with preview showcasing many of the memorable / whimsical scenes from the story and being brought into a cinematic light. Still, I was a little leery about this new Pinocchio movie, especially since Disney decided to forgo the movie from receiving a theatrical release in movie cinemas and decided to release the film on Disney+. Definitely an odd choice to do and one that I personally believed that the studio (Disney) didn’t fully stand by the project as much as their past endeavors and were just looking for some content to be placed on their streaming service platform. Still, I decided to take a chance with the movie and watched their new Pinocchio movie a few weeks after its release. Of course, my back catalogue of trying to play “catch up” with movie reviews play a part in delaying my review for this movie. Now, I finally have caught up and ready to share my thoughts on this latest live-action Disney remake. And what did I think of it? Well, I was disappointed with the movie. While some filmmaking visual achievements are sometimes stunning as well as a few performances, 2022’s Pinocchio is a lifeless live-action remake that is a haphazard mess that can’t hold a light (and life) to its original 1940 animated film. The intent is there, and some parts are indeed admirable, but lacks a cinematic soul (and proper filmmaking aesthetics) to fully warrant a new representation treatment; ending up to being the worst live-action remake of Disney’s latest reimagines of their beloved classics.
Pinocchio is directed by Robert Zemeckis, whose previous directorial works includes the Back to the Future trilogy as well as Forrest Gump and Cast Away. Given his familiarity with working in both animated narratives productions and children’s entertainment with films like The Polar Express, A Christmas Carol, and The Witches, Zemeckis seems like a suitable director to tackling such an endeavor as updating and representing the classic tale of a little wooden boy and the misadventures he must undergo to become a real boy. Zemeckis has certainly been known to dabble in children’s storytelling and has that special type of nuance to make such whimsical tales come to life without diminishing the maturity of it all nor begrudging practice of being lighthearted for the younger audiences. Thus, the duality nature that Zemeckis navigates through in helming Pinocchio is well-met. There are still the humorous and tender moments that help build upon the youthful innocence of such a character like Geppetto’s loneliness (an almost agoraphobia) as well as Pinocchio’s journey of encountering the various predators that lurk along his life path. Of course, this is a reflection of what was presented in the original 1940 film, but with Zemeckis updating the material slightly by showcasing several scenes in a different light. The scenes at Pleasure Island are perhaps the best example of this, with Zemeckis presenting a wild and chaotic theme park style paradise where indulgences are bountiful and where there lies a dark undercurrent of wrongdoing. Plus, the scene with the kids turned into donkeys is still quite creepy…. even in this movie. Thus, despite the movie still being considered a kid’s movie, Zemeckis doesn’t shy away from depicting the darker tones in Pinocchio.
That’s not to say the movie still has its more lighthearted moments, which are still present in this new live action reimagine of the 1940 cartoon. It still has the so-called “touch of Disney” by interjecting comedy and more lighter moments that might make you chuckle a few times or even tug on your heartstrings. For the most part, the movie’s main narrative remains relatively intact, which be a somewhat of a “double edge” sword (more on that below). Still, for better or worse within that decision, Pinocchio still carries the same type of thematic themes (although a bit watered down) as well as the style of episodic adventures that of the journey that Pinocchio and Jimmy undertake throughout the narrative. Zemeckis also makes the feature have a very brisk pace, which makes the whole endeavor feel very light on its feet, but this comes at a price (more on that below). In the end, while feature has its fair share of problems, I do have to give credit to Zemeckis for at least in the attempt of updating Pinocchio for a modern audience, which has both good merits and bad faults within the undertaking…. depending on how you look at it.
As a minor sidenote, I did like how both Cleo and Figaro, Geppetto’s goldfish and feline cat companion, appear in the movie. Yes, it’s quite clear that both animal characters are created by CGI rendering, but one can simply overlook that because of how cute and adorable they are. I wished I had a little Figaro.
From its presentation standpoint, Pinocchio looks pretty good and brings a new layer of theatrical taste to the classic tale of a wooden boy and his various adventure he undergoes. Of course, while this particular project doesn’t have the same type of budget as other live-action remakes from Disney, the movie is (nevertheless) wholesome in its production value and has a good sense of visual aesthetics through the usage of its background / setting. The movie doe capture that “old world” charm from the Italian scenery and within its era (circa 1895), with a splash of European topography and other nuances that make the feature come alive. Perhaps the best aspect of this comes in the form of Pleasure Island, where Pinocchio and Jimmy are snatched up brought to a place where one can do anything. It’s visual stunning to look and has a lot to hold within presentation sequences. Probably the best set-piece of the entire film. Thus, the film’s “behind the scenes” key players, including Doug Chiang and Stefan Dechant (production design), Tina Jones (set decorations), Joanna Johnston (costume designs), and the entire art direction department for bring this cinematic world to light through their various areas and efforts. In addition, some of the cinematography work by Don Burges is pretty good and definitely build those dramatic view points to center stage in several key important areas in the feature’s presentation. Lastly, the movie’s score, which was composed by Alan Silvestri, is also pretty good as it keeps the whimsical charm of the animated classic within the musical composition and certainly hits all the right notes through its melodies.
Unfortunately, Pinocchio suffers some glaring issues that makes the whole live-action remake endeavor very underwhelming and disappointing from beginning to end. What went wrong? Well, for starters, the movie (as a whole) feels incredibly rushed and basically glosses over all the major events that occur throughout the film. With the original 1940 animated feature being 88 minutes long (one hour and twenty-eight minutes), this live-action remake is longer, with a runtime 105 minutes (one hour and forty-five minutes). Thus, the 2022 version is 17 minutes longer and has more to time to elaborate and / or expanded upon material in the film (more on that in a little bit). That being said, Zemeckis struggles with his time management in the movie, with the film having such a fast pace throughout the entire movie. This particular “brisk pacing” can sometimes be a good thing, especially in a kid’s movie, as this tactic can be beneficial to keep everything moving forward. Of course, the movie itself hits all those familiar story beats and plot points from the original cartoon, but never fully capitalized on measuring those moments. All the film’s world-building and set-up nuances is just quickly presented and then never brought up and it’s quite frustrating because the movie could’ve easily presented more than what was given. Thus, we (as the viewer) we really don’t get a good / wholesome feeling of everything that is going on as the Zemeckis never lingers long enough on almost all the scenes to make sense of various narrative beats, settings, and characters. This makes the hastily manner feel wonky throughout the feature that makes Pinocchio moves too fast and is desperate needs more time to manage the whole story to be told, including both old and new material.
Perhaps the biggest point of criticisms that many will ultimately see while watching this new live-action remake from Disney is the simple fact that the feature itself is quite generic. Yes, as I stated above, the movie hits all those familiar points from the animated classic that we’ve all come to know and remember. However, the movie, for lack of a better term, is just an updated presentation and that’s about it, with a lot of feature’s stories being a lifeless recreation that has been recycled from its source material. Of course, this particular practice has been done for with such live-action Disney reimagines, including 2019’s The Lion King, which was almost (and quite literally) a carbon copy to the memorable 1994 cartoon classic. 2022’s Pinocchio is pretty much the same exact thing as to what was presented in 2019’s The Lion King, with the new interpretation lacking in originality and creativity by keeping pretty much the same material (sometimes “beat for beat”). Most of this particular criticism derives from the film’s script, which was adapted / penned by Zemeckis as well as Chris Weitz, which recycles a lot of those narrative familiarities, but in a soulless way that can’t hold a candle to the original. The script for the 2022 version tries to add several new material to the feature in a few areas, but they all feel half-baked and don’t really add much to the actual context of the either the original narrative as well as being a little bit on the limp side of things. In addition to this, the problem that I had with the 1940 Pinocchio (the one were the various “misadventures” are more like episodic sequences and not really a cohesive story) still persists in this new movie and, while they may be a personal preference of criticism, the new movie still feels choppy when trying to stage / manage all of these little adventures that Pinocchio and Jimmy go on. Perhaps this reason also stems from Zemeckis’s overall direction for the feature, which (again) tries to hit the “sweet spot” of nostalgia for the original and new innovation by not rocking the boat too much with the material. Yet, despite that notion, Zemeckis ends up with a film that may look better than the 1940 film, but lack a cinematic soul with a very wooden personality and dull translation from cartoon to live-action.
Another aspect that is a bit wonky in the movie, which is why I didn’t mention it before in the presentation category, was in the visual effects for the feature. Some parts of the movie do look really good and help create some unique scenes and camera angles, especially the ones that show the viewpoint of Jimmy Cricket’s size within the world around him (larger in scale to him), but then they are a lot of effect shots that feel cheap and poorly rendered. I definitely get what they are doing and helps build some of the feature’s more dramatic / fantastical elements, yet it feels quite dated and shoddy effect shots that look bad.
Another part of the movie that draws criticism is in the actual songs that are featured in the movie. Of course, the original animated feature had several iconic songs that still are quite memorable from “When You Wish Upon a Star”, “Hi-Diddle-Dee Dee (An Actor’s Life for Me)”, and “I’ve Got No Strings”. Zemeckis’s Pinocchio does feature this, but, with maybe the exception of “Hi-Diddle-Dee Dee”, which I do like in the film, the other two songs felt a bit “meh”. I mean….. “When you Wish Upon a Star” is briefly sung (yet sung wonderfully by Cynthia Erivo) and doesn’t have the same memorable impact as it did in the 1940 cartoon, while “I’ve Got No Strings” feels pretty underwhelming, which is kind of strange because that particular sing was probably one of my favorite scenes from the original (mostly due to watching Disney’s “Sing Along” VHS tapes. Thus, the music incorporation into the new live-action movie is indeed a welcome, yet has a diminished effect and isn’t as strong as it could’ve been; lessening their moments in the feature rather than celebrating Disney’s legacy.
The last point of criticism that I have with this movie is the actually closing moments of the movie. As many know, the conclusion to the 1940 version is iconic and leaves viewers with a satisfying (almost happy) ending to Pinocchio’s journey. The 2022 live-action remake somewhat doesn’t that, but gives more a vague and ambiguous conclusion. This is particular interpretation is left up for the viewers to draw their own conclusion to the tale, yet, while it has a slight merit to the narrative, the decision to do so left me with sour taste and almost contradicts / undermines the entire basis of Pinocchio’s deepest desire. To me, it just feels like a cheap way to close out the movie and ultimately feels like a poor and disappointing cop out. Why change something that ultimately works with such an ambiguous ending, especially when the meaning behind it is such a thematic moral set in both Disney versions. I know that this may be a small / minor complaint, but it was kind of a big deal for me.
The cast in Pinocchio is sort of a mixed bag, with some recognizable acting talents involved on this project and definitely helps bring these characters into a new live-action medium. Unfortunately, while the representation of the physical characters are well-met, but the script handling of these said characters are rather limp and underwhelming to a default, due to how their written and the very rushed paced of the movie. Leading the charge of the movie is actor Benjamin Evan Ainsworth, who provides the voice for the film’s protagonist character of Pinocchio. Known for his roles in Son of a Critch, Flora & Ulysses, and The Haunting of Bly Manor, Ainsworth does a pretty decent job in the movie as playing the charming and very adorable sounding voice of Pinocchio. Ainsworth imbues his voice with sweet naivety and hopeful optimism that really does embodies the character from the original 1940 film and….from that stand point… I really do give credit to the actor’s vocal performance. Perhaps the problem for the movie is how the character of Pinocchio is written in the movie, which (again) is basically the exact same as he was in the original animated tale. While that’s not a bad thing as Pinocchio’s naïve and moral journey is still quite compelling and wholes universal themes, but there’s really no attempt to add much new material for the character to explore and / or learn, which results in the main character to be a tad wooden (no pun intended). Still, for better or worse, Ainsworth does a relatively good job as the voice for Pinocchio.
Behind him, the other iconic character from Disney’s Pinocchio comes in the form of Jimmy Cricket. A friendly and optimistic talking cricket who becomes Pinocchio’s appointed conscience from the Blue Fairy, who is voiced by actor Joseph Gordon-Levitt. Known for his roles in Inception, Looper, and The Dark Knight Rises, Gordon-Levitt doesn’t seem like the type of person I would be to provide the voice for such a fictitious and studious character like Jimmy Cricket. That being said, I was kind of surprise how much I did like him as Jimmy. Of course, they certainly do play with Gordon-Levitt’s voice (pitch-bending it), but the actor certainly imbues the concerning yet sincerity with the iconic character that makes him relatable and memorable. Much like Pinocchio, however, the character of Jimmy Cricket is pretty much the same as he was in the 1940; assisting and trying to guide Pinocchio to being a good conscious and having a moral center. Thus, there isn’t that much new material added to his credit. In the end, Gordon-Levitt perfectly fine as the kind-hearted and helpful Jimmy Cricket.
Acting as the seasoned veteran talent of the feature is longtime collaborator with director Robert Zemeckis actor Tom Hanks, who plays the character of Geppetto, a kind and elderly, yet lonely woodcarver and toymaker who creates Pinocchio and dearly wishes for him to become a real boy. Hanks, who is known for his roles in Forrest Gump, Saving Private Ryan, and Cast Away, always been a well-rounded / great character actor, with many of his performances in his project becoming iconic and / or memorable due to the amount of how much the actor can bring such personas to life. Thus, it comes at no surprise that Hanks would be attracted to working again with Zemeckis and participating in a live-action Disney remake…..and with said remake being Pinocchio. As Geppetto, Hanks is perfect in the iconic character role, with the actor utilizing his soft-spoken tones and other nuances that makes his turn as the Italian tinkerer / toymaker to be sympathetic and likeable from the moment he appears on-screen. There’s a bit of new backstory material that is indeed welcome (perhaps the only new material that I liked in the movie) and Hanks easily sells those moments whenever he’s on-screen. In the end, I think that Hanks is solid as Geppetto and, while it may not be his most memorable character role in his career, it is indeed one of the bestselling points that Pinocchio has to offer.
Who actually does the best job in the movie (at least in my opinion) is the interpretation of the character Honest John, an eccentric, intelligent, and scheming swindler anthropomorphic red fox who crosses path with Pinocchio on his way to school, and who is voiced by actor Keegan-Michael Key (Keanu and Pitch Perfect 2). While the character is still exactly the same as he was in the 1940 cartoon, Key imbues his charismatic sounding voice into the character, which makes Honest John have that sly / likeability from the very second you see him. Thus, this particular character, though limited in his overall time in the movie, still makes for a memorable appearance and one that I really liked it, especially with Key singing the classic song “Hi-Diddle-Dee-Dee”. As a sidenote, I always remember (and liked) Honest John’s sidekick companion, Gideon, a mute and dimwitted anthropomorphic cat, which is still remains funny in the new movie.
While Key’s Honest John was the best, the most underwhelming character in the feature is actually one of the most iconic characters from 1940’s Pinocchio. Of course, I’m talking about the Blue Fairy, a wise, soft-spoke, magical fairy who grants Geppetto his wish by bring Pinocchio to life, who is played by actress Cynthia Erivo (Harriet and Bad Times at the El Royale) in the movie. Erivo is a solid actresses and her past endeavor clearly shows that, which is why I was kind of excited to see her being attached to this particular movie as the Blue Fairy, a role, while small, is still quite memorable in the narrative of Pinocchio. Unfortunately, while Erivo is solid in the movie, the importance of the Blue Fairy (in the story) is somewhat diminished as she’s only featured during the beginning part and that’s it, which is hugely disappointing and somewhat undercuts the importance of the mystical character. Thus, Erivo’s limited participation in Pinocchio is gravely undermined and she almost acts like a cameo appearance rather than being a very important supporting character in the tale.
Additionally, even several side characters from the 1940 Pinocchio film ring hollow this live-action feature and ends up feeling underutilized to their fullest extent. This includes actor Giuseppe Battiston (Perfect Strangers and The Passion) as abusive and greedy traveling puppeteer master performer Stromboli, actor Luke Evans (Beauty and the Beast and Dracula Untold) as the charismatic yet imposing man called “The Coachman”, and actor Lewin Llyod (Judy and Taboo) as the mischievous young and bratty Lampwick. All of these characters have appeared in the original Disney animated film, but, while their inclusion and acting talents behind are appreciated, they aren’t really fully expanded upon, which (again) is sort of a missed opportunity. This then makes the parts in 2022’s Pinocchio feel a bit “meh” and less importance. Although, Evan’s Coachman character does get a new part in the introduction to Pleasure Island, which is kind of interesting, but that’s it.
Looking beyond the old familiar characters from Pinocchio, this 2022 live-action feature introduces two new characters to the narrative of which that the like of Pinocchio and Jimmy interact with several times in the story. This includes Fabiana, once a ballerina that is now a crippled puppeteer who works for Stromboli, and Sofia, a seagull that offers assist throughout the feature, who are played by actresses Kyanne Lamaya (The Dumping Ground) and Lorraine Bracco (The Sopranos and Goodfellas). Unfortunately, while they attempt is made to incorporate these two characters into the main storyline, the addition is felt underwhelming, half-baked, and almost shoehorned in just for the sake of having new players in the narrative. Thus, both Fabiana and Sofia end up being utterly forgetful and unmemorable in the movie…. and that’s disappointing.
The rest of the cast, including actor Angus Wright (The Courier and The Crown) as Signore Rizzi, actress Sheila Atim (The Woman King and The Underground Railroad) as Signora Vitelli, actress Jaquita Ta’le (Castle and Shameless) as the voice of Fabiana’s marionette named Sabina, and actor Jamie Demetriou (Cruella and Fleabag) as the school headmaster, round out the minor supporting characters in the movie. Most of these characters only have one or two scenes in the movie, but most of them are effectively good in their limited screen in the film.
Star light, star bright, first star I see tonight; I wish I may, I wish I might, have the wish I wish tonight! A hopeful plea from a widowed tinker as his wish for a boy gets granted in the form of a wooden little boy, who learns the valued lesson of right and wrong in the movie Pinocchio. Director Robert Zemeckis’s latest film takes Disney’s quintessential animated tale of Collodii’s 1883 novel and translates it into a live-action medium by giving life to old property. Unfortunately, while the film’s heart and intent are clearly defined as well as some updated visual cues and a one or two good performances, the rest of the feature comes off with such mixed results, especially with a mostly carbon copy narrative story / progression, weak new elements, several shoddy CGI effects, very rushed pacing, underwhelming / underutilized cast and characters throughout. Personally, I was disappointed with this movie. Yes, it had a few redeeming qualities, and it wasn’t completely deplorable. Yet, at the same time, it felt like a very rushed and “cash and grab” reimagine from Disney, which didn’t have much faith in the project to begin with; a somewhat shock to me as the narrative being told has become one of the beloved hallmarks of the “House of Mouse’s” animated cannon. Nevertheless, definitely one of my least favorite live action reworkings from Disney. Thus, my recommendation for the movie is hard “skip it” as the feature does little to reinvent the iconic tale beyond updating some moments with visual flair and bring the story to a new medium. Even if you’re a fan of the 1940 cartoon feature, it’s best you just stick with that one and don’t bother with this iteration. In the end, while Disney will continue to repurpose its signature animated films into a new cinematic light, Pinocchio stands as a very cautious tale for the company, dispelling the animated enchantment in a poorly fashion and dismal execution way by remaking a classic tale in an uninteresting way.
2.5 Out of 5 (Skip It)
Released On: September 8th, 2022
Reviewed On: November 8th, 2022
Pinocchio is 105 minutes long and is rated PG for peril / scary moments, rude material, and some language